Music❯Rock

November 4, 2026

Special Concerts

The Philip Glass Ensemble returns to Portland for Powaqqatsi, an artful cinematic experience that speaks to the impact of modernization and industrialization on traditional ways of living. Seen through the lens of communities across the globe, the narrative is amplified by compositions from Philip Glass that feature native, classical, and electronic instruments. Enjoyed alone or as the second in The Qatsi Trilogy, you won’t want to miss this thought-provoking performance from The Philip Glass Ensemble and conductor Michael Riesman.

po.waq.qa.tsi (from the Hopi language, powaq sorcerer + qatsi life) n., an entity, a way of life, that consumes the life forces of other beings in order to further its own life.

• Michael Riesman Conductor
• Members of Portland State University Chamber Choir Ethan Sperry, Conductor
• The Philip Glass Ensemble
• Oregon Symphony

This concert is part of the Special Concerts series, and is eligible for the Choose Your Own Series (Portland only). Concert length is approximately 1 hour 40 minutes. No intermission.

Concert begins promptly at the time listed.

If you want to rage out and turn this season into an eventful alternative bonanza, here's your opportunity to see the most fantastic act in the circuit. Smashing Pumpkins brings a top-rated showdown across the US this fall as they serve a brand new trek. This time, a new album brings different vibes, and Smashing Pumpkins is slated to promote this incredible work. Smashing Pumpkins brings The Rats In A Cage Tour to this city, and they're ready to conquer Moda Center at the Rose Quarter with their viral hits, including "1979," "Tonight Tonight," and the Grammy-winning "Bullet with Butterfly Wings"!

Sunday, November 1st, 2026 8:00PM Roseland Theater All Ages General Admission Floor | 21 & Over Reserved Seating Balcony No refunds or exchanges. Tickets are non-transferable. Will Call name changes not permitted. Domestic Bliss Tour VIP Package...

In a darkening musical landscape where viral fads and AI-generated fakery share chart-space with the self-absorbed products of the nation’s stage schools, Buzzcocks shine out as a gleaming beacon of hope.
A constant, ever-evolving presence over the last 45 years of pop culture, the band’s legendary status will be set in stone — literally — with their inclusion in the Music Walk Of Fame in September, joining an illustrious roll call including David Bowie, The Who, Madness and Amy Winehouse.
The band’s never-better live shows, meanwhile, are electrifying reminders of rock music’s power to inspire, educate and inform. All delivered with an energy and conviction of a band half their age.
“It’s my lifeblood,” says Steve Diggle — 68 years young — of a non-stop touring schedule which over the summer will see them play to thousands of fans across Europe and the UK.
“I’ve still got the fire in my belly. Some musicians get bored of being on the road, but I’m institutionalised. I’ve done 50-odd years of staying in hotels. It’s what I signed up for. Ever since I saw Bob Dylan in the back of a black taxi in (D.A. Pennebaker’s 1967 documentary) Don’t Look Back, I always wanted to live this kind of life — being interviewed in the back of a black taxi on the way to the studio.”

While most of their punk peers are content to traverse the globe in jukebox-style revue shows, Buzzcocks continue to move with the times, attracting new fans wherever they go. A case in point being the huge all-ages crowd the band pulled at the Iggy Pop-headlined Dog Day Afternoon in July.
“There’s not a lot of intellectual or emotional thinking in music these days,” observes Steve. “People are being controlled. They’ll watch a video of someone falling over a banana skin and think they’re being entertained. They don’t realise the beauty of words, and the power of music. I’d like to think young kids who come to see us feel the same excitement I got from Little Richard and Chuck Berry. It goes back to the punk thing. It was about attitude and a way of thinking. We had the questions, but we didn’t have the answers. But the questions are the important thing.”

A Tuareg singer/songwriter and guitarist who is known for his innovative and intense playing style, Mdou Moctar rose from a small village in Niger to earn viral success among West Africa's cell phone-trading network. An appearance on an American compilation in 2010 led to international recognition and further exploratory releases on the Sahel Sounds label. After starring in a Tuareg-language homage to Purple Rain, Moctar's sound continued to evolve as he pushed his musical boundaries as a multi-instrumentalist on 2017's Sousoume Tamachek. Subsequent albums like Ilana: The Creator (2019) and Afrique Victime (2021) found him infusing his African influences with wild electric psychedelia and full-blast rock and roll to widespread acclaim. 2024's scintillating Funeral for Justice saw Moctar take a stronger political stance on the injustices faced by Niger and the Tuareg people. A reimagined, all-acoustic version of the album was released in early 2025 as Tears of Injustice.

Join an intimate evening featuring a pre-show discussion and Q&A with Soccer Mommy and special Guest Interviewer, followed by a local opener and solo performance by Soccer Mommy. This event is hosted by Papertrees Creative, in partnership with Literary Arts and the Portland Book Festival 2026.

Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting and beloved artists of the last decade. Allison has used Soccer Mommy’s songs as a vehicle to sort through the thoughts and encounters that inevitably come with the reality of growing up. After all, Soccer Mommy began as a bedroom-to-Bandcamp exercise with teenage Allison posting her plaintive songs as demos. Over the years, though, she has often enhanced that sound, using the endless production possibilities, newly at her fingertips, to outstrip singer-songwriter stereotypes. The records would start with songwriting’s kernels of truth, and she would then imagine all the unexpected shapes they could take. Every Soccer Mommy record has felt like a surprise.

On Soccer Mommy’s fourth album, the tender but resolute Evergreen, Allison is again writing about her life. But that life’s different these days: Since making her previous album, 2022’s Sometimes, Forever, Allison experienced a profound and also very personal loss. New songs emerged from that change, unflinching and sometimes even funny reflections on what she was feeling. (Speaking of funny, this is a Soccer Mommy album, so there’s an ode to Allison’s purple-haired wife in the game Stardew Valley, too.) These songs were, once again, Allison’s way to sort through life, to ground herself. She wanted them to sound that way, too, to feel as true to the demos—raw and relatable, unvarnished and honest—as possible. The songwriting would again lead where the production would follow. Nothing overindulgent, everything real.

JOSEPH is the Oregon-bred sister trio of Natalie, Allie, and Meegan Closner, known for
their powerful harmonies, emotionally honest songwriting, and genre-blurring blend of
indie pop, folk, and rock. Since releasing their breakout debut I’m Alone, No
You’re Not in 2016—which featured their hit single “White Flag” and landed them
on The Tonight Show, TODAY, and the Billboard charts—the band has steadily built a
devoted following through gripping live performances, national tours, and appearances
at major festivals including Coachella, Glastonbury, and Bonnaroo.

