Seattle Music Project

The Seattle Music Project (a photo exhibit in our Downtown Seattle Men’s Shop, featuring NW bands from the past 50 years) may be over—but you can still enjoy the spirit of it here at Men’s Shop Daily.

Before the exhibit started last month, we visited the local Seattle office of Gibson Guitar, who supplied instruments and amps to supplement the photos and band memorabilia in our store.

The Nashville-based company, founded in 1894, has localized ‘Entertainment Relations’ branches like this all over the globe. Their main purpose is to make sure touring bands are well-equipped with Gibson gear while on the road. (The back room is piled high with instruments awaiting repairs, with notes like ‘The Shins’ and ‘Dave Navarro’ scrawled in Sharpie on strips of duct tape on the cases.)

The space is also a showroom filled with cool guitars (by Gibson as well as the Gibson family of brands). Here are a few pics of our favorite eye-catching instruments:

Epiphone Slash Signature Les Paul
[Up top: Les Paul Limited Edition Piano]

Epiphone Firebird VII

Epiphone Sheraton II

Epiphone Nighthawk

Kramer Flying V

Les Paul Special

Epiphone Explorer

Another by Kramer (a subsidiary of Gibson)

Gibson Grace Potter Flying V

Gibson Explorer Pro

—  —  —

Besides supplying artists with Gibson gear, the satellite office also acts as a performance space for local events. (Silversun Pickups finished a set just minutes before we stopped by.)

Here are a couple ‘EndSession’ performances (sponsored by Seattle radio station 107.7 ‘The End’), featuring The Hives and Vampire Weekend, that the staff at Gibson recommended:


See more from the Seattle Music Project: Bands of the 1960s and 1970s
And, check out Gibson Seattle on Facebook


The Seattle Music Project, a photography exhibit in the Men’s Shop at our flagship Downtown Seattle store, is still open through this weekend.

[UPDATE: The exhibit has been extended through October.]

Although it encompasses Northwest musicians (and photographers) from the 1960s through today, the exhibit—featuring hundreds of photos, songs, posters, flyers, backstage passes and more—was curated by local photographer Lance Mercer, whose career came into focus during the early-’90s (don’t call it grunge) Seattle music scene.

We talked with Mercer about the exhibit, his inspirations, and why perfection—and politeness—are overrated.

[This photo, and photo of Pearl Jam’s Eddie Vedder above, © Lance Mercer.]

MEN’S SHOP DAILY: What was your role in the Seattle Music Project exhibit, and how did it all come about?

LANCE MERCER: “Pete Nordstrom and I had coffee last winter…He wanted to have a photo exhibit in the store [incorporating] Seattle music. It was more of a grunge, ’90s vibe at first, but I was really inspired by this photo by Jini Dellaccio, who’s a big hero of mine. She shot all the early garage stuff. I started looking at her photo of the Sonics, the very iconic shot of them on the beach, and the clothes they’re wearing are very pertinent to today: the Beatle boots, the Mod [look], the peacoats and parkas.

“So the idea became: Let’s cover the last five decades of Northwest music, as it relates to fashion. I mean, Nordstrom is a Seattle landmark. I used to hang out at the [Nordstrom] coffee shop in the ’80s, with guys from Pearl Jam, Mother Love Bone…Bands have shopped at Nordstrom forever. Even Ann and Nancy Wilson of Heart—they bought a lot of those clothes, like the whole gypsy look from their Little Queen era, at Nordstrom.

“Thanks to the Nordstrom creative team, we brainstormed and kept building on this idea—with ephemera, and music, and photography, and flyers—all this stuff. The process incorporated the things that I love: Music, photography, the people in Seattle, the connections I’ve made over the last 25-30 years—I was able to really put all those things to use. And man, I love going through people’s archives…That was kind of my job over the last six or seven months, just gathering and acquiring all this amazing content—and I love it.”

[Chris Cornell of Soundgarden, photo © Lance Mercer.]

MEN’S SHOP DAILY: How did you get started in photography?

LANCE MERCER: “I started going to shows when I was about 13. I was mainly going to punk shows, and the punk scene in Seattle at the time, around 1980 or ’81, was really small.

