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DTSTART;TZID=America/Los_Angeles:20260814T180000
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SUMMARY:BARN BURNER: Outer Orbit
DESCRIPTION:Friday\, August 14th\, 2026 \n$17 Advance // $20 Day Of Show6pm Doors / 7pm ShowAll Ages \nBARN BURNER shows are all about the dancing! No matter who might be on the stage\, you are guaranteed to groove. \nOUTER ORBITOuter Orbit is a funk soul collective led by Galen Clark (Trio Subtonic\, Anna Tivel\, Sleater-Kinney) and fronted by vocalist Sarah Clarke (The Motet\, Dirty Revival\, Portugal\, The Man). The band features an all-star lineup of PDX musicians including members of Ghost-Note\, Allen Stone\, Portland Cello Project\, Mono Neon\, Skerik Band\, Swatkins and more. Outer Orbit brings original soul and pocket heavy funk while drawing on a range of influences from Sly Stone to Emily King. \nOuter Orbit’s second album\, Heart Shaped Plane\, out May 2026\, features Sarah Clarke\, Peter Knudsen\, Tyrone Hendrix\, Damian Erskine\, Michael Elson\, Galen Clark\, Carlin White and special guest John Medeski. Heart Shaped Plane showcases high energy funk\, dynamic songwriting\, soaring ballads and the band’s joyful approach to making music.
URL:https://www.gorgecurrent.com/event/barn-burner-outer-orbit-2/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTSTART;TZID=America/Los_Angeles:20260816T113000
DTEND;TZID=America/Los_Angeles:20260816T143000
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SUMMARY:Sunday Serenade: Savannah Clancy & Ben Larsen
DESCRIPTION:Sunday\, August 16th\, 2026 \n$20 Advance // $25 Day Of Show11:30am Doors / 12:30pm ShowAll Ages*Limited Tickets* \nSunday Serenade is Trout Lake Hall’s new brunch music series. Each Sunday features an intimate\, two-hour live set dedicated to a single style—jazz\, Americana\, groovy indie\, country\, folk—paired with delicious\, chef-crafted brunch. With limited tickets and cozy seating\, it’s a relaxed\, up-close experience—perfect for lingering over food and gentle Sunday tunes. Come in for a real Sunday Funday! \nSAVANNAH CLANCY \nSavannah Clancy is a folk singer-songwriter who moves through the world like the seasons — always changing\, always returning. Rooted in the wild elements and the ancient rhythms of ancestry and place\, her music is an intimate conversation between the human heart and the living earth. Writing songs since the age of twelve\, Savannah has long understood songwriting as a sacred alchemy — a way of transforming the raw material of life into something that connects\, heals\, and endures. \nHer debut album Roots in the Water (March 2024) offered love songs for the earth and a prayer for the planet — music born from deep reverence for the world we inhabit. Now\, with her second album arriving June 13th\, 2026\, Savannah turns tenderly inward. These honey-sweet songs with an Americana sound are of finding home\, stepping into motherhood\, and weaving community — threaded through with longing\, nostalgia\, grief\, and the quiet wonder of love in all its forms. \na place to call home (June 2026) is produced by friend and fellow musician Ben Larsen. After the many hours of devoted time working on this project\, the two of them are excited to be playing and singing together in person. \nBEN LARSEN \nFor over a decade Larsen has been performing up and down the west coast and nationally as a solo artist. He recently returned home to the Pacific Northwest after spending a year and half in New York City\, writing and producing his third studio record Clarity\, out fall of 2024.
URL:https://www.gorgecurrent.com/event/sunday-serenade-savannah-clancy-ben-larsen/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:food & drink,music
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DTSTART;TZID=America/Los_Angeles:20260819T180000
DTEND;TZID=America/Los_Angeles:20260819T210000
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SUMMARY:Sean Hayes / John Courage
DESCRIPTION:Wednesday\, August 19th\, 2026 \n$25 Advanced // $30 Day of Show6pm Doors / 7p ShowAll Ages \nSEAN HAYES \nSean Hayes is a San Francisco Bay Area-based singer-songwriter known for a unique\, gritty blend of folk\, soul\, and R&B-inflected roots music. His sound has been described as dusty\, warm\, and effortless\, featuring a gravelly\, soulful voice that blends intimate storytelling with danceable rhythms.  \nHayes has collaborated and toured with artists including Aimee Mann\, Frazey Ford\, Charley Crockett\, Jolie Holland\, The Wood Brothers\, Ani DiFranco and The Cold War Kids among many more; his work has been remixed by house DJ Mark Farina and featured on NPR\, NBC and HBO. Known for his raw vocals and timeless songs\, Hayes has built a loyal following across the country\, whether stripped-down or with a full-band\, his shows are simply a night of good music. \nJOHN COURAGE \nJohn Courage has been honing his skills as a songwriter\, guitarist and producer for over 10 years in the music communities of Northern California\, with stints in the Pacific Northwest and the high desert of Santa Fe\, New Mexico. With a flair for vintage inspired rock and roll that takes cue from the Texas singer songwriter scene of the 70’s\, John Courage creates a sound that at once feels familiar yet urgent. \nNew styles blossom and are assimilated into the songbook\, and currently John Courage performs as a solo songwriter\, or a raucous\, guitar driven trio or quartet. \nWith four self produced full length albums to his credit\, and guitar credits on many other records\, along with touring work on bass and lead guitar\, John Courage now expands into the role of producer with the addition of Gremlintone Studios\, a fledgling analog based production focusing on live recording.