Over the years, JOSEPH has released a string of critically acclaimed records
including Good Luck, Kid (2019) and The Sun (2023), praised for their rich vocal
arrangements andsoul-baring lyricism. Their most recent release Closer to Happy (2026)
marks their boldest and most personal work to date. Co-produced with Luke Niccoli (Carly
Rae Jepsen, Miya Folick), the project explores themes of grief, self-trust, and radical selfacceptance.
Whether through triumphant anthems like “I Believe In Myself” or gut-punch
ballads like “Bye and Bye,” JOSEPH continues to turn lived experience into songs that
resonate far beyond the surface.

Mary Oliver: Saved by the Beauty of the World (2026) Directed by Sasha Waters Freyer. 1hr 31min. Not Rated.

If poetry had a pop icon, Mary Oliver would be it. Best-selling poet and Pulitzer Prize-winner, lover of dogs and long walks in the woods, queer and out but intensely private—Oliver’s poems inspire liberals and conservatives, atheists and believers, naturalists and urbanites. She was America’s unlikely, contemporary mystic, stalking the ponds and forests of Cape Cod for nearly fifty years in order to open herself—and us, her readers—to the known and unknowable world. Sasha Waters’ beguiling portrait features poems read by Helena Bonham Carter, Steve Buscemi, Stephen Colbert, Lucy Dacus, Jesse Welles, and Oprah Winfrey.

This film is featured as part of Portland Book Festival’s Cover to Cover.

We do not generally provide advisories about subject matter or potentially triggering content in films, and films exhibited don’t necessarily reflect the views of PAM CUT or the Portland Art Museum. In addition to the synopses, trailers, and other links on our website, further information about content and age-appropriateness for specific films can be found on sites like Common Sense Media, IMDb, and DoesTheDogDie.com.

🎂 Turn the party up! Book 3+ tickets with up to 30% off now, get an extra 20% off your next purchase!

⭐ Candlelight concerts bring the magic of a live, multi-sensory musical experience to awe-inspiring locations like never seen before in Portland. Get your tickets now to discover the music of Coldplay & Imagine Dragons at The Old Church Concert Hall under the gentle glow of candlelight.

This is a tribute concert experience. It is not affiliated with, endorsed by, or sponsored by the artist, their estate, or official representatives.

Concerts:

Friday, September 4 at 8:45pm

Saturday, November 21 at 6:30pm & 8:45pm

Sunday December 27 at 8:45pm

Saturday, January 23, 2027 at 6:30pm

Saturday, February 20, 2027 at 6:30pm

General Info
📍 Venue: The Old Church Concert Hall
📅 Dates and times: select your dates/times directly in the ticket selector
⏳ Duration: 60 minutes. Doors open 45 minutes before the show. No entry once it starts.
👤 Age requirement: 8 years old or older. Anyone under the age of 16 must be accompanied by an adult
♿ Accessibility: this venue is ADA compliant
❓ View the FAQs for this event here
🪑 Seating is assigned on a first come first served basis in each zone
🕯️ If you would like to book a private concert or buy regular tickets for a large group (+30 people), click here
🎻 Check out all the Candlelight concerts in Portland
🎁 To treat your friends and family to a Candlelight gift card, click here

Tentative Program

• Coldplay – Clocks
• Imagine Dragons – Radioactive
• Coldplay – Adventure of a Lifetime
• Coldplay – Fix You
• Imagine Dragons – Eyes Closed
• Imagine Dragons – Thunder
• Coldplay – The Scientist
• Coldplay – feelslikeimfallinginlove
• Imagine Dragons – Follow You
• Imagine Dragons – Bad Liar
• Imagine Dragons – Believer
• Coldplay – Sky Full of Stars
• Coldplay – Viva la Vida
• Coldplay – My Universe

Performers

• String Quartet – Listeso – Portland

James Spooner joins PAM CUT for a screening of his film Afro-Punk, followed by an author talk for his new book It Starts With Anger. Books will be available for sale on site.

It Starts With Anger is a coming-of-age graphic memoir exploring race, identity, and rebellion through James Spooner’s teenage years in 1990s New York into his young adulthood in the early 2000s. Confronted with systemic racism, microaggressions, and Nazi extremism within punk spaces, Spooner traces how reactionary anger evolved into a creative force and a path to self-determination, along the way following the founding of the Afro-Punk movement, his eventual decision to leave the company, and an ongoing raw examination of the tensions between underground culture and mainstream success.

While not a traditional graphic memoir, It Starts With Anger combines black-and-white, zine-inspired visual elements including photos, illustrations, and cartoon panels with traditional narrative in a unique package that recounts the story behind Afro-Punk. James Spooner has not talked publicly about his reasons for quitting Afro-Punk previously, and the book is a damning indictment of its corporatization. But more importantly, it also offers a look at issues of Black identity, representation, and the lack thereof in a movement that had often prided itself on allyship, while being completely myopic to all the ways it fell short in that regard as a scene that was ironically both liberating and alienating for the Black people drawn to it.

ON SCREEN: Afro-Punk

2003. Directed by James Spooner. Runtime: 1 hour 6 minutes.

This film, which many may assume is a historical punk documentary, is actually an honest and needed treatment of race and identity. Punk and Hardcore music are simply the microcosm in which it is told. First-time director, James Spooner, in telling this story, has opened new dialogues on these crucial subjects both intra- and interracially. Many times funny, sometimes sobering, a wake-up call to America. An examination of the duality of racial identity that DuBois called “double consciousness.” What could have been “The Bad Brains Story” is a story about kids, alienated by two cultures and two communities. Many of these punk and hardcore kids have never questioned their role in the punk scene or the black community until their interviews, and it’s obvious as they struggle on camera to reconcile a fragmented self.

This program is co-presented by Literary Arts as part of the Cover-to-Cover program.

From Coldplay's emotional ballads to Imagine Dragons' anthems, experience two of the world's most beloved bands brought together in one extraordinary concert. Hear fan favourites like Viva La Vida, Fix You, Believer and Demons in a breathtaking candlelit atmosphere. This concert experience is a tribute. It is not associated with, endorsed by or sponsored by the artist, their heirs or their official representatives.

