The Crane Wives are “Beyond Beyond Beyond” Words
6.20.26 - Seattle, WA
Like so many indie artists who hit it big because of TikTok, the fanbase for the Crane Wives is immensely dedicated. For those not in the know, the Michigan-based band has been making music since the early 2010, with fan edits to their tracks being the spark to their explosive rise to fame. In fact, the Crane Wives' fanbase is so large, that rather than performing two shows at The Crocodile, a smaller 300 person capacity venue in Belltown, the band's second show was moved to the 1800 person capacity Showbox SoDo. I was lucky enough to attend the former, likely, more intimate show. But if that night's show at the Crocodile was any indication, the Showbox SoDo show the next day must have been deafening.
In standard Crocodile fashion, fans lining up for the venue typically circle its block. The key difference with the Crocodile is that it stands on top of one of Seattle's infamous hills, with any fans at the back of the line being forced to trudge over 100 feet of incline to see whoever is performing that day. Yet, every time I wait in line for a show at the Crocodile, fans oftentimes are so ecstatic to see their favorite artists perform that there's rarely a complaint about the long wait, the steep incline, or any trudging.
Fans of the Crane Wives fell into this same category. Dutifully waiting in line until the doors finally opened and immediately hitting the merch line. It was undoubtedly the longest merch line for a project I've ever seen at the Crocodile. But while these audience members were there to see the Crane Wives, they were insanely reverent and respectful for the band's opener, Yasmin Williams.
Yasmin Williams performs “Cliff Walk” at The Crocodile. Photo by Megan Lorich.
As Williams walked on stage, Dan Rickabus, drummer and backing vocalist of the Crane Wives, accompanied her. "We are totally honored to have Yasmin opening these shows," Rickabus began. "Nobody else is doing this out in the world. We encourage you to give her the same amount of dedication and attention as you would a headliner." This remark is definitely a kind one. We've discussed how opening acts don't receive their due previously here on the Music Box. However, Rickabus is also correct that no one else is performing the same way Williams is. In fact, I think that even if Rickabus had not gone out with Williams and asked the audience to politely listen, that the crowd at the Crocodile that night would have been enraptured.
Williams began her set with her song "Cliff Walk," only using her acoustic guitar. Her fingers looked like dancers across the fretboard as she plucked the strings. The speed and precision with which she played almost made it look like she was weaving the strings. As the song progressed, her fingers went up and up, strumming near the tops of the fretboards. Her style of playing created an almost Appalachian or bluegrass sound, which is very much in line with The Crane Wives' musical style. The best comparisons I could give to how Williams performed would be an old school banjo player absolutely tearing the house down or the loud raucous sound of a Shamisen during a Kabuki performance. It's absolutely mesmerizing.
The crowd roars throughout Williams' performance. It's the pinnacle of magic, so much so that when she finishes the track she says "I can tell this is gonna be a fun show. Y'all are so so hype. I need the energy!" She laughs and catches her breath before introducing the next track in her set list "Hummingbird." "This next song is really hard to play, but I'm going to do it because I can tell you guys are special…" Williams begins the song, her hands moving across her acoustic guitar with ease. The same magical feeling as the previous track enters the room, as the audience watches with baited breath before cheering and clapping in unison during various points of the song.
But halfway through, Williams proceeds to take her acoustic guitar and lays it across her lap. Rather than plucking the strings, she essentially taps the frets to play the notes. Obviously, picking is involved during this part of the piece, but it's a very interesting technique. While obviously these instruments require slightly different approaches, this part of her performance reminded me of the Guzheng players (a kind of Chinese over the lap Zither/harp) I would see as a child at New Year celebrations. It's a very precise form of finger picking, with Guzheng players often wearing fancy picks on their nails. From my view in the audience, I was unable to see if Williams was picking the strings of her acoustic guitar raw with her fingers, but based on the fact that she had begun the song with her guitar in an upright position, I believe that she did. This makes her performance all the more amazing and absolutely speaks to the raw technical skill she possesses. The crowd collectively loses their mind again and again and again, though Williams does eventually move the guitar into standard position to finish the piece.
