So Many People In The Neighborhood: Gene Ween @ Royal Records [Seattle]

There’s plenty to critique about this city and its ongoing descent into an unlivable hellscape, but one thing Seattle has going for it is a plethora of record stores. I’m beginning to notice a connection between the increased murder rate in my neighborhood, junkies smoking fentanyl across the street from my kid’s middle school, and the skyrocketing cost of living and all the new shops opening over the last handful of years. As the town decays these things sprout up like 2Pac‘s proverbial rose in concrete. Behind every one of these vinyl retailers are individuals with dreams to create something that is, in many ways, in opposition to the trendy little bistros, tech-bro douchery, and sterile Minecraft condos that continue to infiltrate the Emerald City. Their numbers may seem excessive, but each new store has its niche and offers something unique. Day Break Records is great for hard-to-find deep cuts, while Fat Cat Records has a laidback family business vibe. Hex Enduction Records & Books provides a respectable boost of counter-culture that was absent in the Lake City area and, more recently, Nellis Records opened in the location of the former Lo-Fi Performance Gallery. The latter is part of a collective project sharing space alongside the resurrected all-ages venue, Black Lodge, and the relocated low-power FM community station, Hollow Earth Radio, that I used to host my radio show on. What I’ve come to appreciate more and more is how many of these shops are so community-minded and supportive of one another. Nowhere is this more reflected than in the story of Royal Records, which just reopened on Record Store Day with the holy grail of in-store performances by none other than Aaron “Gene Ween” Freeman.

WEEN was originally scheduled to perform in Nashville on 4/20, but, as I covered in a previous post, the band’s April dates were canceled so that Freeman‘s partner in crime, Mickey “Dean Ween” Melchiondo can focus on his “mental and spiritual wellbeing.” For those who had tickets to that show, discovering that Gener played in Seattle could stoke some understandable FOMO, but the online reactions to the news have been overwhelmingly positive. Unfortunately, that doesn’t mean we haven’t seen a few stray individuals injecting bizarre narratives into the mix. Among these baseless takes is the claim that the entire idea of the show was “sad,” implying that Aaron must be on hard times and is now forced to do in-store appearances. Another is that, because he looks so healthy and happy, he must be going solo and canceling all future WEEN dates. Important to note is that none of the individuals making these assumptions were at the show and those of us who were there experienced nothing but good energy and optimism. I’ve recently been in contact with Royal-founder, Tyler Mitchell, who was behind the event. Referencing the WEEN frontman, he stated, “I can tell you he had a very positive experience and fun time. He’s looking forward to the PNW tour too.”

Searching for larger meaning in this seemingly innocuous event isn’t completely unwarranted; there is a story here, but it’s an uplifting one that extends beyond WEEN or its fanbase. While the struggles overcome by Freeman and his band have been well-documented, Mitchell and his partner, Hans Fluegel endured a challenging path of their own in the process of opening the shop that Aaron would eventually perform in.

Royal Records was born from the ashes of Everyday Music where Tyler and Fluegel had worked for 8 and 16 years, respectively. Due to the financial impact of the pandemic, Everyday owner, Scott Kuzma announced its closure in early 2021, delivering another blow to employees who had recently lost their co-worker, Elijah Nelson. A beloved local figure, Nelson was the bassist for the celebrated death metal outfit, Black Breath, and had worked at the shop for 10 years. Kuzma expressed genuine concern for his employees around the closure, so this isn’t a knock at him, but it seemed clear to me that those employees are what made Everyday what it was. I’ve visited EM‘s 2 sister locations — the uninviting flagship store in Portland and the chill one in Bellingham that bewilderingly didn’t sleeve their used vinyl and was shuttered by Kuzma‘s wife after he died in 2022 — and the Seattle spot had a much different vibe to it. It’s that energy and community that Hans and Tyler sought to keep alive when they moved forward with their own shop.

