Five Letter Word – Tickets – Mississippi Studios – Portland, OR – January 10th, 2019

Five Letter Word

$5 Bill with

Five Letter Word

Left Coast Country, Bart Budwig

Thu, January 10, 2019

Doors: 7:00 pm / Show: 8:00 pm

$5 ADV/DOS

This event is 21 and over

Mostly Standing / Limited Balcony Seats 

Five Letter Word
Five Letter Word
Mix three singer-songwriters, several stringed instruments, and a variety of percussive techniques, and you get Five Letter Word. This Portland, OR-based trio of powerful women includes Leigh Jones (guitar, percussion), Clara Baker (fiddle, guitar, banjo) and Audra Nemir (bass), who blend their signature harmonies into original songs that span from folk to bluegrass to blues and beyond. Recent winners of the 2018 Northwest String Summit Band Competition, Five Letter Word takes inspiration from the harmonic tradition of groups like the Wailin' Jennys, the Dixie Chicks, and the Wood Brothers, while adding their own special flair to create a sound that is "uniquely infectious” and a show that is “delightful, with a few unexpected twists.”
Left Coast Country
Left Coast Country
Left Coast Country is a modern string band formed in 2010 from the exploding newgrass scene in Portland, OR. The release of their first album, ‘Dark Down and Blue’ features the group’s high-energy, hard driving originals and their contemporary take on the old bluegrass sound. Their second album, ‘Left Coast Country’ propelled their versatile, dynamic sound onto the never-ending tour circuit of North America. Dedication to their craft has made Left Coast Country one of the hardest working, up and coming acts in the Northwest. The statement “for LCC pickin’ is not a hobby, not a job, but a way of life,” (B. Salmon – Bend Bulletin) could not be any more accurate.

Left Coast Country constantly strives to expand their music and blaze new territory across the country. At home in Portland, find them at renowned venues such as the Aladdin Theater, The Doug Fir Lounge, and Mississippi Studios. In July 2014, Left Coast Country took home first place in the 13th Annual Northwest String Summit Band Competition, being the first ever Portland bluegrass band to do so. In August 2014, LCC embarked on a national tour for the release of their third album, “Pines Fly By,” which was recorded, mixed, and mastered by Justin Phelps at Cloud City Sound in Portland, Oregon.
Bart Budwig
In Oregon's far north-eastern reaches, hidden deep in the forests of the Eagle Cap Wilderness, there is a cabin named Sabai. The cabin is situated on a bluff overlooking the Minam River. It contains a wood-burning stove that, when lit, sends a column of smoke through the clear mountain air. When the lamps go out at the nearby lodge, you can sit alone on the cabin's porch and listen to the softness of the world as it turns—a numinous and liberating encounter, borne on the backs of ancient things; wind, water, silence, earth. It was here in this parochial hush, with a fire crackling gently off to one side, that Idaho-born picker Bart Budwig immortalized his solo tunes.



While Budwig's records are known for their full band production and multi-faceted arrangements, many of his live shows strip this away, leaving him alone on stage. For some this may feel a rarer, more intimate affair. A man, a guitar, a single spotlight. It is this ambiance, this raw intimacy, that Budwig sets out to capture with his sixth LP, “Sabai.”



Recorded over a two-day stay at the Minam River Lodge, the album is comprised of ten tunes that suture the gap between Budwig's fast-paced touring life and the quiet sentiments of a season at its close. There is a sense of release to the songs, which range from fresh bardic ditties to older, more angsty boot-trodden ballads.





To that end, themes of homecoming weave their way through the album. In what could be considered one of the record's emotional zeniths, “Captain, Dreamer,” Budwig croons: “The night sky holds the moon / holds the ocean / holds that ship that will bring me home / bring me home to you.” Here we find a hesitant harmony in hope and abandon; a comment on sorrow and tribulation, and the path hurt can carve toward hopeful horizons.



In imitative fashion, the album slices its own abscess through trial and pain to force itself out into the light. “Dream,” is an unsettling song of heartbreak and grief—an imploring, deeply emotive experience that demonstrates Budwig's ability to eulogize. But fear not, for light penetrates even the world's darkest places. The closing track, “Bonnie and Clyde,” is a quiet chapter on hands stretched out to reach one another, of promises made and eternally kept, and here we find our emancipation.



The word Sabai, roughly translated from the native Thai, means “not a care in the world,” or “wellness beyond words,” and perhaps it is here that Budwig truly conveys his bliss. Somewhere deep in the Oregon wilds, a stove remains lit, its embers burning all the brighter.



— Andy Valentine