Tentative Program:

• Coldplay - Clocks
• Imagine Dragons - Radioactive
• Coldplay - Adventure of a Lifetime
• Coldplay - Fix You
• Imagine Dragons - Eyes Closed
• Imagine Dragons - Thunder
• Coldplay - The Scientist
• Coldplay - feelslikeimfallinginlove
• Imagine Dragons - Follow You
• Imagine Dragons - Bad Liar
• Imagine Dragons - Believer
• Coldplay - Sky Full of Stars
• Coldplay - Viva la Vida
• Coldplay - My Universe
• Coldplay - Ash

Performed by Listeso String Quartet

King Buffalo, a heavy psych trio featuring vocalist and guitarist Sean McVay, bassist Dan Reynolds, and drummer Scott Donaldson, shares the bill with L.A. Witch. The Los Angeles trio of Sade Sanchez, Irita Pai, and Ellie English blends reverb-draped rock with a sound that ranges across broader sonic territory on its latest album, DOGGOD, while exploring existential and cosmic themes. This is an all-ages event.

For over two decades, Railroad Earth has captivated audiences with gleefully unpredictable live shows and eloquent and elevated studio output. The group introduced its signature sound on 2001’s The Black Bear Sessions. Between selling out hallowed venues such as Red Rocks Amphitheater in Morrison, CO, they’ve been responsible for launching signature festivals Hangtown Music Festival in Placerville, CA and Hillberry: The Harvest Moon Festival in Eureka Springs, AR. Sought after by legends, the John Denver Estate tapped them to put lyrics penned by the late John Denver to music on the 2019 vinyl EP, Railroad Earth: The John Denver Letters. Beyond tallying tens of millions of streams, the collective has earned widespread critical acclaim from David Fricke of Rolling Stone, American Songwriter, Glide Magazine, and NPR, who assured, “Well-versed in rambling around, as you might expect from a band named after a Jack Kerouac poem, the New Jersey-built jam-grass engine Railroad Earth has let no moss grow under its rustic wheels.”

In a darkening musical landscape where viral fads and AI-generated fakery share chart space with the self-absorbed products of the nation’s stage schools, Buzzcocks shine out as a gleaming beacon of hope. A constant, ever-evolving presence over the last 45 years of pop culture, the band’s legendary status will be set in stone — literally — with their inclusion in the Music Walk Of Fame in September, joining an illustrious roll call including David Bowie, The Who, Madness and Amy Winehouse. The band’s never-better live shows, meanwhile, are electrifying reminders of rock music’s power to inspire, educate and inform. All delivered with the energy and conviction of a band half their age.

“It’s my lifeblood,” says Steve Diggle — 68 years young — of a non-stop touring schedule which over the summer will see them play to thousands of fans across Europe and the UK.
“I’ve still got the fire in my belly. Some musicians get bored with being on the road, but I’m institutionalized. I’ve done 50-odd years of staying in hotels. It’s what I signed up for. Ever since I saw Bob Dylan in the back of a black taxi in (D.A. Pennebaker’s 1967 documentary) Don’t Look Back, I always wanted to live this kind of life — being interviewed in the back of a black taxi on the way to the studio.”

While most of their punk peers are content to traverse the globe in jukebox-style revue shows, Buzzcocks continue to move with the times, attracting new fans wherever they go. A case in point being the huge all-ages crowd the band pulled at the Iggy Pop-headlined Dog Day Afternoon in July. “There’s not a lot of intellectual or emotional thinking in music these days,” observes Steve. “People are being controlled. They’ll watch a video of someone falling over a banana skin and think they’re being entertained. They don’t realize the beauty of words and the power of music. I’d like to think young kids who come to see us feel the same excitement I got from Little Richard and Chuck Berry. It goes back to the punk thing. It was about attitude and a way of thinking. We had the questions, but we didn’t have the answers. But the questions are the important thing.”

A Los Angeles-based comedian, avid skateboarder, filmmaker, and actor, Whitmer Thomas added rocker to his credentials in 2020 with the release of the soundtrack to his HBO musical/comedy one-man show, The Golden One. It was followed by a stand-alone music EP, the Jay Som-produced Can't Believe You're Happy Here, in 2022.

A native of Gulf Shores, Alabama, Thomas first found success in 2014 with Stone Quackers, a surreal FX adult animated television series. Power Violence, a popular monthly show Whitmer hosted with friends, helped to secure his status in the upper echelons of the Los Angeles independent comedy scene, as did his numerous short films like Blue Line and Fast and Loose, and appearances on The Walking Dead and Glow. In 2020, Whitmer released his one-man show, The Golden One, on HBO. Featuring pop-punk songs composed and performed by Whitmer (a longtime fan of blink-182), which covered everything from millennial anxiety and sex to abandonment and addiction, the special spawned the companion LP Songs from the Golden One. Between guest spots on series like I Think You Should Leave with Tim Robinson and Search Party, he followed it up with a music EP titled Can't Believe You're Happy Here in 2022, also on the Hardly Art label. Led by the sincere acoustic track "Don't Have a Cow," the EP was produced by Melina Duterte, better known as Jay Som.co

Eight-time Grammy-winner Beck has traveled light years from his emergence as a reluctant generational spokesperson when “Loser” exploded from a rejected 1992 demo into a ubiquitous 1994 smash. In the decades since, Beck's singular career has seen him utilize all manners and eras of music, blurring boundaries and blazing a path into the future while simultaneously foraging through the past.

Surfacing just as the mainstream and alternative rock intersected, no small thanks to his 1994 debut Mellow Gold, Beck quickly confounded expectations with subsequent releases including the lo-fi folk of One Foot in the Grave. But the album that first cemented Beck’s place in the pantheon was 1996’s multi-platinum Best Alternative Grammy winner Odelay. Odelay remains a key cultural touchstone from the indelible hooks of "Devil's Haircut” and “The New Pollution" to the irresistible call and response of the Grammy-winning "Where It's At.”

From the world-tripping atmospherics of 1998's Mutations (Beck's second album to win the Best Alternative Grammy) and the fluorescent funk of 1999's Midnite Vultures through the somber reflections of 2002's Sea Change, 2005's platinum tour de force Guero, 2006's sprawling The Information, 2008's acclaimed Danger Mouse-produced Modern Guilt, no Beck record would ever sound like its predecessor.

