Oli's Bumbershoot 2017 Recap!

Eighteen-year-old West Seattleite Olivia Moseley has covered Bumbershoot and Sasquatch! for Easy Street Online for several years now. Check out her list of Bumbershoot 2017 highlights below + her interview with Cataldo's Eric Anderson! Thanks for helping, Oli! Photos by her dad, Paul Moseley.

Peach Pit

A new jangle-pop staple, this Vancouver band put on an entertaining show with stories of Indonesian adventures and plenty of passionate seizure-like dancing. With deep bass tones and the meandering sound of a lead guitar, the group's sound places you in a state of euphoric floating and spinning. The young group draws from a wide range of influences from pop rock artist Elton John to more soulful visionaries like Ray Charles, though in a modern light they can be closely compared to the trending lazy rock styles of Mac DeMarco and (the earlier works of) The Barenaked Ladies. Their latest EP, Sweet FA, seems sweet like the summer fruit that they call themselves but beneath the surface Sweet FA means “sweet fuck all” and each song paints a different shade of teen angst. The songs are beautiful and I'm definitely putting this on my end of summer playlist.

Acapulco Lips

Acapulco Lips is Seattle based and I’m proud to say it. The hometown trio plays with an inventive form of surfer punk that is lo-fi and high energy. A sassy and fun vocal delivery give them a kick that many bands do not possess. And with only two albums out the band has proven to have an impressive creative trajectory. Love their style and can't wait to see what's next!

Kore Ionz

This local reggae group is groovy and smooth like butter. I’m not an avid reggae listener but I can’t deny how sweet on the ears their set was at the Mural Amphitheatre. Turn on and move with the grain of this unique reggae music.

Dude York

Dude York provides us a pop-punk affair for driving with the windows down (you know, the kind of music that makes you think "hell yeah, I could be in a movie right now"). Their Weezer-inspired music has been described as “chord heavy”, emulating a fun and poppy vibe. The band, which is signed to Seattle’s Hardly Art Records, places their lyrical focus on common anxieties and worries of a twenty-something year old. (Check out Slothrust if you like these guys).


Portland hip hop artist Aminé slowed it down for us while performing his 2017 hit “Caroline” this Saturday. With beats somewhere between trap and tribal, his style is fresh and innovative. Dancehall feels ooze through his tracks and catchy hooks make perfect for playing at a party (or dancing to by yourself, I definitely do).

Q&A With Cataldo's Eric Anderson

So I was lucky enough to meet up with singer and creator of Cataldo, Eric Anderson, the first signee of local ice cream store Molly Moon’s record label Moon Crew Records. His new album, Keepers, features a wide range of styles and soaring songs that resemble those of an artist’s greatest hits album. Here’s what he had to say.

On your first three albums, I noticed that your songs were more acoustic based, but starting with your album Gilded Oldies you adopted a more pop-electronic sound. What was the cause of that transition in your music?

Yeah, you hit the nail right on the head. I was just tired of playing the guitar honestly. As I was working on that album I just found myself focusing more on the drums. When you're working on music it's easy to be strumming away on the guitar and it eats up a lot of your midrange, which is where your voice lives. It also adds a lot of subdivisions, so as you're playing there's a bunch of stuff that clatters and gets in the way. When I took that element out of the music, there was this big empty space where I felt this fear as a writer to take more chances lyrically and to be more conversational, or lower my range and sing quieter. So taking that whole part out and writing on the piano and focused on how the drums work was huge for me and made me learn a ton.

For all of the music that you came out with in 2017 I noticed that all of the album covers had pictures of clothes hanging in a white room. I'm wondering whose clothes they are.

The whole concept with the record cover was, okay, these songs are interconnected and interdependent and they need each other to work. And I wanted to write a record that was more like a greatest hits record where every song is different. You can just take one out of the mix and listen to it on its own and experience it like that. When you listen to a greatest hits record you get this sort of feeling of ‘ooh I'm listening to the best thing that a man made over… 15 years’ or whatever it is. And I wanted that same feeling with this record except with all original music. So as I was thinking about the record cover I thought, ‘what if every song was represented by a piece of clothing and it's on the rack when you look at it?’ The third song is a party jam and there's a prom dress, so the singles are one shots of a piece of clothing. As far as whose clothes they are, we worked with this really great stylist named Natasha Felker who helped us source everything.

Did you put that out there at all?

It’s funny, it's like a cool little Easter egg because every once in awhile someone will e-mail me and be like 'I figured out what’s going on with this cover!' The singles are a little bit of a hint.

You've just been signed to Molly Moon’s new record label, Moon Crew Records. How does this compare to the life of an unsigned artist?

I proposed the idea to Molly: 'What if we just started helping out bands who work for Molly Moon?' And she was just super game and so I'm not exactly sure what the future of that will be like. We might do vinyl for other bands, we might help them make a video. It's a way to give our employees money to do creative work that involves music. So in terms of how it affected my life I have a vinyl record which has been great. It also freed up more money that if I didn't spend on a record I would spend on other stuff, like crew support to take the band out and all that. It definitely has been huge for me and I'm super thankful.

What's something you want someone who's listening to your music to know?

There's so much music out there now I have a hard time keeping track of it, so anytime someone sits down and intentionally listens to my music, I'm just very grateful for anyone keyed into it. You know when you record music you try and jam in as many little treats, details, allusions, and metaphors. Most people who casually listen to music don't - nor should they - engage in that level and I always feel like when somebody notices something like the clothes or is engaging at the level where they're looking at all the little Easter eggs I threw in there for them I just feel grateful and I want to say thanks for listening.