URL:https://www.gorgecurrent.com/event/sean-hayes/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTSTART;TZID=America/Los_Angeles:20260820T180000
DTEND;TZID=America/Los_Angeles:20260820T210000
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SUMMARY:Bart Budwig (full band) / Bryan John Appleby
DESCRIPTION:Thursday\, August 20th\, 2026 \n$15 Advance // $20 Day Of Show6pm Doors / 7pm ShowAll Ages \nBART BUDWIGBart Budwig is a son of Idaho\, a cosmic country crooner\, a rousing trumpet player\, and cryin’-style soul singer. His music is made up of seemingly incongruous parts; thrum & strum country rhythms\, jazz guitar melodies\, R&B vocals. When Bart sings he draws out words into meditative mantras\, whole note neologisms that keep you hanging on until his raspy voice trails off in a ragged edge. His forthcoming album\, Another Burn On The AstroTurf (January 24\, 2020\, Fluff and Gravy Records) was recorded over five days by a seven-piece band inside the OK Theater. It’s a melancholy rhapsody that recalls the uncorked rock n’ roll spirituality of king mystic Van Morrison\, the gloomy nostalgia of dark prince Nick Drake and the songcraft sans self-seriousness of 70s Muscle Shoals. \nLike those psycho-spiritual song crafters\, his power comes from vocal idiosyncrasies – intonations of love\, impermanence\, hope\, humor. The album opens with Budwig originals “Time For Two”\, “First To Go”\, and “Strong Coffee”– originally presented with just solo guitar (and crackling wood stove) on the album Sabai. The songs are recorded here live\, full band\, in medley\, with hot electric guitar\, woody double bass\, and drums. The band electrifies and scourges the flesh of the songs into fully formed folk rock stunners. \nThere is what the Romans called a “divine lustre” about Bart Budwig. His blonde hair and beard wrap around his collar\,and frame his smile in a nimbus of gold. His radiance belies the loyalty he commands of an army of talent. He’d sooner tell you a joke than reveal to you he’s recorded dozens of albums and hundreds of songs in the last few years. Bart’s mastery of dramatic irony turns his work with complex emotional states of being into comforting\, uplifting\, relatable music. \nIt’s this ability to combine tragedy and comedy in his humanist hallelujahs that makes Budwig a gravitational force and industry chimera. The studio general\, the clown prince\, the sensitive songwriter with a rugged voice. The soul singer with a cosmic country band. The creator of a folk universe drawing musicians from everywhere to the middle of nowhere. It’s this juxtaposition that makes Another Burn On The AstroTurfanother success for Bart Budwig\, and a must listen for you. – Sean Jewell \nBRYAN JOHN APPLEBY \nBryan John Appleby has been writing\, recording\, and performing original music for almosttwo decades. Based in Seattle\, his folk-centric body of work incorporates breezy mid century pop\, intricate fingerpicking\, lush cinematic layers\, and lyrics that often evoke hisCentral Coast origins. \nHis latest full-length\, Underwater Easy Breathing\, exemplifies his distinct productionpalette. Oceanic and synth-laced\, the album is a natural next step in his wandering\, oftendensely layered repertoire. Previous works include The Narrow Valley (2015)\, a maximalistconcept album drenched in dreamy\, orchestral elements and experimental sounds\, andFire on the Vine (2011)\, a darker collection with more conventional folk structures andorganic instrumentation. \nWith a house show tour circuit taking him throughout the Western States\, Appleby has shared the stage with artists such as Damien Jurado\, Deep Sea Diver\, Tomo Nakayama\, YLa Bamba\, Shaina Shepherd\, Dean Johnson\, and Sera Cahoone and many others.
URL:https://www.gorgecurrent.com/event/bart-budwig-full-band-bryan-john-appleby/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTSTART;TZID=America/Los_Angeles:20260821T180000
DTEND;TZID=America/Los_Angeles:20260821T210000
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SUMMARY:Mr. Vale's Math Class
DESCRIPTION:Friday\, August 21st\, 2026 \n$15 Advance // $20 Day Of Show6pm Doors / 7pm ShowAll Ages \nMR. VALE’S MATH CLASSIf Talking Heads & Vulfpeck bonded over their love of Math\, this is the sound! \nYou may or may not learn anything with Mr. Vale’s Math Class but you’re guaranteed to have a good time. This six piece funk band has horns that knock down the door and percussion-laden grooves that are the perfect accompaniment to any dance party. While you’re at it\, come grab some pots and pans & join in. \nThe Math Class has been busy spreading its unique mix of math and funk across the Pacific Northwest\, with recent performances at festivals like Juniper Jam\, Shift\, NW Folklife\, and Goodtime Campout. They’ve also shared the stage with acts such as Jamie Cullum\, Marchfourth\, and High Step Society. While you might not leave with a deeper understanding of math\, you’re guaranteed to have a great time.