That pattern would be upended in sublime sonic fashion with the 2014 release of Morning Phase. A companion piece of sorts to his 2002 masterpiece Sea Change, Morning Phase conjured the staggering downtempo impact of that record through the lens of an infectious optimism. The chorus of critical acclaim for Morning Phase was instant and unanimous, as Beck rolled into 2015 taking the Album of the Year top honor at the 57th Annual Grammy Awards, as well as the prize for Best Rock Album. Morning Phase also won in the Best Engineered Album (Non-Classical) category.

True to his chameleonic nature, Beck followed up Morning Phase’s subdued beauty with Colors, an intoxicating rainbow of auditory tricks and treats that went on to win Best Alternative Music Album (Beck’s third) and Best Engineered Album, Non-Classical (the second Beck album to do so) at the 61st Annual Grammy Awards in 2019. That same year, Beck would offer a first glimpse into his 14th studio album Hyperspace with the stunning surprise single “Saw Lightning”—written and produced by Beck and Pharrell Williams, who would be credited as co-writer and co-producer on seven of Hyperspace’s 11 tracks.

Beck has spent much of the last few years dazzling live audiences with a grab bag of engaging performances ranging from a handful of freeform one-off shows, to 2023’s massive Summer Odyssey tour with co-headliners Phoenix. Summer Odyssey played to packed houses from the Kia Forum in L.A. to Madison Square Garden and beyond, and was followed by a historic full concert performance with the Royal Philharmonic Orchestra—which inspired a series of orchestral performances at the likes of New York’s Carnegie Hall and London’s Royal Albert Hall. The past few years have seen Beck embark on limited runs of orchestral dates featuring musicians who played on milestones including Mutations, Sea Change and Morning Phase accompanied by native orchestras in each city, delivering uniformly unforgettable evenings of unique symphonic arrangements of classics and deep cuts from his towering catalog and beyond.

Founded in 2004, Federale has released seven cinematic records inspired by obscure spaghetti westerns, folk-based murder ballads, '60s and '70s European soundtracks, and stylishly dramatic vocalists such as Lee Hazelwood and Nick Cave. Federale's music has appeared in films, including A Girl Walks Home Alone at Night, The Bad Batch, and The Lego Movie, while the band has toured extensively throughout North America and Europe.

Federale's newest album Love & Other Lies (2026) teems with a dark sentimentality and a pronounced gloomy sensibility drawing from British new wave, post-punk, goth, and 1960s rock n 'roll. Strains of The Cure, Depeche Mode, The Sisters of Mercy, Siouxsie and the Banshees, Tears for Fears, and even The Beatles abound. Here, lead singer and primary songwriter Collin Hegna's emotive baritone is swathed in period-perfect Prophet-5 synthesizers and glistening counter-melody guitar lines, and supported by intricate but lyrical basslines and coldly mechanical drums.

Love & Other Lies picks up where Federale's previous album, Reverb & Seduction, left off. That album was a radical departure from the band's previous releases which featured mostly instrumentals. "There are a lot more similarities than you think," Hegna says of the group's seemingly two distinct aesthetic periods. "When we were referencing the obscure influences, we liked the drama and darkness. Those elements are in new wave, goth, and post-punk. I just grabbed another couple of colors from the Crayon box."

Holiday Dan (drums) and Rayko Stanislav (piano) started a cacophony of curious clanging helter skelter sounds in 2017. Using a 100 year old upright Meister piano which has travelled across the west and a rickety Pearl drum set they were joined by equally dysfunctional horns: a thrift store tuba (Tubano), knock off Indian valve trombone (Tom Bone) and street find trumpet (Roly). Together they make (mostly) wordless sound eruptions that have only best been described as "if Danny Elfman and Eliot Smith had a baby and if fell down a spiral staircase in New Orleans"

Come try and describe the ear twisting music yourself! See ya on the asphalt!

In a darkening musical landscape where viral fads and AI-generated fakery share chart-space with the self-absorbed products of the nation’s stage schools, Buzzcocks shine out as a gleaming beacon of hope.
A constant, ever-evolving presence over the last 45 years of pop culture, the band’s legendary status will be set in stone — literally — with their inclusion in the Music Walk Of Fame in September, joining an illustrious roll call including David Bowie, The Who, Madness and Amy Winehouse.
The band’s never-better live shows, meanwhile, are electrifying reminders of rock music’s power to inspire, educate and inform. All delivered with an energy and conviction of a band half their age.
“It’s my lifeblood,” says Steve Diggle — 68 years young — of a non-stop touring schedule which over the summer will see them play to thousands of fans across Europe and the UK.
“I’ve still got the fire in my belly. Some musicians get bored of being on the road, but I’m institutionalised. I’ve done 50-odd years of staying in hotels. It’s what I signed up for. Ever since I saw Bob Dylan in the back of a black taxi in (D.A. Pennebaker’s 1967 documentary) Don’t Look Back, I always wanted to live this kind of life — being interviewed in the back of a black taxi on the way to the studio.”

While most of their punk peers are content to traverse the globe in jukebox-style revue shows, Buzzcocks continue to move with the times, attracting new fans wherever they go. A case in point being the huge all-ages crowd the band pulled at the Iggy Pop-headlined Dog Day Afternoon in July.
“There’s not a lot of intellectual or emotional thinking in music these days,” observes Steve. “People are being controlled. They’ll watch a video of someone falling over a banana skin and think they’re being entertained. They don’t realise the beauty of words, and the power of music. I’d like to think young kids who come to see us feel the same excitement I got from Little Richard and Chuck Berry. It goes back to the punk thing. It was about attitude and a way of thinking. We had the questions, but we didn’t have the answers. But the questions are the important thing.”

Emo Nite at Holocene presented by Emo Nite LA at Holocene, Portland, Friday, November 6, 2026 · 9PM · 21+ · $23.94. $1 per ticket transaction sponsors Emo Nite Gives A F*ck. Donations are allocated for worthwhile organizations focusing on: ·...

Karina Rykman plays bass, sings, jumps around, and laughs a lot. Straddling the worlds of jam rock and indie pop drenched in psychedelia, Karina’s effervescent presence comes to life in musical form.

Born and raised in NYC, Rykman began in her early teens and quickly earned a reputation as an unmissable live act. Tearing up sold-out headline performances to ravenous fans, playing show-stealing festival/support slots, plus recent appearances in the house band on NBC’s Late Night with Seth Meyers - Karina stays busy. Rykman released her debut album, Joyride via AWAL in August 2023 and features Trey Anastasio as co-producer & featured musician, contributing guitar on five of the album’s nine tracks.

