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presented hot Rock bands and screaming Emo bands, but also featured vibrant talent that flaunted the likes of Indie, Electronica and Hip-Hop genres.
The result of this eclectic mixture
of old-school names and fresh faces was a kick-ass rummage of unexpected satisfaction. Before attending REVERBfest, I didn’t know half the bands that I went to see. While walking down Ballard avenue and Market street to listen to groups with the hodgepodge of fellow amusement seekers, I had no idea what I was getting myself into. Because of that, I wasn’t up for judging artists and critiquing their music before I actually heard them for the first time along with a live audience.
As a result, I was easily amazed when Sunday Night Blackout screamed their way into the hearts of fans as I bobbed my head along to “Son of Stone” at the Outdoor Stage. When PWRFL Power, the successful Japanese student-turned-Capital-Hill-Block-Party-worthy-phenomenon strummed his acoustic guitar and sang “Tomato Song,” he got listeners a little closer to heaven as they warmed up at Miro Tea House. They were also sent into a trance at Bop Street Records when Aaron
Goldman started wailing on his miniature xylophone to produce the distinct overtones in Throw Me the Statue’s number, “Lolita.”
REVERBfest didn’t stop when the local Starbucks, which kept devoted fans and curious listeners
out of the cold weather, closed for the night. Instead, alcohol-serving venues filled up as Fleet Foxes, D. Black and Child of The Dust came to give fans a listen of their auditory paraphernalia.
Unfortunately, that’s when I all the fun ended for me, because I can’t legally drink alcohol. I definitely
wished that REVERBfest made more venues available for music lovers of all ages to enjoy, because listening to local bands in Seattle is where it’s at when you’re looking for music that is unique, edgy and far from the mainstream
media that’s been playing from your stereo since July.
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