Vocalist Charlie Drinkwater discusses the album's reflections on social media, misinformation, pandemics, gentrification, and fatherhood.
Grace Madigan reports on how Asian American musicians have been impacted and responded through their music..
George Mocharko reports on how smaller independent labels and venues feel about NFTs.
KEXP DJ Mike Ramos reports on the legacy of the breakdancing crew Massive Monkees.
In this episode, KEXP DJ Gabriel Teodros profiles Nasty Nes.
Neko Case speaks to KEXP about her newsletter "The Lung" and her relationship with nature.
KEXP’s Martin Douglas speaks to the Tacoma MC Bruce Leroy about his many places of employment.
Three musicians break down the stories behind their songs about Seattle.
Reporter George Mocharko looks at the manufacturing and supply chain issues that are delaying vinyl record pressing schedules by eight to nine months.
KEXP DJ Brian Foss shares his favorite non-traditional Christmas tunes spanning genres from garage rock to punk.
KEXP staff share their favorite music of 2021.
Ketamine treatment centers are opening all over Seattle. KEXP’s Rachel Stevens reports on how the treatments work.
Drew Pine reports on what it is about the Seattle area’s Vashon Island that attracts the creative type.
DakhaBrakha is a band from Ukraine whose live performance on KEXP from 2017 has garnered more than two million views on our YouTube channel.
Seattle’s Brittany Davis has released a debut EP on Pearl Jam Guitarist Stone Gossard’s label, Loosegroove Records.
On this episode, we get parenting advice from Inuk throat singer Tanya Tagaq.
Hollis Wong-Wear sits down with Larry Mizell Jr. to talk about her new album, moving to LA from Seattle, and more.
Frontman Patrick Haggerty shares the story of the Seattle-area band Lavender Country and explains why he shouldn’t be seen as an icon.
Emmy the Great talks about splitting her childhood between China and the UK and how she felt conflicted with her biracial identity.
The indie-pop trio MUNA talks about being an openly queer band since they started in 2014, and why they believe the conversation should go beyond “Representation.”