URL:https://www.gorgecurrent.com/event/mr-vales-math-class/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTSTART;TZID=America/Los_Angeles:20260822T180000
DTEND;TZID=America/Los_Angeles:20260822T210000
DTSTAMP:20260810T152118Z
CREATED:20260601T201504Z
LAST-MODIFIED:20260810T152118Z
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SUMMARY:Cosmic Gnarly at Trout Lake Hall
DESCRIPTION:Saturday\, August 22nd\, 2026 \n$15 Advance // $20 Day Of Show6pm Doors / 7pm ShowAll Ages \nCOSMIC GNARLY‘Let the music play the band’ is the collective mindset for Portland\, Oregon’s Cosmic Gnarly as they pay respect to the spirit\, energy\, and improvisational magic of the legendary American rock band\, the Grateful Dead. Born strictly as a fun project safe from the hustle of other music and professional pursuits\, these exploratory sessions cultivated an extensive repertoire of Grateful Dead tunes. Each member’s admiration for the Dead shines through in every set\, as they strive to honor the natural flow and spirit of these timeless songs.  \nCOSMIC GNARLY is:Ryan Bukstein: PercussionDana Buoy: Drums\, VocalsPeter Christenberry: Guitar\, VocalsRobert Haas: Guitar\, VocalsAlan Moses: KeyboardsChris Petryszak: Bass
URL:https://www.gorgecurrent.com/event/cosmic-gnarly/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTSTART;TZID=America/Los_Angeles:20260823T113000
DTEND;TZID=America/Los_Angeles:20260823T143000
DTSTAMP:20260810T170049Z
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SUMMARY:Sunday Serenade: gardentender
DESCRIPTION:Sunday\, August 23rd\, 2026 \n$20 Advance // $25 Day Of Show11:30am Doors / 12:30pm ShowAll Ages*Limited Tickets* \nSunday Serenade is Trout Lake Hall’s new brunch music series. Each Sunday features an intimate\, two-hour live set dedicated to a single style—jazz\, Americana\, groovy indie\, country\, folk—paired with delicious\, chef-crafted brunch. With limited tickets and cozy seating\, it’s a relaxed\, up-close experience—perfect for lingering over food and gentle Sunday tunes. Come in for a real Sunday Funday! \nGARDENTENDERgardentender is the songwriting duo of Kyle and Linoy — partners in life and music. Their songs\, written together\, are rooted in harmony and connection\, weaving stories of love\, growth\, and quiet resilience. With a sound that draws from folk\, indie\, and Americana\, gardentender offers a set that’s tender\, textured\, and deeply human. Their song “Happy Song” was a runner-up in the Portland Folk Fest 2026 Song Contest.
URL:https://www.gorgecurrent.com/event/sunday-serenade-gardentender/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:food & drink,music
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DTSTART;TZID=America/Los_Angeles:20260827T180000
DTEND;TZID=America/Los_Angeles:20260827T210000
DTSTAMP:20260810T152122Z
CREATED:20260629T165408Z
LAST-MODIFIED:20260810T152122Z
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SUMMARY:Horse Feathers / The Hackles at Trout Lake Hall
DESCRIPTION:Thursday\, August 27th\, 2026 \nTICKETS RELEASE FRIDAY\, JUNE 5th at 10AM! \n$25 Advance // $30 Day Of Show6pm Doors / 7pm ShowAll Ages \nHORSE FEATHERS \nIn 2026\, Horse Feathers’ debut album\, Words Are Dead\, celebrates its 20th anniversary. Kill Rock Stars is set to release a deluxe reissue that will be completely remastered and pressed on an exclusive vinyl color. It will include a replica of their original six-song demo CD in the package\, along with a deluxe foil-stamped LP jacket. \nTo support the release\, Horse Feathers’ current ensemble of Justin Ringle (guitar\, vocals\, banjo)\, Nathan Crockett (violin\, saw)\, Halli Anderson of River Whyless (violin\, vocals)\, Kati Claborn of Blind Pilot (banjo\, vocals\, clarinet)\, and Luke Ydstie also of Blind Pilot (bass\, cello\, vocals) faithfully recreate the mood of the original release with taut dynamics and sensitive arrangements. \nIn the years following Words Are Dead\, Horse Feathers quietly built a body of work defined by patience and evolution rather than reinvention. Records like House With No Home\, Thistled Spring\, and Cynic’s New Year expanded their sonic palette without abandoning the restraint that first set them apart. By the time of Appreciation\, the band had begun to open its sound outward\, introducing richer arrangements and a subtle warmth that suggested growth without rupture. Through it all\, Ringle remained a steady center\, writing songs that favored emotional precision over spectacle. \nThe reissue of Words Are Dead does not attempt to rewrite that history. Instead\, it brings the origin point back into focus\, offering a rare chance to hear where it all began while recognizing how far the project has traveled since. \nRevisiting the album now\, with two decades of distance\, reveals not just a beginning but a foundation. The same careful interplay\, the same attention to space and tone\, still anchors the band’s work today. In that sense\, the reissue feels less like a retrospective and more like a continuation. A reminder that some records do not age so much as they wait for the right moment to be heard again. \nTHE HACKLES \nThe Hackles are a folk collaboration from Astoria\, Oregon\, where the Columbia River meets the Pacific Ocean.Comprised of Kati Claborn\, Luke Ydstie\, and Halli Anderson\, the band is slated to release their fourth full-length album\, I’ve Got Sugar\, Who’s My Neighbor? in the fall of 2026. \nPowerful harmonies and an unconventional and nuanced use of guitar\, violin\, banjo and clarinet combine to create a compelling and unique brand of folk that lies somewhere between Appalachia and Topanga Canyon. The songs are imbued with compassion\, humor and a dark honesty. \nThe trio have a decade’s-plus worth of touring under their belts nationally and internationally as The Hackles and as members of Horsefeathers\, Blind Pilot (Claborn & Ydstie)\, and River Whyless (Anderson).  \n“Highly refined songwriting & awe-inspiring harmonies”- Rough Trade \n“Intelligent\, highly-melodic song-writing with infectious instrumental hooks\, perfectly offset by sumptuous harmonies”- David Pratt\, Folk Radio UK
URL:https://www.gorgecurrent.com/event/horse-feathers/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTSTART;TZID=America/Los_Angeles:20260828T180000
DTEND;TZID=America/Los_Angeles:20260828T210000
DTSTAMP:20260810T152124Z
CREATED:20260601T201440Z
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SUMMARY:The Heeters / Wren & Juniper Ingber at Trout Lake Hall
DESCRIPTION:Friday\, August 28th\, 2026 \n$17 Advance // $25 Day Of Show6pm Doors / 7pm ShowAll Ages \nTHE HEETERSSoul\, R&B and Funk from the Bay Area\, California. Deep grooves\, tight three-part harmonies\, and songs that will uplift your spirit. The Heeters is comprised of Tom Quell (vocals/guitar)\, Nadav Beary (drums)\, and two members of The California Honeydrops (Lorenzo Loera on keys and Miles Blackwell on bass. Lorenzo and Tom co-write the songs\, which have that classic soul sound & those catchy hooks–with a personality that makes them still unique and relevant within the world of modern music. \nWREN & JUNIPER INGBERWren(guitar\,vocals) and Juniper(vocals) Ingber grew up in Oregon in a musical family where they began singing together from a young age. Now they perform as a duo\, playing folk and soul\, with heartfelt harmonies\, acoustic accompaniment\, and introspective lyrics.