Through each step toward their dream of a new brick-and-mortar, two themes that surfaced repeatedly were community and WEEN. The first thing I remember seeing was an Instagram account they started under the name of “Almost Everyday.” I believe that I was alerted to its existence through the vocal support of folks like K of Den Tapes and Sonic Boom Records. On a GoFundMe set up to help finance the venture, Hans referred to Tyler as “EM’s resident movie/Ween expert,” and expressed a mission to “support local artists and labels who need our help as we move out from the pandemic.” The photo of the business partners that was used in their crowdfunding and local news coverage was taken at the Light In The Attic Record Shop and was, most likely, shot by its former manager, Brad Tilbe, who currently owns Nellis Records and, coincidentally, wrote a piece for this very site 11 years ago. Royal‘s location in the lower Queene Anne neighborhood is a reminder of shops like Tower Records, Silver Platters, and Easy Street that left the area years ago. In a video announcing their opening day (October 9, 2021), a vinyl copy of Pure Guava was prominently displayed behind Tyler and, once the doors eventually opened, there was more than one WEEN concert print adorning the walls.

Record Store Day marked the grand opening of a brand-new space for Royal. Two doors down from its previous location, this one is much larger, with nice big windows, and a stage in the back, allowing them to carry on Everyday Music‘s tradition of hosting multiple live acts every RSD. The inclusion of a limited edition Black Breath vinyl box set on this year’s list of official RSD titles only made things that much more special. The stars were aligning. 

None of this was on my mind when I strolled into the shop wearing a Boognish hat, let alone did I expect to see Gene Ween on that stage a few hours later. Tyler came up to me, told me that he was glad that I made it in, and asked, “Do you know about anything?” Since I’d only ever spoken to him about WEEN, I assumed he was asking if I had any inside scoops about the band. My sources have mostly dried up, so I told him, “I don’t know about anything.” He then asked if I was going to be there at 4:20, while making sure that I knew that I needed to be there at 4:20. I responded that I had to go pick up my wife, so he said, “Yeah. Peace out for a bit, but be back here at 4:20. Be here at 4:15.” I told him I’d be back at 4:13.

The whole thing was super fucking cryptic, but I noticed that the schedule on their Instagram and the flyer outside the shop listed a “surprise special guest” doing a “surprise performance” at 4:20. The last time I’d been in we discussed how Freeman supposedly lived in the area, but that felt almost unrealistic. I didn’t want to get ahead of myself, but I drove home and grabbed my camera, just in case. We returned with more than an hour to spare. Even if Gener wasn’t the surprise, Mitchell seemed excited about it. Worst case scenario, I’d shoot some photos of whatever it was to send to him later.

View this post on Instagram

A post shared by Chris Thompson (@christophersthompson)

We posted up on the right side of the stage and waited while a DJ spun French house music. On the wall was a painting of Elijah Nelson as a sasquatch strolling through the forest while holding a guitar case in one hand and a case of Ranier in the other. It was a commission piece by Christopher Thompson, best known for painting the Little People cover art on Sunny Day Real Estate‘s Diary album.

The shop was busy, but more like grand opening busy than “Gene Ween is about to play a show in here” busy. I noticed our old neighbor Dave Ramm from the band Wimps had shown up. Tyler was setting up a pair of mic stands; one at a good height for an acoustic guitar. That looked promising. Travis Ritter walked over from the Light In The Attic Record Shop that he’s been doing an amazing job taking over. He came up to me with a mischievous smile and told me that he liked my hat. I’d have taken that as confirmation, if he hadn’t complimented my MF DOOM and Hieroglyphics hats the last two times I’d seen him. I noticed a couple with their children on the other side of the stage. They looked giddy while discussing something and motioning over in my direction. Were they looking at me? Was it my hat? The dad came over and was all smiles. “Do you know who’s coming out?” he asked. “I have my guess,” I responded. He assured me that I was going to be happy before joking, “I told Tyler he better fucking show up.” That man turned out to be his uncle, who helped build the shelving in the shop.