A documentary detailing the storied history of drug-addled teen punks-turned-icons.

Featuring interviews with Fat Mike, Eric Melvin, Aaron ‘El Hefe’ Abeyta, and Erik Sandin.

Doors open at 6:30 PM. Film at 7:00 PM.

• Director: James Buddy Day
• Year: 2026
• Country: United States
• Runtime: 120 minutes

Elite ski mountaineers Jim Morrison and Hilaree Nelson fell deeply in love while reaching the pinnacle of their sport. Their drive sharpened into a shared dream: to climb and ski the direct North Face of Everest - the most difficult and dangerous climb on the mountain and the most coveted ski line on earth. Thousands have summited the mountain via Nepal's southeast ridge, but only a handful have ever reached the top by this route — and no one has successfully skied down. Already known for their extraordinary feats in the mountains and no strangers to loss, Morrison and Nelson stake everything on this daunting challenge.

“Everest: The Other Side” is directed and produced by Elizabeth Chai Vasarhelyi and Jimmy Chin, and produced by Shannon Dill, Anna Barnes, Bob Eisenhardt, Janet Yang. The executive producers are Carolyn Bernstein, Tim Horsburgh, Nina Fialkow, David Fialkow, Andrew Reiner, Elizabeth Reiner, Moudhy Al-Rashid, Sam Frohman, Kenneth A. Howery, Jason Bowden, Will Griffith, Bettina Kadoorie. The film is edited by Bob Eisenhardt, ACE, and Simona Ferrari. The directors of photography are Clair Popkin, Jimmy Chin, Christopher Murphy.

Smashing Pumpkins perform live at the Moda Center at the Rose Quarter in Portland, Oregon.

After many years celebrating the music of Big Star via the collective known as Big Star’s Third, Jody Stephens (the last surviving member of the original Big Star lineup) had an idea.

“I truly loved touring the world and performing Big Star’s Third with a core group, a variety of special guests, and a chamber orchestra playing the beautiful orchestrations created by Carl Marsh and Chris Stamey. But when the idea of celebrating the 50th anniversary of #1 Record came up, it was time to pare the production down to a five-piece rock band. So I called a few close and like-spirited musical friends.”

Enter some of the legendary group’s biggest fans, who have long been associated with Big Star and related projects. The band now includes Mike Mills (R.E.M.), Jon Auer (The Posies), Pat Sansone (Wilco), Chris Stamey (The dB's) and Stephens. Dubbing themselves the Big Star Quintet, it’s a lineup that is both personal and close in spirit to #1 Record and Radio City.

The one-man band without a plan, Mattress started in 2006. To quote a sassy pal (with initials IB): “You are wildly unpopular for that amount of time.” Amen. Who cares? Art for art’s sake. For the first time ever–Mattress is putting together a full band for this show. 5 guitars? 8 keyboards? 12 drummers? Yodelers and a glass harmonica? Probably.

Mattress has made some friends over 20 years and put together this stellar bill (more of a mini-fest), bringing together acts he met 20 years ago and 2 years ago. Check this out:

Black Shelton (solo), a one-man band powerhouse of wit, sleaze and electro boogie. Songs "I'm Back in the Doghouse Again" and “White Lover” will warp your mind.

Dragging an Ox Thru Water fingerpicking melody noise glitch heart string puller.

THRONES Joe Preston is coming out of semi-retirement to do this show. Hopefully this will get some elder goths and heshers out of their LazyBoys and into the show.

Joe Von Appen, the monologue performance semi-comedy satirist who has toured with Mattress for close to 10,000 miles. He will host the show; his dry wit will confuse and entertain most in attendance.

Special guest TBA, probably famous, very name-droppable.

Who is in the Mattress band? Members of Modest Mouse, The Fur Coats, Dommengang, Room, WIBG, Black Shelton and others.

Halfway through the four-year touring cycle for their eighth full-length record Gnosis, Chicago-based instrumental trio Russian Circles hit the two-decade anniversary of their formation. One might expect a band to capitalize on such a major milestone. Instead, guitarist Mike Sullivan, drummer Dave Turncrantz, and bassist/keyboardist Brian Cook spent 2024 unceremoniously touring in support of their most recent album across Australia, South America, Europe, and North America. After all, this is the work ethic that built Russian Circles into one of the biggest heavy instrumental rock bands in the world. This is a band with no hit songs. No fan consensus on their best album. Just a reputation for consistency and quality.

Not that things haven’t changed in the last 22 years. The band is now spread out between Chicago, Los Angeles, and a rural island off the coast of Seattle. While the trio insists their music is a confluence of broad-ranging influences-the formidable Touch & Go artists of the Midwest, the prog giants of late ’60s and early ’70s England, the hypnotic motorik and kosmische grooves of West Germany, the international underground’s most caustic strains of metal-it is fair to say Russian Circles’ adventurous diversity has evolved into its own distinct sound. As one of the notoriously press-shy members anonymously mentioned, “the music we make is a collective process of reconciliation, navigation, and reflection upon aging both as individuals and as a creative entity. Life has created very real distances between us, but the band continues to be at the center, and this creative collaboration is a way of charting the passage of time while also giving us a reason to look to the future.” On their latest album, Nine, the band triangulates their relative positions into singular seismic long-form album-oriented soundtracks to the trials and tragedies of life in the modern age.

For Nine, Russian Circles adhered to their strategy from Blood Year (2019) and Gnosis (2022) by teaming up with engineer Kurt Ballou (Converge, Mastodon, High on Fire). Basic tracking took place at Electrical Audio in Chicago while the finishing touches occurred at Ballou’s GodCity Studio in Salem, Massachusetts. Recording at Electrical Audio allowed the band to retain a thread to their earliest endeavors, with the band having recorded at Steve Albini’s exalted studio as far back as their debut album Enter (2006). The relationship with Ballou is a more recent development stemming back to the band’s sixth album Guidance (2016), owing to his ability to highlight the weight and entropy of metal and hardcore bands in their natural environment while enhancing the clarity and articulation often lost in walls of distortion.