URL:https://www.gorgecurrent.com/event/the-heeters-wren-juniper-ingber/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTSTART;TZID=America/Los_Angeles:20260829T180000
DTEND;TZID=America/Los_Angeles:20260829T210000
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CREATED:20260629T165302Z
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SUMMARY:Willie Watson & Erin Rae
DESCRIPTION:TICKETS RELEASE FRIDAY JUNE 26th at 10am! \nSaturday\, August 29th\, 2026 \n$30 Advance // $35 Day Of Show6pm Doors / 7pm ShowAll Ages \nWILLIE WATSON \nSoon before Willie Watson turned 18\, he met God in an apple orchard. Or at the very least\, he met there a man named Ruby Love\, the older friend of a high-school buddy who had an enormous Martin guitar and a seemingly bigger understanding of the American folk songbook. Watson was existentially thirsty: A high-school dropout from upstate New York’s Finger Lakes\, he was fast on his way to his first heartbreak and in a first band that didn’t take itself seriously enough. But that night in an apple orchard that had always seemed magical\, at a graduation party for one of his bandmates and best friends\, Watson and Love sang a few of those old songs together—“Worried Man Blues” and “Tennessee Waltz.” It was the first time Watson had cried while singing\, the first time he had made the connection between making music and making sense of his life. He never saw Ruby Love again\, but within months of that foundational 1997 rendezvous\, he met the musicians with whom he’d soon start Old Crow Medicine Show. Call it revelation\, fate\, resurrection\, whatever you will; for Watson\, more than a quarter-century later\, it was a duet with the divine.  \nAs told in the talking-gospel masterpiece “Reap ’em in the Valley\,” that scene is the transfixing finale of Watson’s self-titled debut as a songwriter and as a human at last making music to make sense of his life. Yes\, Watson has released two albums since he left Old Crow Medicine Show a dozen years ago and since his long-term collaborations with David Rawlings and Gillian Welch.  \nBut those records\, both titled Folk Singer\, were sets of tunes he knew\, interpretations of the songbook he has diligently mined since even before that night in the apple orchard. At 44\, however\, he feels that Willie Watson is his first-ever true album\, having finally lived and lost and simply witnessed enough to know he has something to sing with his exquisite rural tenor. Watson has not abandoned those old songs entirely. He dazzles during a robust take on the forever-curious “Mole in the Ground” and treats “Harris and the Mare\,” the standard of tragic Canadian singer Stan Rogers\, with total tenderness. But by and large\, these are his stories of heartbreak and hurt\, backlit by the corona of hope that only growth can provide.  \nEvery memory\, Watson likes to say\, is surrounded by a shroud of sadness\, whether it’s good or bad. And there are lots of memories in a life\, all mixed: Though the band he started soon after that night with Ruby Love long gave him a purpose and career\, it conscripted him into a role as an old-fashioned folkie\, forever stuck playing a part that got tiring. Marriage and fatherhood became boons in their own time\, but they kept him bound to Los Angeles\, its sprawl and selfishness causing a country boy like Watson to lose himself again. And there was the stereotypical excess of it all\, too\, the habits of hard living nearly breaking Watson in his 30s.  \nBut after he lost those relationships\, he slowly got sober and faced himself head on\, working to be honest about the traumas of his childhood that had helped create the troubles of adulthood. Sobriety\, though\, was never enough for Watson. He wanted that shift to prompt change and growth\, to force him into situations that were beneficial because they were uncomfortable and challenging. That\, in many ways\, is the motivation of these nine songs and the only album he’s ever felt deserved to bear his name.  \nIn 2020\, Watson began convening with Morgan Nagler\, an actress and songwriter he’d met years earlier through Rawlings. They’d discuss an idea and then often sit in silence\, scratching away at it separately as Watson wriggled around on a couch\, as if wrestling with his past in the real time of the present. Sometimes playful and sometimes persecuted\, the songs that emerged looked \nbackward to move ahead\, dealing with disappointments in phrases of crisp rhyme and sly wordplay.  \nA post-pandemic solo tour had left Watson feeling drained by the idea of being some standalone entertainer\, onstage alone taming crowds who had forgotten how to listen amid extended isolation. He knew he wanted a band for these songs\, but he understood they only needed to be the framing beneath them\, supporting rather than distracting from these reckonings with self. Alongside producers Kenneth Pattengale and Gabe Witcher\, respectively of Milk Carton Kids and Punch Brothers\, Watson assembled a modest ensemble of aces who were largely new to him but would respond to the songs intuitively and without intrusion—bassist Paul Kowert\, guitarist Dylan Day\, drummer Jason Boesel\, fiddler Sami Braman. (Careful listeners may note cameos from Benmont Tench and Sebastian Steinberg\, too.) Start to finish\, these songs sound like moments of mutual discovery\, the entire group arriving together to look at Watson’s life and realize something about and for themselves.  \n“Real Love” harkens back to those days in rural New York\, with Watson opening himself to the wreckage that comes with falling for someone for the first time. He is fragile but resolute here\, pressing on in spite of vestigial pain. “Sad Song” thrums like some muted and modern Jimmie Rodgers number\, as Watson tries to play-act happiness one more time for a society that’s just wanted him to grin and sing. Echoing the rippling and beautiful despair of Gordon Lightfoot\, the gorgeous “Play It One More Time” examines the fleeting salve of music itself\, or how the help it gives us can fade when we’re not truly hearing.  \nAnd then there’s the hotrod acoustic opener\, “Slim and the Devil\,” a wits-sharp adaptation of the Sterling A. Brown poem “Slim Greer in Hell.” After being disgusted by the imagery of white nationalists taking over the streets of Charlottesville\, Watson pulled a book called “The Black Poets” off his shelf\, and the first page he opened was Brown’s poem. The story of a Faustian bargain made with St. Peter at the pearly gates in exchange for one more earthly adventure\, it’s a sly contemplation of the meaningless deals we make to endure when we all know what’s inevitable. For Willie\, the story is second to the honor aimed at the poet himself “because history has told me that all the people in his position have been robbed by white folk artists and completely cast aside.” And then there is “Already Gone\,” a devastating if elegant survey of the damage we leave behind as we make bad choices\, as we force people to leave our lives. “There’s no hearts to break here\,” Watson offers before the knockout. “They’re already gone.”  \nThese days\, Watson looks askance at his old reputation and knows other people do\, too. “‘I thought you were just some nice little singer who sang in the little fucking cowboy hat\,’” he deadpans\, characterizing the perception he knows he has in many ways courted. And he recognizes that people probably don’t think he can write his own songs of meaning and depth\, since he spent so long reworking those of others. For a long time\, he bought that\, too. But the hat is off\, as is the desire to be a mere entertainer or interpreter. The nine songs on Willie Watson find a bona fide songwriter dealing with the difficulties of his past to suggest a renewed future; what’s more\, he uses his keen and expansive understanding of an old lexicon to add his own new entries to it. As with the best folk songs\, you will recognize your own burdens here. As with the best folk singers\, you will feel compelled to sound them out\, too. Who knows\, maybe you’ll even meet God in an apple orchard. \nERIN RAE \nSince the release of her critically acclaimed 2018 debut Putting On Airs\, Erin Rae has emerged as one of Nashville’s foremost singer-songwriters. Rae’s most recent release\, 2022’s Lighten Up\, found her in a period of intense evolution. Both personally and musically\, teaming up with new collaborators like Jonathan Wilson\, Kevin Morby and Hand Habits. The resulting album\, which earned praise from Pitchfork\, Rolling Stone\, NPR Music and more\, took listeners on a swelling journey through psychedelia\, cosmic country and Topanga Canyon-inspired indie-folk. In 2019\, Rae was nominated for Emerging Act of The Year at the Americana Music Awards and in 2023 she earned the “Jim James Award” for most sit-ins at Newport Folk Festival\, guesting during sets from Margo Price & Friends\, Slaughter Beach Dog\, Brittany Howard\, Mavis Staples\, and more. She has also supported tours for Gregory Alan Isakov\, Ray La Montagne\, Angel Olsen\, Hiss Golden Messenger\, Jenny Lewis\, Jason Isbell\, Iron & Wine\, Lord Huron\, Julia Jacklin\, Father John Misty\, and more.
