Airport TavernFor decades South Tacoma Way has been silently and patiently waiting for things to come full circle. Prior to the I-5 and the Tacoma Mall scooping up all the attention the lengthy strip was home to the nightlife for Tacomans of the past, who saw those businesses and bars they love close down one after another due to diverted traffic. Historically this happens in Tacoma, one area rebuilds and the rest seems to be obsolete until they follow suit. A once very neon and bustling downtown suffered from something similar. But following suit isn’t so easy for most small businesses and without a cult following of regulars the ‘phase out’ happens faster than expected. But prior to the pandemic Tacoma was in a new stage of growth that shined a light on revitalization of our business districts as much as exploration into new territories or those that had been underused. And a man ahead of the curve as he has proven so many times before, Danno Rankin, saw that very early on. Like most of South Tacoma Way at that time, with the exception of a few key players, the Airport Tavern was on its way there before he had the foresight to remodel and bring it back to life. Danno did everything under the sun at Jazzbones for a long time including booking all the talent, so his resume and expertise speak for itself when it comes to understanding what Tacoma wants from a venue. His answer was providing the best of both worlds, Tacoma’s love for dives with his booking abilities creating a bar/venue. While it does tend to cater towards rock bands, Airport Tavern and Danno have a huge hand in putting on Reggae on The Way, a block party style reggae fest that in the past has shut down the main retail strip of South Tacoma Way. It has now outgrown that setting and is being held at LEMAY. His ability to revitalize has been impressive.

NW SINFONIETTAThe Northwest Sinfonietta is the premier chamber orchestra in the Puget Sound and has been blazed a trail that helps them lead the charge in a way most wouldn’t expect. It began in 1991 and has received international nods for not only high level performance but also unique community efforts to be inclusive. It’s a mission they continue to make their main focus, partnering with local arts community advocates and businesses to evolve their audience. It’s not a secret that the world of classical music is still very White and a lot of that has to do with enough exposure to the art form for it resonate not only with the ears but the feelings and cultures of other backgrounds, races and ethnicities. Traditionally the areas, venues, composers and even orchestra members are predominantly White, but that isn’t to say that people from other backgrounds haven’t contributed to the art form since it’s beginnings. But like many other arts their contributions have been hidden, forgotten or undocumented altogether. NW Sinfonietta is doing the work to rediscover, uncover and introduce works from composers and musicians of other races and places. The Artistic Partner model they adopted in 2015 is keeping a rotation of different ethnic backgrounds involved, at the selection of the NW Sinfonietta, and allowing more input for the musicians themselves. Karen Choo is a large part of why the connections are being made here in Tacoma for discovery and changing of the old guard. She helped to onboard Tacoma artist and arts advocate Neon Dion with the help of Spaceworks Tacoma. Their work together on the NW Sinfonietta’s premiere of Grammy nominated Black composer Carlos Simon’s Graffiti saw the Pantages theater lobby and seats filled by a very diverse and excited audience. That was a win in the right direction for the NW Sinfonietta and they plan to double down on their results. They recently began collaborative work with Tacoma Urban Performing Arts Center, T.U.P.A.C. is a Black lead ballet group. In addition, the NW Sinfonietta have been offering discount codes to their performances sometimes making tickets as low as $10, as well as, connecting with small businesses to do ticket giveaways. In Tacoma, the NW Sinfonietta wants to remove the invisible barrier to entry for spaces like the Rialto and Pantages Theater where many non-whites have felt as though the space is not for them and does not cater to their culture or community identity in any way. We recommend keeping your eye on their website for what’s next to come but if they keep making the right connections and pushing for change the chances are you won’t have to go looking for it anymore. Tickets for This Land f/ T.UP.A.C. May 20th & 21stnwsinfonietta.orginstagram253-383-5344

Enumclaw | Saturday, Dec. 10Around these parts, whenever bands evoke the sounds of the ‘90s, it’s almost always through the prism of American alt-rock and grunge – two movements that still loom large in the landscape of the Pacific Northwest music scene. It’s a little surprising, then, that despite the similarities Tacoma shares with blue-collar British hotbeds of ‘90s rock, like Manchester and Sheffield, Britpop is a genre that seems to receive little to no homage in our neck of the woods. Bands like Blur, Pulp, Suede, and Oasis came to define Britpop, bringing anthem-ready tunes and working-class grit to the airwaves.

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.