Seattle’s Museum of Popular Culture goes deep on Seattle’s contribution to music. Not very broad because it’s a relatively small city, but it goes really, really deep.
I’d argue there is music in there that is ‘from’ Seattle but not necessarily ‘of’ Seattle. Jimi Hendrix was shaped here but grew up on the road and needed to go to London to make his mark. The likes of Heart and Sir Mix-a-lot probably could have come from a dozen towns in America.
One major movement was ‘of’ Seattle. It came from and created a local scene which had an identity that was quite uniquely Seattle. It exported bands with a similar sound and sensibility, and of course the world took to them.
Grunge was made whole by the Sub Pop label, which in turn shaped a second wave of Seattle sound, through Fleet Foxes and Father John Misty, Band of Horses and Modest Mouse.
Sub Pop held its 30th birthday party this weekend and Pearl Jam staged its Home Shows. Not many bands are as loved in their home town as Pearl Jam. People punctuate their life stories by their ten or more Pearl Jam concerts. Pearl Jam loves the city back. The Home Shows reportedly raised $11 million dollars for Seattle’s homeless population.
But the new song by Death Cab for Cutie is a lament for Seattle. The accelerating tech boom* has changed the landscape of the city, the economics of living there, and the profile of its people.
Pearl Jam fans are paying good money to see the band again, most are now grown up, a bit more comfortable, and a bit safer than when they first saw the band. The city feels the same. Yesterday’s Seattle made an incredible mark on the world and burned brightly. Today’s doesn’t feel like an environment for a music scene that can change the world again.
So, happy birthday Sub Pop, welcome home Pearl Jam and here’s to more great music from Seattle.
* I’m absolutely biting the hand here, it’s been good to us.