URL:https://www.gorgecurrent.com/event/willie-watson-erin-rae/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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SUMMARY:Wanderlodge / Lewi Longmire at Trout Lake Hall
DESCRIPTION:Thursday\, September 3rd\, 2026 \n$15 Advance // $18 Day Of Show6pm Doors / 7pm ShowAll Ages \nWANDERLODGE \nWanderlodge hails from Portland and Joshua Tree but has spent most of its time on the road. The duo formed in 2016 with Matt Cadenelli and Kris Stuart combining their love of classic rock and country with their own tunes\, those of other favorite local songwriters\, and a taste for the sunny\, country rock sounds of LA and it’s surrounding canyons. The result is a new west coast\, country rocking gem.  \nLEWI LONGMIRE \nOregon Music Hall of Fame member Lewi Longmire has built a reputation as Portland’s multi-instrumentalist “go to guy.” In the decades since relocating to Portland from Albuquerque\, New Mexico\, he’s been included on shows and recordings by many of the Northwest’s finest bands and songwriters.He’s regularly played with national acts Kassi Valazza\, Michael Hurley\, John Craigie\, TK & the Holy Know Nothings\, Alela Diane\, Victoria Williams\, Dolorean\, AgesandAges\, Sallie Ford & the Sound Outside\, the Minus 5\, Breathe Owl Breathe and Tara Jane O’Neill as well as local luminaries Denver\, The Portland Country Underground\, Midlo/Pancake Breakfast\, Barna Howard\, Fernando\, James Low\, Perhapst (Decemberists)\, Little Sue\, Casey Neill\, the Freak Mountain Ramblers\, and was an anchor member of Portland’s all-star tribute to the Allman Brothers\, Brothers and Sister\, as well as the annual local charity tribute to the Band’s Last Waltz concert. \nLewi has taken all the things he learned from working with these fine performers and when not out touring with one of them\, spends his time leading a roots rock/americana band of his own\, singing his own original compositions and some deep cut songs from some of his favorite artists. This group owes much to the American tradition of good songs played with high energy\, deep roots\, and an unpretentious sense of fun. Their sound finds the connection between the basement roots feel of The Band\, the raspy blue-eyed soul of Joe Cocker\, the desert space of Giant Sand\, the “without a net” deep space improvisations of the San Francisco ballrooms\, the punk abandon of The Stooges and the quiet contemplation of Neil Young playing solo. \nHelping achieve this are THE LEFT COAST ROASTERS\, a band of stalwart Portland musicians. Bill Rudolph (bass and vocals) played with the Crackpots and Little Sue for years\, driving their home crowd into an energetic frenzy with his low tones. Ned Folkerth (drums) has toured the world over with many groups\, including the midwest’s Pinetop Seven and Portland’s own Caleb Klauder Band\, always laying down the perfect groove to cure whatever ails ya. Dan Eccles (guitar) has most often been seen in the band Richmond Fontaine or backing up local rock legend Fernando\, as well as recording and producing records for local friends.
URL:https://www.gorgecurrent.com/event/wanderlodge/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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SUMMARY:Sunday Serenade: Forrest VanTuyl Trio
DESCRIPTION:Sunday\, September 6th\, 2026 \n$20 Advance // $25 Day Of Show11:30am Doors / 12:30pm ShowAll Ages*Limited Tickets* \nSunday Serenade is Trout Lake Hall’s new brunch music series. Each Sunday features an intimate\, two-hour live set dedicated to a single style—jazz\, Americana\, groovy indie\, country\, folk—paired with delicious\, chef-crafted brunch. With limited tickets and cozy seating\, it’s a relaxed\, up-close experience—perfect for lingering over food and gentle Sunday tunes. Come in for a real Sunday Funday! \nFORREST VANTUYL TRIO \nForrest VanTuyl is a songwriter\, touring musician\, and working cowboy from rural Washington State. His unique approach to songwriting is one equally indebted to the transcendental spareness of Emmylou Harris’ Wrecking Ball as to his own experiences working with cattle and horses in the prairie and canyon country of Oregon and Washington. VanTuyl has worked as a backing musician and collaborator with critically-acclaimed singer-songwriter Margo Cilker\, become a regular fixture at the National Cowboy Poetry Gathering in Elko\, Nevada\, shared stages with Sera Cahoone\, Ramblin’ Jack Elliot\, and Corb Lund\, and been featured by The New York Times\, National Geographic\, NPR\, and KEXP. VanTuyl’s newest album Old Trails\, released in September 2025 on Fossil Records\, is peopled with characters just as concerned with the minutiae of feed trucks and fenceposts as with the enormity of their loves and longings. By overstuffing his songs with closely observed details of a modern-day cowboy’s work and life\, VanTuyl is consistently able to find the beating heart at the center of his deromanticized American West.
URL:https://www.gorgecurrent.com/event/sunday-serenade-forrest-vantuyl-trio/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTSTART;TZID=America/Los_Angeles:20260918T180000
DTEND;TZID=America/Los_Angeles:20260918T210000
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SUMMARY:Sean Rowe / Brother Bird
DESCRIPTION:Friday\, September 18th\, 2026 \n$23 Advance // $30 Day of6pm Doors / 7pm ShowAll Ages \nSEAN ROWE \nSean Rowe is an American singer-songwriter\, recording artist\, and forager whose music carries the weight of timeless storytelling. Known for his commanding voice and raw emotional presence\, NPR’s All Songs Considered praised Rowe’s vocals\, saying\, “He can just crush granite with that voice. It’s so powerful.” The Wall Street Journal described him as “as timeless as his approach\, recalling the ecstatic intensity of late-’60s Van Morrison and the stark subtlety of late-era Johnny Cash.” \nRowe has released five full-length albums and multiple EPs\, earning a reputation for songs that are both intimate and cinematic. His music has been featured across film and television\, including NBC’s The Blacklist and Parenthood. His song “To Leave Something Behind” became a breakout moment when it closed Ben Affleck’s 2016 film The Accountant\, going on to surpass 16 million streams on Spotify. \nBROTHER BIRD \nBrother Bird is the project of Caroline Glaser\, whose work blends intimate\, confessional lyricism with atmospheric indie textures. Drawing influence from artists like Mazzy Star\, Big Thief\, and The Cranberries\, her music sits in a space that is both soft and unflinching\, often centering on themes of imposter syndrome\, dissatisfaction\, and the complexity of being human. \nA Lodge In Miller County was produced by Glaser alongside Jamie Martens\, Owen Lewis\, and Andy Hull\, continuing a collaborative thread that has helped shape her evolving sound while maintaining the emotional clarity at the center of her work. \nAcross releases including her self-titled EP\, Gardens\, and Easy Does It Records debut Another year\, Glaser has built a catalog defined by vulnerability\, specificity\, and a distinct sense of voice.