“The energy I was getting from those shows was something that I really latched onto, and one thing that really changed the course of my whole career path was the discovery of the Ramones, the Clash—and the photography that went along with it: Abrasive, not technically proficient, but very fitting [to that style of music]. I realized I didn’t have to be Ansel Adams to capture photography the way that I wanted to.

“The cover of London Calling by the Clash [photographed by Pennie Smith] had a huge impact on me—it was out of focus, it was just weird, but it captured the essence of that band. It’s very rare when that happens, when somebody can look at a photo and get that same feeling, like they were there.

“And when I was going to all these shows, that’s what I was trying to capture by taking photos: the feeling of being there. Still to this day, throughout my career, I’m still trying to capture that. I don’t think I’ve ever perfected it, and that’s one thing that keeps me going.”

[Photo © Lance Mercer.]

MEN’S SHOP DAILY: When did you realize that doing what you loved—shooting shows, hanging out with bands—could become a career?

LANCE MERCER: “Just continuing what I was already doing, I became friends with some of the guys in Green RiverMalfunkshun…and as they pursued their careers, I kind of just tagged along. As they gained notoriety and went on to Mother Love Bone, and eventually Pearl JamSoundgarden and all these things, I was kind of along for the ride.

“I would say it was definitely right place, right time, but also being pretty driven. I wanted to be Annie Leibovitz shooting the Stones, I wanted to be Robert Frank documenting people and events. It all kind of accumulated to being able to go on tour with Pearl Jam—just as a friend, and eventually becoming, for lack of a better term, their official photographer. That was ’91 or ’92, and I’ve been self-employed as a photographer ever since.”

[Photo © Charles Peterson.]

MEN’S SHOP DAILY: What makes Seattle a special place for music?

LANCE MERCER: “Since we were up here in the corner, and [touring bands] never came up here, we kind of created our own scene. There was some stuff here that was not happening anywhere else, and you could just kind of feel it. It’s been said, it’s cliche, but the weather definitely had a big influence on it—dark days, long winters, people locking themselves in the basement—and the music had that same vibe.

“Even the Sonics and the Wailers, and the old photos I’ve been looking at, are very representational of Seattle. It can be dark and gloomy here. Having traveled a lot, I know every scene has had their own experience based on where they’re from, and their own uniqueness—Athens, Minneapolis, there are very distinct sounds that come from there. And I think a lot of this kind of slowed-down, heavier music was a result of the vibe here in Seattle.”

[Photo © Charles Peterson.]

MEN’S SHOP DAILY: What’s been your most memorable music experience, as a fan?

LANCE MERCER: “Just being the impressionable teenager that I was, the Ramones at Eagles Auditorium, in like ’84. The DamnedTom Waits at the 5th Avenue Theater. Those are pretty unforgettable experiences.

“And Iggy Pop at the Showbox, way back in the day. Everything right now is really safe—thank you, and we’re glad to be here, and want to thank the promoter and all these people—but at that show, Iggy Pop came out and scared the crap out of me, to the point where I was frozen and couldn’t move, and had to stay and watch the rest to see what the hell was going to happen. Throwing the mic stand out, antagonizing the crowd. That danger level, I haven’t seen since—and I want that. It’s a feeling. It doesn’t have to make you feel good. So that really changed some perspective for me.”

[Photo © Charles Peterson.]

MEN’S SHOP DAILY: You’ve branched out over the years to many kinds of photography—but would you say shooting live shows is still your favorite?

LANCE MERCER: “Absolutely. I’m a little older, so I don’t have the physical capacity I used to. I mean you have to remember that shooting live back in the ’90s was like being a war photographer. I had the experience of being in punk clubs, being right up front, getting slammed around—but shooting festivals like Lollapalooza, or the Endfest, I mean—yeah, it was insane.

“But once that kind of synergy between the audience and the band ‘clicks’—people who play in bands know that feeling, and people who are at shows—it’s kind of unexplainable, and trying to capture it with photography is not easy. There’s nothing like it.”


: 1960s | 1970s

The Seattle Music Project
is an exhibit of photos and ephemera commemorating five decades of Northwest music. Curated by renowned local photographer Lance Mercer, the exhibit resides in the Men’s Shop of our Downtown Seattle store, now through the end of October.

[Additional photos above by Charles Peterson. Individuals featured do not endorse Nordstrom.]