When Tyler Mitchell stepped up to the mic to announce the “surprise special guest,” he began with a heartfelt message expressing appreciation for everyone who had helped and supported them along the way. This included his family who all seemed to be in attendance. He acknowledged Hans, who was manning the counter, and mentioned that, after 2 months, they were still getting the shop together until 2:30 that morning. Finally, he stated that “Elijah Nelson is the heart and soul of this place” and that their goal is “to make this place something that he would think is really rad.” Adding, “I think today is a big step towards that.” There was noticeable emotion in his voice when he professed, “I can’t believe I get to say these words,” before announcing “GENE WEEN!“

Aaron came out looking as healthy as I’ve seen him in the 2 1/2 decades since I’ve been old enough to attend his shows. Freeman disbanded WEEN in 2012, because of the unhealthy environment it posed for him as someone struggling with substance abuse. At the time, it was a controversial decision among fans and his band members alike, but it’s clear that he needed to break away and get clean. If he hadn’t the group would have, most likely, permanently dissolved, or he wouldn’t still be alive. Instead, WEEN managed to reform in 2016 and has continued touring since. Gener‘s brave decision to leave is what ultimately saved the band and himself. Likewise, Mickey‘s current decision to focus on his mental health should be viewed through a similar lens. Gene and Dean were kids when they formed WEEN 40 years ago, so they never had the chance to assess who they were outside of that life or those identities. These steps are both necessary and positive. We’ve seen Freeman‘s weight fluctuate drastically in the past and thin doesn’t always equate to healthy, but on Saturday, he looked like he could run a marathon. I was standing only a couple of feet away from him and he was radiating. To see him make it to where he’s at is nothing short of an inspiration. It’s the sort of example that empowers people dealing with similar struggles of their own.

Gene started things off with a casual, “Hey, what’s going on guys?” Announcing that he was, “gonna play a few songs” he added, “I live here, so I just drove up.” The first tune was “Don’t Shit Where You Eat” from the Chocolate & Cheese LP, which WEEN will celebrate with a 30th anniversary show in September. With a subtle laugh, he confessed, “I’m a little nervous,” as he followed up with “She Wanted To Leave,” from The Mollusk. It’s been 9 years since his last solo gig, and I can’t imagine the environment was as intimate as this one. He knocked out “Bananas & Blow” [White Pepper] and went into “The Mollusk,” introducing it as a song that he sings “for the Puget Sound, when [he’s] down there hanging out.” Next were the White Pepper tracks, “Stay Forever” and “Back To Basom” which he referred to as “a good 4/20 song.” He then treated us to the Quebec outtake, “Ooh Va La,” before finishing things off with the Pure Guava cuts “Don’t Get 2 Close (2 My Fantasy)” and “Push Th’ Little Daisies.” The physical setlist had “Your Party” added to the bottom with a pair of asterisks next to it, but he must have run out of time.

During his set, I kept wondering if anyone had recorded it. Fortunately, at least one person did. The video is shot vertically on a cell phone and I can be seen in-frame clacking away on my camera for most of it, but the entire half-hour show is captured here. Props to whoever made the effort to do this. You can check it out below.

There wasn’t a ton of banter during Freeman‘s set, but there was plenty of smiling. He looked happy and sounded great as a large flat screen generated scenic backdrops behind him. While the re-opening and Record Store Day festivities were well promoted, the fact that Gene Ween would be performing wasn’t exactly announced to the public. I’m sure there are mixed opinions about the decision to keep it under wraps and it’s probably something the guys at Royal debated themselves. As one of the lucky ones in attendance, it’s hard to be objective — it worked out for me. That said, I probably miss 90% of these sort of low-key events and am bummed out about it every time.

I can report that it was a very chill environment with kids scattered about. Nobody was shitfaced or screaming over the songs and it wasn’t packed to the gills, which I doubt would have been the case had the news gotten out. Most importantly, Aaron seemed comfortable and the performance reflects that. I still don’t know the full details of how Tyler got Gene Ween to appear other than he clearly must have reached out with enough sincerity and authenticity for Freeman to respond. My take is that Royal simply appreciated a musical hero’s willingness to participate in such a monumental event for them. They wanted to respect his generosity and ensure that he had a positive experience. [Don’t shit where you eat, my friend.]