Nine continues Russian Circles’ unhurried evolution and disciplined refinement, leaning into their strengths while pushing at the boundaries of their sound. Album opener “Borehole” offers what might be the band’s closest approximation of a traditional rock song schematic, with a structure of repeating parts that takes the listener on a journey promising hope only to bring them full circle to the dark, desolate, and dystopian futility of the song’s namesake: Russia’s abandoned Kola Superdeep Borehole. From there, the band launches into a ferociously concise overview of metal battle tactics with “Empath”-where a Godflesh-style bass crunch and tornado siren drone ushers in thrash-inspired guitars, venomous black metal attacks, d-beat forays, a deliciously knuckleheaded hardcore breakdown, and a final scorched earth war metal riff, all in just under five minutes. Side A closes with Nine‘s grand centerpiece-the patiently cataclysmic “Eluvial.” Centered around the kind of ping-ponging delayed guitar patterns that Brian Eno and The Edge developed for The Joshua Tree, guitarist Mike Sullivan slowly unfurls a winding, linear melody against the backdrop of drummer Dave Turncrantz’s Latin-rhythm-inspired groove and Brian Cook’s pairing of grinding bass and stuttering electronics. “Eluvial” slowly builds to an apex, leaving only the vaguest breadcrumb trail of obscured percussive and melodic motifs to the song’s final cleansing tempest.

The latter half of Nine builds on Russian Circles’ aural expansion. Side B opens with bottom-end synth pulses, dubby bass lines, serpentine finger-tapped guitar patterns, and nimble rhythmic shifts on “E2.” On “Meridian,” the band once again employs the slow-build strategies of their post-rock inclinations, with Turncrantz’s propulsive drums and Sullivan’s Steve Reich-esque arpeggios giving the song a sense of constant forward momentum, perfectly suited for gliding along the expressways of towering metropolises on neon nights. The album ends with the light and dark contrast of “Arletta” and “Seventh Seal.” Much like Cliff Burton-era Metallica’s penchant of pairing melancholic classical guitar passages with the blunt force trauma of their heaviest tracks, so does the stark beauty of Sullivan’s nylon string solo composition usher in the band’s most unapologetically straightforward metallic assault.

The album art for Nine consists of photographs of Snowpile for Chicago, a sculpture by Tony Tasset that’s been on display in the windows of Chicago Public Library’s West Town Branch since 2004-the year Russian Circles formed. Constructed out of cast bronze, brass, fiberglass, resin, and oil paint, Snowpile for Chicago is a convincing recreation of the mounds of dirty snow that occupy city streets throughout Midwest winters. The inclusion of this image is partially a nod to the band’s hometown, but more importantly serves as an analogy for Russian Circles’ music. It’s a meticulously crafted piece that documents a cold, harsh, and ugly reality. Even though this artifact captures something that is unpleasant, its rendering by human hands gives it a quality of striking beauty. There is a larger conversation to be had about transgressive art, ephemera, the devaluing of art in a cultural landscape that craves constant content, the advent of AI in creative realms, and the general sense of futility that looms over musicians in the modern age, but as an instrumental band, Russian Circles opt to plant these notions in the listeners’ heads through the image of a haunting sculpture in a stark interior space rather than through crafting online manifestos, social media rants, or topical lyrics.

Reinvention is unnecessary when the path forward has always been an open horizon. When it comes to Russian Circles, you can go back through their catalog and find a vast array of moods, stylistic shifts, and timbral experiments across any given album, yet there has been a noticeable progression in the overall experience of taking in any one of their albums as a whole. Whereas earlier albums were almost playful in their traversing of territories, Nine is a document of a band that knows the lay of the land and is fortifying their dominion over the varied terrain.

Warren Miller’s “Days Off” will play at the Kiggins Theater from 7-9 p.m. Nov. 1. Host Katie Burrell will show what the pros do on their days off. Go skijoring in Banff, join Craig McMorris and friends in Whistler, and explore Alaska’s spines with Sam Kuch and Craig Murray. Watch Jess Kimura push snowboarding forward and inspire the next generation in Hokkaido, Japan. Head to Chamonix for an intense high-alpine pivot with Christina “Lusti” Lustenberger. Hit Deer Valley with Ted Ligety, Kaylin Richardson, Pep Fujas and Chuck Mumford. Get tickets ($32) at kigginstheatre.com/movie/warren-millers-day-off.

Thursday, November 5th, 2026 6:30PM Roseland Theater All Ages General Admission Floor | 21 & Over Reserved Seating Balcony No refunds or exchanges. Tickets are non-transferable. Will Call name changes not permitted. Print at home tickets can be...

Join us for an intimate evening featuring a pre-show discussion and Q&A with Soccer Mommy and special Guest Interviewer, followed by a local opener and solo performance by Soccer Mommy. This event is hosted by Papertrees Creative, in partnership with Literary Arts and the Portland Book Festival 2026.

Soccer Mommy

Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting and beloved artists of the last decade. Allison has used Soccer Mommy’s songs as a vehicle to sort through the thoughts and encounters that inevitably come with the reality of growing up. After all, Soccer Mommy began as a bedroom-to-Bandcamp exercise with teenage Allison posting her plaintive songs as demos. Over the years, though, she has often enhanced that sound, using the endless production possibilities, newly at her fingertips, to outstrip singer-songwriter stereotypes. The records would start with songwriting’s kernels of truth, and she would then imagine all the unexpected shapes they could take. Every Soccer Mommy record has felt like a surprise.On Soccer Mommy’s fourth album, the tender but resolute Evergreen, Allison is again writing about her life. But that life’s different these days: Since making her previous album, 2022’s Sometimes, Forever, Allison experienced a profound and also very personal loss. New songs emerged from that change, unflinching and sometimes even funny reflections on what she was feeling. (Speaking of funny, this is a Soccer Mommy album, so there’s an ode to Allison’s purple-haired wife in the game Stardew Valley, too.) These songs were, once again, Allison’s way to sort through life, to ground herself. She wanted them to sound that way, too, to feel as true to the demos—raw and relatable, unvarnished and honest—as possible. The songwriting would again lead where the production would follow. Nothing overindulgent, everything real.

Pedro the Lion marks its 30th anniversary with a live performance centered on the band’s evolving three-decade catalog. Led by David Bazan, the group features longtime collaborator Erik Walters on guitar and backing vocals, with Andrew Rudd on drums. The music explores belief, doubt, guilt, faith, and the search for grace, bringing a sense of warmth and hope to deeply personal songs.