URL:https://www.gorgecurrent.com/event/sean-rowe/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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SUMMARY:Cristina Vane / Kendl Winter at Trout Lake Hall
DESCRIPTION:Sunday\, September 20th\, 2026 \n$20 Advance // $25 Day of5pm Doors / 6pm ShowAll Ages \nCRISTINA VANE \nMore than a mere practitioner of her craft\, Cristina Vane has a breadth and depth of serious musical skill compiled from countless miles across all kinds of geography. On her third studio album ‘Hear My Call\,’ the pairing of a lifetime pursuit and growing treasure trove of songs makes for a record that demands to be heard. \nBased in Nashville\, Tennessee\, her sound reflects and amalgam of experiences; born at the foothills of the alps in Italy and raised between Italy\, England and France\, Cristina’s half American – half Guatemalan heritage is as unique as her sound. She unapologetically blends her rock roots with her passion for pre war blues\, old time banjo\, country and bluegrass. Since her time busking on the Venice Beach Boardwalk and working at McCabe’s guitar shop\, this deft multi instrumentalist has sharpened her fingerstyle/ slide guitar and clawhammer banjo skills and merged it with crystalline vocals\, captivating songwriting\, and an entrancing stage presence to make for a truly exciting act. Cristina has an extensive touring history and has provided direct support for: Molly Tuttle\, Bob Weir\, Jerry Douglas\, Wynonna Judd\, Sam Bush\, Nikki Lane\, Town Mountain\, Duane Betts Rev. Peyton’s Big Damn Band\, Arlo McKinley\, and Willi Carlisle. She has been mentioned in Rolling Stone Country and NPR\, and was featured in the Bank of America ad for Ken Burns’“Country Music” documentary. She was an invited guest for Billy Strings’ String the Halls 3\, has appeared on Travis Book’s (Infamous Stringdusters) Happy Hour and at Portland Blues Festival\, Under the Big Sky\, Four Corners Folk Festival\, and Roosterwalk. \nKENDL WINTER \n“It is artists such as Kendl Winter who are able to produce music that is of their own modern time whilst having easily recognizable roots that date back many decades” – American Roots UK \nPrimarily known as one half of the Americana duo The Lowest Pair\, Kendl Winter is also a prolific collaborator and solo artist.Arkansas born\, Winter honed her distinctive blend of country\, bluegrass\, and lo-fi indie folk in the late 2000s as a member of folk-punk band the Pasties\, followed by stints throughout the next decade as part of bands like bluegrass quartet Blackberry Bushes\, Americana duo Southern Skies\, indie rock outfit It’s All Gotta Go\, and the afore mentioned duo The Lowest Pair. A multi-instrumentalist best known for her banjo playing\, Winter has recorded several well-received solo albums for Olympia’s K Records\, including 2013’s “It Can Be Done!”\, before joining the roster of Team Love Records for 2018’s “Stumbler’s Business”. \nWinter’s most recent solo album\, “The Banjo Mantras\,” was released in 2023 and was her first foray into highlighting her banjo prowess on an instrumental album.“The Banjo Mantras” demonstrates Kendl’s skillful explorations as a banjo player bringing forward an album of intricately textured instrumental compositions. Stemming from an improvisational approach Kendl termed her music “mantras” because of their repetitive and hypnotic nature.
URL:https://www.gorgecurrent.com/event/cristina-vane-kendl-winter/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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DTEND;TZID=America/Los_Angeles:20260925T210000
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SUMMARY:Dean Johnson w/ Mama's Broke
DESCRIPTION:Friday\, September 25th 2026 \n$30 Advance // $35 Day of6pm Doors / 7pm ShowAll Ages \nDEAN JOHNSON \nWith I Hope We Can Still Be Friends\, his debut for Saddle Creek\, Dean Johnson makes a pact with the listener: He will sing you his truth in the most heartfelt and charming way possible\, if you promise to keep an open mind. \nThe title partly stems from the playful way the Seattle-based singer\, songwriter and guitarist communes with his audiences at concerts. “I hope you’re not afraid to talk to me after the show\,” he’ll say\, sweetly\, before launching into “Death of the Party\,” the album’s seventh song. Centered on the “energy vampire” archetype — the exasperating windbag we’ve all encountered at some point — its lyrics are at once intellectually biting and unmistakably hilarious. His tender voice rings out like the ghost of Roy Orbison or a misfit Everly brother. \n“Words don’t come easily to me / I notice you don’t have that problem / It sounds to me you cannot stop them\,” Johnson sings over acoustic guitar strumming\, and gentle bass and drums\, like the narrator in a dark comedy whose coming-of-age misadventures have made for an excellent film. \nJohnson spent years tending bar at Al’s Tavern in Seattle’s Wallingford neighborhood. There\, he encountered folks of all stripes; and regulars enthusiastically murmured about his budding musical greatness — There’s the best songwriter in town! Johnson was a kind of local lore\, a long-held family secret\, before the singer finally broke out in 2023 with his debut album\, Nothing For Me Please\, at age 50. \n“‘Death of the Party’ is a great example of that\,” he says of the sociological experience of bartending. “Being in that environment\, lyrics did solidify. If I was working on a song\, it wasn’t unusual for some new aspect of it\, or a line that was too vague\, to suddenly come into focus.” \nI Hope We Can Still Be Friends is essentially an anthology that bridges Johnson’s earliest days as a songwriter with his