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In honor of the Seattle Music Project, a photo exhibit on display in our flagship Seattle store, we’ll be highlighting iconic Northwest musicians from the past five decades. Today: punk rock and Farrah hair. (Read our previous post on Seattle music in the ’60s here.)

Text below by Charles R. Cross, excerpted from the exhibit.

photo by Andy Norton, courtesy of Anita Lillig

“Rick Smith played in a number of late-’70s, early-’80s Seattle bands, including this band, The Girls. His ripped jeans and shirtlessness would have also squarely placed him ten years later in the world of grunge. It was a style that also owed much to Iggy Pop of the Stooges, who was often cited as a huge influence by many Seattle bands of the day.”


photo by Peter Barnes

“The Enemy were one of the first local punk bands in the late ’70s. Loud, fast, and deadly serious—the blood is real—they played to tiny audiences at clubs like the Gorilla Room. Following early pioneers like Ze Whiz Kidz, whose cross-dressing pre-dated the New York Dolls, many Seattle bands in the era emphasized an androgynous look that challenged sexual stereotypes in fashion and music.”


photos by Tim Orden

“Lips were typical of many bands on the Northwest tavern circuit in the early ’80s. They dressed provocatively with a heavy emphasis on cleavage, tight spandex pants, and hairspray. It was a look that owed much to television’s Charlie’s Angels. Meredith Brooks, later to score a hit in 1997, is the woman with the guitar in the photo above.”


photo by Jeff Burger

“Ann and Nancy Wilson were two of the first women to front a hard rock band, and pioneers of music and style. This cover shot from the Bebe Le Strange album captured Ann whispering a secret to Nancy, which gave the photo an intimacy rarely seen in rock.”


{A selection of music by Northwest bands in the ’70s}:


The Seattle Music Project is an exhibit of photos and ephemera commemorating five decades of Northwest music. Curated by renowned local photographer Lance Mercer, the exhibit resides in the Men’s Shop of our Downtown Seattle store, now through the end of October.

[Songs, clockwise from top left, courtesy of K Records, Capitol/Mushroom Records, Restless Records, and King Tut Records. Individuals pictured do not endorse Nordstrom.]


In honor of the Seattle Music Project, a photo exhibit on display in our flagship Seattle store, we’ll be highlighting iconic Northwest musicians from the past five decades. Today: amped-up garage rock and melodic pop from the ’60s.

Text below by Charles R. Cross, excerpted from the exhibit.

photo by Jini Dellaccio

“Jini Dellaccio was a commercial photographer who photographed many of the classic bands from the ‘Louie Louie’ era. Her most memorable portraits were of the proto-punk band The Sonics, whose songs ‘The Witch’ and ‘Psycho’ would influence bands from the Sex Pistols to Nirvana. Dellaccio often shot her subjects in their street clothes in natural settings. This iconic photograph of the Sonics on a Gig Harbor beach, just below Dellaccio’s home, also captured a foggy winter day. Their clothes—peacoats, sweaters, and Beatle boots—were their own, a significant shift from earlier pop bands, who wore uniforms or matching stage outfits.”


photo by Jini Dellaccio

“Merrilee Rush and the Turnabouts scored one of the first top-ten hits by a Northwest act with the 1968 million-seller ‘Angel of the Morning.’ Jini Dellaccio photographed them in her yard, as she did many bands, by a reflective pool. The distinctive stage outfits worn by the Turnabouts were common for pop groups at the time, and taken out of the music context, they could just as easily have been the outfits of circus performers.”


photo by Jini Dellaccio

“Jini Dellaccio sought to capture bands in their element—backstage, onstage, or in rehearsal. This photograph of the Tacoma band The Wailers was taken from behind a tiny stage inside the Hudson’s Bay department store in Victoria, British Columbia. The two women were ‘fans,’ as the band recalls, though they may have been store employees on duty during the group’s appearance.”


The Seattle Music Project is an exhibit of photos and ephemera commemorating five decades of Northwest music. Curated by renowned local photographer Lance Mercer, the exhibit resides in the Men’s Shop of our Downtown Seattle store, now through the end of October.

All three photos above © Jini Dellaccio. View more of her work here: Jini Dellaccio Collection.

[Songs courtesy of Etiquette Records and Bell Records. Individuals pictured do not endorse Nordstrom.]