Rainwater Music(SEA), Katy & the Nullsets, Shanea at Mother Foucaults

Saturday, Nov 29th

Join us for an evening of Indie/ Alt songwriters. Hosting is Mother Foucaults bookstore. Located on the border of Portland’s inner southeast industrial district, Mother Foucault’s specializes in used, rare, and vintage books. Mother Foucaults creates the perfect cozy space and unique listening room for live music.

Donation - $10 (cash / venmo at doors)

RSVP Online - Cash or venmo tickets collected at doors

Doors @ 7 pm

Music at 7:30 pm

715 SE Grand

With ~

Katy and the Nullsets -

is the long-time "solo project" of Katy Ohsiek, vocalist and songwriter of Portland disco group Foamboy. The project has taken many forms since its inception in 2015. Katy & the Null Sets has been a solo singer-songwriter act, a collection of iPhone voice memos, elaborate synth pop albums, a ukulele-drummer 2 piece, and now an indie-new-wave 5-piece band of jazz musicians. The unifying element over the years has been Katy's melodies, lyricism, and unique song forms, which borrow from bossa nova, neo-soul, mid-2000's indie rock, and modern americana. Currently, Katy & the Null Sets is a full band with regular shows in the Portland area and a new album, 'Troublemaker,' out on October 24, 2025.

Shanea

Shanea is a singer songwriter based in Portland Oregon, whose writing spans the depths of indie folk to rock. They have been featured on Portland Radio Project with their songs “Bathroom Floor” and “My Kind” from their EP “The Fifth House.” They have captivated audiences in Portland with their live performances solo as well as with their band. They are able to move people with their heartfelt lyrics and catchy melodies. Their love for songwriting and dedication to the deeply personal makes their discography ever evolving. They are inspired by the lyrics and composition of artists like Phoebe Bridgers, Fiona Apple, and Adrianne Lenker. They released an EP 'The Fifth House' in 2019 and released their single “Bathroom Floor” in 2020. Their newest release is ‘Root Rot’ in 2024.

Rainwater

Bringing new life into this world is an experience that is both awe-inspiring and harrowing. On Yesturday & Tamarlow, Seattle’s Rainwater deftly balance on the knife edge between boundless love and bottomless terror that comes with becoming a parent in these precarious times. Inspired by the birth of singer/songwriter Blake Luley’s first daughter, Yesturday & Tamarlow finds him grappling with new fears and anxieties, while also finding space for self-acceptance and awestruck wonder at the simple beauty of it all.

From the opening sounds of a fetal heart monitor and the repeated refrain of “Oh my God” on “Cottonwood Snow”, the band’s intimate, dreamy indie sound remains intact, but is now infused with a spiky nervousness. Songs like “Baby’s Alright” and “Shadow” vibrate with the newfound neuroses of a brand-new parent, while others like “Holding Water” and “Goosebump Skin” glow with quiet awe and domestic bliss. Elsewhere on the album, Luley grapples with the inherent strangeness of revisiting your old stomping grounds many years down the line, before finally making peace with his younger self. “I was hoping I could be two selves freely” he sings on “Visiting”, capturing the essential tension of middle age, when one is equally stuck between the past and future. The instrumentation reflects this duality as well, as glimmering keys and sighing pedal steel are offset by noisy, acidic guitars.

These songs were arranged with James Kassinger on drums and Jesse Botello on bass, and recorded in Luley’s basement-turned-studio with Samuel Rosson, in elusive snatches of time between teaching at an elementary school and being a dad. The homespun recordings are filled out by friends and family, including Blake’s wife Aviva Stampfer, cousin Amy Godwin, and close friends Byung Choe and Neil Acharya. Becoming a parent is scary, a radical recontextualization of your entire life, but it’s also a beautiful, mysterious encounter with infinite love, and with that in mind, Yesturday & Tamarlow ends on a note of tender grace: “You are all, all I need.”

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