S. Carey Gives an Intimate Performance at the Triple Door

Seattle – Music lovers searching for a sensual performance needed to look no further than the Triple Door, as S. Carey lushly serenaded patrons in the intimate theater.

Bon Iver drummer Sean Carey has kicked off a summer tour on the heels of his sophomore solo recordRange of Light, which came out in April. As BestNewBands.com writer Luzzei Tsuji noted in her review of the album, “This ambient solo endeavor showcases a wide range of intricately crafted and emotionally evocative sounds ranging from atmospheric to folk to hints of jazz….Elaborate and scenic, the sonic aesthetic is characterized by its ability to conjure up lush, ethereal soundscapes.”

S. Carey’s Seattle performance reflected, and built upon, his talent of crafting powerful, textured pieces that create images such as a train rolling along its track, raindrops on a windowpane, or a dreamy California sunset. Compositionally complex with a gentle, sometimes timid voice reminiscent of Sufjan Stevens, his songs warmed the intimate space and made for an enjoyable evening filled with beautiful soundscapes.

S. Carey – notably taking keyboard – was supported by backing band Nick Ball on guitar, Zach Hanson on drums, and Jeremy Boettcher on bass. Their opener “Glass/Film,” the first track off the new record, enveloped the audience with atmospheric guitar, ethereal harmonies, and delicate piano playing. Carey introduced “Mothers,” from his 2010 LP All We Grow, with a subtle count-in of “1, 2, 3.” Contemplative guitar, gentle drum brush, and beautiful “Ah’s” created a lullabye-esque environment, until Carey switched gears by picking up and clacking his own pair of drum sticks to launch into “Action.” He and Zach then drummed together, and their strong chemistry and intense synchronicity created an enormous, percussive sound audience members could feel in their chests. Along with distorted guitar and understated bass, the song was a great way to pick up the pace and propel the show forward; echoed by the audience’s whoops at the end.

As each song progressed, S. Carey allowed the sound to swell and take its own form, seemingly suspending in air. After a beautiful rendition of “Avalanche,” a tune from the 2012 EP Hoyas, the group went into “Fire-Scene.” Again, the intricate compositions were balanced by S. Carey’s echoing, beautifully timid vocals and simplistic lyrics of “All I want is honesty.”

“Fleeting Light” (“a song about California,” he introduced) was another gentle track that was juxtaposed nicely with follow-up “In the Dirt,” an intense buildup of piano and drums. Compared to the album version, the song’s vocals were brighter and the overall sound was fuller and more impressive. On the last song, “Neverending Fountain,” which also closes Range of Light, Carey switched with Zach to play drums, as innovative sound manipulation, chord changes, and heavy drums provided a stunning finale.

After strong applause from the audience, S. Carey and Co. stepped back out for an encore. “We’re gonna do a song by one of our heroes, he goes by the name The Tallest Man on Earth,” said Carey – an appropriate choice, since he toured with the artist back in 2010. Covering “Like the Wheel” from Tallest Man on Earth’s 2010 EP Sometimes The Blues is Just a Passing Bird, S. Carey played ballad-like piano, nicely paired with his pure vocals, to culminate the evening’s beautiful performance.

Opening the evening was Minneapolis-based indie-folk band The Pines. From the undulating bass, melancholic piano, and beautiful imagery of “Be There in Bells” to the soft, toe-tapping country-blues “Shiny Shoes,” the group defined their set with swelling vocals, elegant harmonies, and atmospheric folk.

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Caitlin Peterkin

Caitlin Peterkin is a Seattle transplant fresh from the Midwest. She owes her passion for music to her parents, who filled the house with artists from The Beatles to The Beach Boys, Simon & Garfunkel to Carly Simon, and Jackson Browne to Michael Jackson. One of her favorite memories includes being presented with her mom’s original vinyl copy of Sgt. Pepper when she got her first record player.

With degrees in journalism and music, Caitlin’s written for Paste Magazine, The Chronicle of Higher Education, and MajoringinMusic.com. She loves cheese, laughing at GIFs of corgis, road trip sing-alongs, and connecting with people over good beer and good music.