Gungor | Wednesday, April 12The field of progressive and indie rock has long had a complicated relationship with spirituality. Pink Floyd, for instance, had a shared disdain of organized religion thanks to their experiences in the school system. The Flaming Lips found inspiration in the cosmic chaos and beauty of everything, reveled in Jesus imagery, and narrowed their religious focus a bit more on In a Priest Driven Ambulance. In the modern age, the most openly Christian artist accepted into the folds of alt-folk-rock royalty is Sufjan Stevens, who managed to bring in fans of all stripes thanks to his playfully inventive and plaintively emotional music.Gungor – a music collective led by the husband-and-wife team of Michael and Lisa Gungor – has its roots in the early music of Michael Gungor’s, which tended toward the contemporary Christian rock genre. As time went on, the duo’s interest in exploring different avenues of music seemed to intensify, as did their desire to explore spirituality of types. Now, around 10 years into this transformation, they’ve become a band that happily blends not only genres – including bedroom pop, indie folk, trip hop, swelling balladry, electronica, psychedelia, and more – but dogmas as well, always searching for that ineffable connection with the world, wherever that may be.For those who still might be nervous about seeing what they think of as a “christian rock” performance, consider that their latest album, Love Song to Life, features songs that recall early ‘00s Radiohead, Carrie and Lowell-era Sufjan Stevens, the gauzy indie disco-pop of the 2010s, and Arcade Fire at their most bombastic. Regardless of where you sit on the spectrum of belief, there is something that will find you connected to Gungor, which what we hope to experience from both concerts and those little interactions we have everyday with one another.

Someday, there will be proper studies done to explore the effect that a certain global pandemic had on creative processes. Anecdotally, through conversations and interviews over the past few years, I’ve heard artists report everything from a complete inability to create, to others claiming that they’ve never been more productive with their art. For those who were able to avoid writers’ block, though, one thing seems to be a constant: projects that might’ve otherwise never seen the light of day were given the chance to blossom in these times.This is certainly the case with Small Paul, a band that came together in a Seattle basement, formed with members of the Moondoggies, Chris King and the Gutterballs, and All Star Opera, towards the beginning of the pandemic. Rather than reflect any of the anxiety that has permeated the past few years, Small Paul carries with a warm, harmonic twang that recalls the ‘70s intersection of country and rock, a sound both laidback and soulful. Their debut EP, Strangeland, feels at times like a balm to protect against the stressors of the modern world. This is especially felt on album standout “Mexico,” with its vibes of golden hour, of a sun peacefully disappearing behind a horizon, and untold adventures waiting in the future.Small Paul’s debut LP, Come Alive & Live Again, is due to be released at the end of July – hopefully supplying the perfect soundtrack for another summer in the unknown.ALMA RooftopFriday, July 14thSmall Paul, w/ Salt Lick, RestrospecterAll Ages, Doors at 6pm, Show at 7pm, $15Tickets instagram

In 2016, the Comatose Brothers covered “Valerie,” a song that was famously covered by Brits Mark Ronson and Amy Winehouse, and originated by the Liverpudlian indie rock group the Zutons. Where the Comatose Brothers diverged from the established path is that they veered away from indie rock and R&B, lending their distinctly beautiful bluegrass take to a song that had more or less taken on a life of its own in the ‘00s. In a nutshell, this sort of sums up the experience of hearing the Brothers Comatose – they provide a distinctly modern feel to bluegrass, but not in the way that so many bands tried to do around a decade ago.The Comatose Brothers are revivalists in the same way as the Old Crow Medicine Show, honoring Americana’s past while also blazing a trail into the future. That bit of modern feel is hard to put one’s finger on, but what’s easy to catch is the sheer amount of energy they put into their performances. This is a five-piece that couldn’t be more in the pocket, more motivated to thrill, or more determined to make sure that they have fun delivering this pristine string music to you. Laying down those impeccable harmonies almost feels unfair to other bands.

The brew boom of the PNW doesn’t seem like it’s going to slow down anytime soon. Washington and Oregon have many great breweries and micro-breweries, and while Tacoma has a few it’s the taprooms that really have it dialed in around here. You’ve got your speciality ones, your traditional settings and now we have our first futuristic experience. The Living Taproom was designed with several seating experiences in mind. Upon entering the space you’re in the living room, it’s standard, a couch facing two chairs, a table and rug in between and plants framing it all. Walk past the living room and the space opens up, there’s high tables for standing, tall chairs for bar seating, group size tables with chairs, couple sized tables with chairs, a swing set seating area that’s a main attraction and outdoor seating with furnaces and a fire pit. The owners did their job with the decor, the drinking and the pouring that’s all on the patron.