Earlimart

Experience an unforgettable night of blues-infused rock as Joanne Shaw Taylor and Robert Jon and The Wreck bring their powerhouse performances to the stage. Renowned for her blistering guitar work and soulful vocals, Joanne Shaw Taylor will perform fan favorites from her acclaimed Billboard-charting album Black and Gold alongside new music from her forthcoming release, The Trouble With Love. Joining her are Robert Jon & The Wreck, celebrated for their driving Southern rock sound, rich harmonies, and electrifying live shows, featuring standout songs from their latest album, Heartbreaks & Last Goodbyes. Blending blues roots, fiery musicianship, and high-octane rock energy, this dynamic lineup promises a night of incredible live music.

Ornette: Made In America (1985) Directed by Shirley Clarke. 1hr 17min. Not Rated.

Guest programmed by Rob Lewis, PAM CUT @ The Whitsell presents Ornette: Made In America (1985). This freewheeling documentary is a portrait of Ornette Coleman’s life, legacy, and evolution over three decades. Featuring William S. Burroughs, Brion Gysin, Buckminster Fuller, Don Cherry, Yoko Ono, Charlie Haden, Robert Palmer, Jayne Cortez, and John Rockwell, the film features a free-jazz approach and style, using video collage and experimental segments to tell Coleman’s story.

“I’ve always been interested in films about artists. I think because they end up being a conversation not just between filmmaker and subject in a traditional way but also between two uniquely creative people. This film is a really interesting study of that relationship and connection.” – Rob Lewis

Rob Lewis is an artist and art director living and working in Portland, Oregon with his wife Joy Alise Davis, M.A. who serves as the Executive Director of Portland based, Black advocacy organization, Imagine Black.

Co-presented by KMHD.

We do not generally provide advisories about subject matter or potentially triggering content in films, and films exhibited don’t necessarily reflect the views of PAM CUT or the Portland Art Museum. In addition to the synopses, trailers, and other links on our website, further information about content and age-appropriateness for specific films can be found on sites like Common Sense Media, IMDb, and DoesTheDogDie.com.

Platinum certified singer, songwriter, producer, and multi instrumentalist Sueco has established herself as one of alternative music’s most versatile independent artists, amassing over 1 billion global streams and billions of views across social platforms. Since breaking onto the scene in 2018, he has been at the forefront of a new generation of internet native artists, leveraging viral storytelling, digital marketing, and direct fan engagement to build a global audience. By consistently creating moments that resonate both online and on stage, Sueco has cultivated a loyal worldwide fanbase while establishing himself as one of alternative music’s most recognizable voices.

Known for seamlessly blending rock, punk, metal, hip hop, and pop into a sound entirely his own, Sueco has built a catalog that refuses to be confined by genre. Equal parts songwriter, producer, and performer, his ability to pair massive hooks with raw emotion and explosive energy has earned him a reputation as one of the genre’s most exciting crossover artists while maintaining an unmistakable artistic identity.

That momentum has continued through 2026. Sueco returned with “REARRANGING SCARS,” featured in the latest installment of the Scream franchise, before joining forces with blackbear on the explosive single “ENEMY.” He followed it with “ARE YOU ENTERTAINED?” alongside longtime friend and collaborator Jeris Johnson, delivering one of the year’s standout alternative collaborations and further showcasing his versatility as both a songwriter and artist.

Now fully independent, Sueco continues to build momentum through major film placements, high profile collaborations, and a growing international audience while maintaining full creative control over his music and career. His fearless songwriting, genre bending creativity, and instinct for connecting with fans have positioned him among a new generation of artists redefining what an independent career can look like.

Linda

**Linda’s 80s Party**

Join us on Friday, November 6, for an unforgettable 80s party celebrating Linda Lee Michelet’s birthday! Linda will be performing with her band, Rendezvous, at Wilf’s.

Get ready to enjoy classic hits from artists like Blondie, Van Morrison, Pat Benatar, the Supremes, Journey, the Everly Brothers, Donna Summer, and more.

This event will take place at Wilf’s from 7:00 PM to 8:15 PM. Don’t miss out on this fantastic celebration.

Don’t miss this one!

Tickets

Monday, November 2, 2026 Mississippi Studios Presents SOLD OUT: Big Star Quintet (Night 1) Ages 21 and up

w/ Elijah & Lauren Babic Wednesday, November 4th, 2026 7:00PM Hawthorne Theatre All Ages | Bar w/ valid photo ID No refunds or exchanges. All sales final. If you need any ADA accommodations, please reach out to [email protected]. w/ Elijah...

Forging a muscular sound out of contrasting sonic vistas that include pop hooks, theatrical melodies, jazz-influenced chord voicings, rock rhythms, and sludgy guitars, Slothrust ("sloth-rust") offer a unique spin on the angsty sounds of the '90s. Led by singer/songwriter/guitarist Leah Wellbaum, the group's label debut, 2014's Of Course You Do, included a track that was adopted as the theme song to the FX series You're the Worst. They continued to build and expand their sound with ambitious albums like The Pact and 2021's Parallel Timeline as well as the unpredictable EPs I Promise (2023) and Wildcard (2025).

The Gully Boys origin story begins in the aisles of a Minneapolis thrift shop. Vocalist/guitarist Kathy Callahan (she/her) and co-worker Nadirah McGill (they/them) spent their days sharing dreams and building a friendship amongst racks of forgotten treasures. When Kathy confided her desire to sing in a band, it set off a groundswell of events: Nadi grabbed a pair of drumsticks, and the two invited middle school friend Natalie Klemond (she/her) to join on bass. From there, a cover of Best Coast's "Girlfriend" marked the start of a journey fueled by undeniable chemistry, channeling the raw energy of legends like No Doubt, Garbage, and Hole into a sound that's galvanizingly Gully.

Two years of relentless gigging followed, and earned Gully Boys the Best New Band crown by their local Minneapolis City Pages in 2018, shortly after the release of their debut demo collection, Not So Brave. Their anticipated follow-up EP, Phony, arrived in late 2019, just months before the live music world came to a halt. Inspired by this break in the action, the band added lead guitarist Mariah Mercedes (they/them), and worked with producer Zach Zurn at Carpet Booth Studio to release their Favorite Son EP (2021) and standout singles "See You See" (2022) and "Optimist" (2023).