I hadn’t planned on posting anything about the in-store until a few negative comments sparked my urge to provide some context. There’s a surplus of dark, evil shit going down on this planet and the moment something pure and beautiful finally happens, the doomy Schleprock goons start climbing out of the murk to raincloud everything. I’m not oblivious to this article rambling on, or that most of you only came for the photos and video. Sorry, Charlie. While you ARE here, I’m capitalizing on my opportunity to force-feed some positivity down your vile gullets. [Taste the waste, boy, taste the waste.]

It’s rare for me to write about anything with a local focus at the center of it. The truth is that, for the last 18 years that I’ve lived in the city proper, I’ve made minimal effort to integrate myself anywhere. I realize that the places I feel most welcomed and comfortable are record stores. Some of the greatest sense of community I’ve discovered stems from these establishments so often stereotyped as pretentious or non-inclusive. More often, they are run by individuals who love art and culture and live to share and discuss it. Royal is clear with their mission statement, but you’ll find similar stories around the city. Throughout the day, I would hear shops direct patrons to their “competitors” if they were looking for something they didn’t have in stock. Connor at Jive Time Records messaged to tell me he was watching the Gene Ween livestream and Jive Time‘s owner even created the logo for Hex Enduction. It’s refreshing to see mutual respect and support replace malicious competitiveness in an industry where it can be a miracle to even keep the doors open. If Gene Ween can take time to support the community, the least that I can do is strap on my jammy pac and scrawl out some observations about it. I’ve lived here a lot longer than he has.

As for what we should deduce from Gener‘s appearance and how it relates to the future of WEEN… who knows? Maybe it doesn’t matter. As Freeman once sang, we should be grateful he saved himself from himself, and, right now, we should be happy that Mickey is taking time to focus on whatever he needs to. Maybe when they reunite the whole operation won’t feel so fragile that the fanbase is half-waiting for it all to collapse again. 

Since the breakup, there have been select instances when it felt like I was witnessing something truly significant. When WEEN hit the stage on night one of the Broomfield reunion run, a wave of euphoria rippled through the venue like some dormant magic had finally been reignited. Then there was night two of the 2018 Edgefield shows when Gene and Dean performed all by themselves during the encore. There was a sense that they were connected at that moment; a tender situation that served as a powerful reminder of their roots. The oneness.

The other example that comes to mind occurred in 2014 during the breakup. Aaron had dropped the Gene Ween pseudonym to release an album under the moniker “FREEMAN” and, when he brought his new project to Seattle, it was our first public view of him after the split. With his wife and child in the wings, the artist formerly known as Gener threw back cans of sparkling water, while making the 550-capacity Tractor Tavern feel like a full-on stadium show. His band was impressive and he was as great as ever. I could only assume that he was proving something to himself, as much as the rest of us. It was a genuine triumph.

Seeing Gene Ween at Royal Records felt similar to that Tractor show, not just because he brought a can of Polar Seltzer on stage with him. In the first pair of examples, I was comforted by the feeling that the band would be okay. At Royal and The Tractor, I found comfort in knowing that Aaron was. 10 years later and he’s still killing it on all fronts. To the large majority of fans whose primary concern is the well-being of both members, my advice is don’t sweat it. It’s gonna be alright.

My message to Hans and Tyler is one of appreciation. We planned to bounce after Gener, but the following band was so good that we stayed through their entire set. With a name like Mega Cat and Dave Dederer of Presidents Of The United States Of America on guitar, the last thing that I expected was funky instrumental spy jazz and afro-cuban grooves featuring keys, horns, and percussion. You crushed it for the reopening. Congratulations on the new space.

We had the best time at your party. The wife and I thank you very much.