COWFISH Motown Monday
w/DJ Kingsley Strangelove—
9pm; n/c
THE EMBERS Sassy Patty
Karaoke w/Marcus—7pm;
n/c
COWFISH DANCE CLUB
Hotshot Karaoke—9pm; n/c
THE SHEDD Natalie
MacMaster & Donnell
Leahy—7:30pm; $35-43
FIRST NATIONAL
TAPHOUSE Open Mic—
8pm; n/c
TUESDAY
GOOD SAMARITAN
SOCIETY CHAPEL Eugene
Peace Choir , Singers
Welcome!—6pm; n/c
OLD NICK'S PUB Irish Jam
& Service Industry Night!—
6pm; Vanessa Silberman,
Carissa Johnson & the Cure
All's, & Megan Johns—9pm;
$5
FEBRUARY 26
5TH STREET
CORNUCOPIA Jesse Meade
w/ Corwin Bolt—9:30pm;
n/c
COWFISH Trap House
Tuesday w/ Wes Light—
9pm; n/c
CUSH CAFE Poetry Open
Mic—7:30pm; n/c
O BAR Karaoke w/Jared—
9pm; n/c
HI—FI LOUNGE World
Reggae Tuesdays—9pm; $3
THE EMBERS DJ Victor—
8pm; n/c
LEVEL UP Karaoke w/
Kade—9pm; n/c
WHITE HORSE SALOON
Karaoke w/Slick Nick—9pm;
n/c
MAC'S NIGHTCLUB &
RESTAURANT Roosters
Blues Jam w/Skip Jones &
Byron Case—7pm; n/c
MAX'S Classic Crooner
Productions—10pm; n/c
MULLIGAN'S PUB Ibach's
One Man Quartet—8:30pm;
n/c
WEDNEDAY
FEBRUARY 27
LUCKEY'S Groove Crew—
10pm; $3
OLD NICK'S PUB Taft,
Broth & Elroy Jordin—9pm;
$5
SAM BOND'S GARAGE
Bluegrass Jam—9pm; n/c
THE SHEDD Lúnasa—
7:30pm; $25-29
THE PUBLIC HOUSE
Keenan Dorn—7pm; n/c
WILDCRAFT CIDER
WORKS Reggae Night: De
Solution Band—7pm; n/c
CORVALLIS
& SURROUNDING AREAS
FRIDAY, FEB. 22
MAJESTIC THEATRE Celtic
Harps: Rare Instruments
and Wondrous Stories w/
Lisa Lynne & Aryeh
Frankfurter— 7:30pm; $16-
18
MCDONALD THEATRE
Getter—7pm; $22-32
music
Broadway
Caroline
Rose
POP OUTSIDER
TWEAKS THE IN CROWD
By Will Kennedy
C
aroline Rose says I’m a little off base.
We’re talking about her latest
release, Loner, out last year on New
West Records. I mention how the
record seems to be mussing the hair
and tweaking the nose of the indie-rock
hipster intelligentsia.
When making the record, did she intend to upturn
that apple cart?
She says no, though she does agree humor is a big part
of what she does. “It’s meant to not be taken seriously,”
she says. “That was one of the things I was trying to get
across.” Nevertheless, she says, “It’s pretty sad material.”
“None of these songs are necessarily happy. It helps
me get through some difficult things that are hard to
deal with.” Rose says feeling like she doesn’t fit in with the
hipster intelligentsia culture is part of what she does, but
“a lot of my humor is self-deprecating.”
Nevertheless, lyrics like “I go to a friend of a friend’s
party / Everyone’s well dressed with a perfect body /
And they all have alternative haircuts and straight white
teeth / But all I see is just more of the same thing,” from
album-track “More of the Same,” have a definite tone of
the outsider commenting on an inner circle she feels she
doesn’t belong to, an inner circle she’s not even sure she
likes in the first place.
Instead of Rose’s satire pointing toward the
increasingly axiomatic world of indie rock, Rose says
her humor is deeply personal. “Humor and satire can be
used as a powerful tool to speak to the masses without
offending the powers that be because you’re talking
about your personal situations,” she says.
Regardless of Rose’s intentions at the outset, Loner
is a highly engaging, effective — and funny — goosing
of a subculture largely gone stale. The album is also a
sampler plate of sounds du jour, from the lighter-hearted
Beach House-style dream pop of “Jeannie Becomes a
22
F E B R U A R Y
2 1 ,
2 0 1 9
Caroline Rose
Sunday, Feb. 24 • 7 pm
Hi-Fi Music Hall Lounge
$12 advance
$15 door
21-plus
Mom” to the hyperactive synth-punk take-down of crass
careerism “Money,” in which Rose sings, “Didn’t do it for
the sex / didn’t do it for the law / I did it for the money.”
Rose is talking to me from Austin, where she’s
already recording a follow-up to Loner. “It is meant
to be a sequel,” she says. “I’m jumping off from where
Loner ended.” She wants the two records to be viewed
in tandem, she says. Loner “was meant to be sort of an
introduction to my personality and the voice that I’m
trying to create,” she says. “The next album is going to
be way more in-depth.”
Most of all, Rose hopes to write great pop songs,
calling Swedish pop über-producer Max Martin (Britney
Spears, Ariana Grande, Taylor Swift) a hero of hers.
“He’s still got it,” she says. “It’s just so good. The
reason why I love those songs is the economy of time.
Max Martin is classically trained. He has an amazing
ability to write songs, and he crams them into a three-
minute format, which I find truly impressive. It’s so
much more complex than that.” ■
E U G E N E W E E K LY . C O M