Grounded in a bond as fierce as their sound, Gully Boys' electrifying live performances have earned them spots on SXSW stages, Audiotree sessions, and tours alongside Nova Twins, Motion City Soundtrack, Destroy Boys, Bad Bad Hats, and more. From the iconic stage at Minneapolis' First Avenue to national gigs that defy expectations, Gully Boys capture an ethos of equal parts anger and tenderness-fueling a journey that feels like it's just getting started.

Pollyanna are a three-piece New Jersey band - Jill Beckett (vocals/guitar), Daniel McCool (drums), and Brandon Bolton (bass) - blending elements of loud rock, pop and punk into an emotional roller coaster of fury and catharsis. Born from the DIY touring scene, Pollyanna have become a force in the tri-state music scene, fusing pissed-off, "burn the world down" energy with moments of queer joy, trans pride, and raw vulnerability.

Following their I Surrender Records debut "Slime", the band are keeping momentum high with their razor-sharp new single "Gravedigger," recorded with Brett Romnes (Hot Mulligan, Mom Jeans, The Front Bottoms). With their new sophomore album, "Weirdo", Pollyanna are taking bold new steps, articulating the journey of trading hatred for joy, and they're just getting started.

Thirty-four days before she’s sent to prison, notorious Silicon Valley founder Elizabeth Holmes invites a skeptical film crew to document her every move. What begins as an intimate portrait of an enigmatic felon becomes a mind-bending three-year journey into the abyss. From boundary-pushing directors Nathan Fielder and Lance Oppenheim comes You Can See Everything.

Gram Jam is a celebration of the music of Gram Parsons. A seminal figure at the roots of what is now referred to as Americana. A mix of traditional country, rock n roll, blues and soul. Gram called that mix Cosmic American Music. Gram Parson’s efforts with The International Submarine Band, The Byrds, The Flying Burrito Brothers and his two solo albums, GP and Grievous Angel were not commercial successes but his songs and style influenced all that came after. The Eagles, Little Feat, Workingman’s Dead by the Grateful Dead, The New Riders of The Purple Sage, Linda Ronstadt and Emmylou Harris are just a short list. Cosmic American Music is still alive and well in Portland and many other places around the world.

Shorty and The Mustangs have organized five Gram Jam benefit concerts for the Jeremy Wilson Foundation https://www.thejwf.or since 2016. So why do a sixth now?

In November, Gram Parsons would be turning 80 within two days of Gram Jam VI and will also be inducted into The Rock n Roll Hall of Fame within a few weeks of the show. In addition, Shorty and The Mustangs are celebrating their 30 th Anniversary in 2026. Too many dates have aligned. It’s meant to happen.

A stellar list of local musicians are donating their time and talent to this benefit show. Get your tickets, you don’t want to miss this!

Clark College welcomes award-winning journalist Abby Martin of the Empire Files for a screening of her documentary film, “Earth’s Greatest Enemy,” 6-9:30 p.m. Nov. 19 in Foster Hall. This free community event is sponsored by the Clark College ASCC Student Life Philosophy Program. This film reveals a truth behind the climate crisis: the role of the U.S. military as the world’s largest institutional polluter, tracing the link between war, empire and ecological destruction. Drawing on powerful testimonies from veterans, scientists and frontline communities, it uncovers how military operations poison ecosystems, accelerate global warming and sacrifice the future for expansion.

November 11 & 12, 2026

Special Concerts

Portugal. The Man takes the stage at the Schnitz for the first time with the Oregon Symphony, delivering amped-up orchestral rock to close out their U.S. tour. Celebrate the 15th anniversary of In the Mountain in the Cloud alongside their newest album, SHISH, with live performances featuring music from both albums. They’ll be joined by artists Quinn Christopherson, May Arden, Onry, Redray Frazier, and Sarah Clarke for a one-of-a-kind performance created just for Portland.

• Raúl Gómez-Rojas Conductor
• Portugal. The Man
• Oregon Symphony

This concert is part of the Special Concerts series, and is eligible for the Choose Your Own Series (Portland only).

Concert begins promptly at the time listed.

Plini brings the An Unnameable Desire North American Tour to Revolution Hall in Portland, joined by Night Verses and Portraits. The Australian instrumental progressive guitarist, composer, and producer is known worldwide for fluid playing, cinematic writing, and a boundary-blurring take on modern instrumental music. His third full-length, An Unnameable Desire, explores heavier and more experimental ideas while keeping the spacious, melodic touch at the heart of his work, and the set mixes new material with favorites from across his catalog. Night Verses, the Fullerton trio of Aric Improta, Nick DePirro, and Reilly Herrera, is recognized for high-intensity performances and inventive songwriting. Early releases like Out Of The Sky introduced a fusion of prog, alt metal, post rock, and ambient electronic elements, and the instrumental album From The Gallery Of Sleep earned wide acclaim. Their latest, Every Sound Has a Color in the Valley of Night, extends that trajectory, bolstered by millions of streams and consistent praise. Portraits rounds out the bill with progressive instrumental sounds. The project features Joshua De LaVictoria and Joseph Anidjar, known online for virtuosic guitar work and endorsements from Abasi Concepts, Iconic Guitars, and Neural DSP. Based between Southern California and Montreal, they wrote, produced, and recorded their debut album BuyHigh over 2021 and 2022, released it in July, and have since drawn attention for distinctive aesthetics and composition. This event is open to all ages.

Tomorrow Theater is teaming up with MUBI for this screening of Eleanor Coppola’s Making Marie Antoinette, a lush, intimate documentary about Sofia Coppola creating Marie Antoinette. The mother-daughter duo began creating this documentary at the beginning of the COVID lockdown, and Sofia finished the film after her mother passed in 2024.

In 2005, Sofia Coppola shot her third feature film, Marie Antoinette, starring Kirsten Dunst and Jason Schwartzman, at the Palace of Versailles, securing unprecedented filming permission that had never before been granted to any production. Her mother, acclaimed documentarian Eleanor Coppola, accompanied her on set, capturing approximately eighty hours of footage chronicling her daughter’s journey throughout the making of the film. This year, on the occasion of the 20th anniversary of the release of Marie Antoinette and in fulfilment of her mother’s wish, Sofia Coppola reviewed that previously unseen material. Making Marie Antoinette explores the craftsmanship and care that brought the film to life, follows legendary costume designer Milena Canonero at work, and offers a glimpse into what it meant to be a young female director at that time. The result is a fascinating look at the creative process behind a landmark film and, at the same time, a surprisingly intimate family portrait.