present-day outlook and abilities. There are songs that have been in his setlists for years\, and others that will be new to fans. Each of its 11 tracks contains jocular social commentary or lovingly rendered affairs of the heart. The album’s songs about love and relationships offer another way to interpret its title: as a parting thought to an ex. \nLike all of Johnson’s cable-knit writing\, the title is a clever banner for the album’s dual nature\, the thing that binds its tragedy and comedy masks. Johnson explains that he didn’t set out to make a concept album. It’s a coincidence that about half of the album’s songs are a bit sardonic\, and the other half are more lighthearted. The singer playfully refers to the former as his “mean” songs\, which is why the album’s back cover is adorned with a warning that says “Beware of Dean.” \nLike John Prine or Kris Kristofferson’s country-adjacent sound\, devastating humor and economical profundity refracted through a barroom’s haze\, the album is filled with easygoing twang\, sad characters\, universal truths and the absurdity of everyday life. “Carol” recounts the numb consumption and dissipating cultural attention that is besieging America. There’s a search for optimism amid meditations on dying in a plane crash in “Before You Hit the Ground.” Romance that is best forgotten steers “So Much Better” — only Johnson could weave electroconvulsive therapy into a gentle\, chuckle-inducing missive on unbearable heartbreak. \nI Hope We Can Still Be Friends floats in a liminal plane between timely and timeless\, its minimalist instrumentation elevating Johnson’s affecting voice to new heights. Recorded at Unknown Studio in Anacortes\, Washington\, the record was produced by Sera Cahoone — the Seattle-based singer-songwriter Johnson describes as a “soulmate sibling.” Overdubbing took place at Seattle’s Crackle & Pop! \nFor the sessions\, Johnson assembled a small band of friends including Abbey Blackwell (bass\, backing vocals)\, multi-instrumentalist Sam Peterson and Cahoone (drums\, backing vocals)\, who created a familial tone on the already intimate album. I Hope We Can Still Be Friends\, with its sharp observations and stirring personal insights\, holds space for both intense reflection and emotional release. You may laugh\, or cry or both. In this sense\, the album is powerful medicine — a way to both expose yourself to and inoculate yourself against the ugly\, absurd\, existential and heartbreaking. At its core rests a basic truth that is often difficult to remember or accept: Happiness wouldn’t exist without sadness as its counterpart. \nOn his uncanny ability to so clearly see and then encapsulate humanity in all its messy glory\, Johnson offers this core memory\, drawn from his childhood on Camano Island in the Puget Sound. “I was raised on a bluff\,” he says. “I’m not trying to make it sound dramatic\, but I did have a sweeping view.” \nMAMA’S BROKE \nFor more than a decade\, Mama’s Broke\, the Canadian duo of Amy Lou Keeler and Lisa Maria\, have forged a style carried across landscapes rather than tied to one. Their forthcoming 12-song LP Reunion\, out August 28 via Free Dirt Records and Forward Music Group\, follows years in near-constant motion\, bringing their folk-without-borders approach to small clubs\, DIY spaces\, and everywhere in between. Winners of the Canadian Folk Music Award for Ensemble of the Year for their 2017 debut Count the Wicked\, their music is rooted in long days playing for passing crowds and traveling by foot\, as well as in the deep wells of folk lineage they’ve tapped into across Eastern Canada\, Appalachia\, Ireland\, and beyond. Their sound doesn’t belong to any one place so much as it passes through them\, grounded in the traditions that shaped it. \nThat foundation was built long before stages and studio sessions\, in traveling communities where music functioned as both currency and connection. The two met within a global network of musicians funding their way through shared songs\, carrying only what they could as they traded melodies and stories across the miles. Playing for hours at a time on the street demanded a repertoire that could hold attention and sustain emotion\, drawing them deep into traditional material and the discipline of close harmony. Over time\, the songs became a common language\, connecting what came before with the music they were making together. \nBuilding on their JUNO-nominated album Narrow Line (2022)\, Reunion reflects a world coming apart in plain sight\, tracing fractured communities\, the erosion of shared ground\, and the growing awareness that the systems we were taught to trust no longer hold or deliver the promises they were meant to keep. The songs don’t preach or prescribe; they reflect\, holding up a mirror and leaving space for something else to take shape.  \nRecorded just outside Nashville in Goodlettsville\, Tennessee\, Reunion features subtle contributions from bassist Paul Kowert (Gillian Welch & David Rawlings) and others\, adding depth without pulling focus from the record’s acoustic core. At its heart\, Mama’s Broke remains what it has always been: two voices\, intertwined\, both fragile and enduring. Reunion asks what it means to make something that lasts: not a place you’re from\, or even a place you return to\, but what you make together\, and how long it lasts\, if you tend to it. \nMama’s Broke are touring their new album in North America and Europe throughout 2026 and 2027.
URL:https://www.gorgecurrent.com/event/dean-johnson-w-mamas-broke/
LOCATION:Trout Lake Hall\, 15 Guler Rd\, Trout Lake\, WA\, 98650\, United States
CATEGORIES:music
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