As the crowd's applause dies down, Williams takes a moment to explain how she developed the technique she showed off on "Hummingbird." "I started playing guitar through the game Guitar Hero," Williams begins, making the crowd crack up and cheer. "I loved Guitar Hero, [Guitar Hero] 2 specifically, and Rock Band. So I taught myself how to play guitar by playing those games basically. When I was twelve I beat them. After I beat the game I begged my parents to buy me a guitar… and that's basically how I learned."
"When you get to expert level, the notes go really fast," Williams continued. "So I would lay [the guitar controller] in my lap and that's how I beat the game. When I got my actual guitar and tried out that trick, I sounded like crap at first," Williams laughed. "I call them karate chop harmonics. You can do like percussive stuff," Williams flourished with an example of rhythmic playing, hitting both the wood of the guitar itself and making ringing noises from higher up the fret board. "I hope I can inspire everyone to play the guitar, because I love the guitar, and hopefully by the end you will too." Williams has clearly inspired everyone in the audience. They are absolutely enraptured by her performance. Like Rickabus said when he introduced her at the top of the show, "Nobody else is doing [what Yasmin Williams] is doing out in the world."
Yasmin Williams performs “Through the Woods” at The Crocodile. Photo by Megan Lorich.
"I also love this instrument," Williams continued. "It's called a kalimba." To the audience's shock and awe, Williams tapes a kalimba onto her guitar. Somehow, she manages to play both the kalimba and her acoustic guitar at the same time during her next song, "Through the Woods." But the multitasking doesn't stop there, Williams is also wearing tap shoes. Though her tapping isn't as complex as Gene Kelly or Fred Astaire, Williams does little toe taps to the beat as she karate chops her guitar and plays her kalimba. This continues into her next song, "Guitka," which is the saddest track she's played so far. In her opinion, this track is the best example of the dynamic she's made of the kalimba matching the guitar. While the song does feel whimsical and light, its haunting kalimba introduction makes "Guitka" feel almost like a lullaby. The weaving of the kalimba with Williams' finger picking will soothe any listener.
"Y'all have been so sweet to play for," Williams says as the audience roars and cheers. "Give yourselves a round of applause," to which the audience obliges. Her final song of the night, "Restless Heart," is probably her favorite song (don't tell the others!). As Williams weaves together the final song of the night, the audience claps along to the beat. It's probably the only time I've ever seen an audience actually be in time while they clap along - perfectly on the two and four. Concert-goers manage to halt their hands as Williams performs a big finish, the crowd finding it within themselves not to roar until the final note is done ringing through the air. There are no words to describe how magical the moment was, how deafening, and how exhilarated everyone clearly felt.
Williams' set was a short thirty minutes, yet she perfectly ramped and warmed up the audience beyond belief. It's a testament to her capability as not just an artist or instrumentalist, but as a performer. There is only one other person I can think of who experiments with instrumentation the same way Williams does, and that's the one and only Bobby McFerrin. Many may consider McFerrin to be a one hit wonder, as they'll only know his ear worm "Don't Worry, Be Happy." But did you know that track is entirely acapella? Williams' use and experimental form of guitar playing is similar to McFerrin's control of his instrument - his voice. Like McFerrin is able to be a one-man barber shop quartet, Williams can become a one-man orchestra. Additionally, both artists have become mainstays of PBS, touring the classical music circuit. In fact, Williams has been an advocate for the Kennedy Center, expressing concern about recent changes made, particularly in regards to DEI rollbacks at the Center under the current presidential administration.
While there shouldn't be a real distinction between a "serious musician" and, well, an "un-serious" one, it's clear that Williams is making waves. Choosing her as an opener for The Crane Wives may seem unconventional, as from an outside perspective, some may think their musical stylings are too different or that they come from different worlds - the indie rock sphere versus prestige orchestral. But choosing Williams clearly was the right choice. She introduced the audience at The Crocodile to a spell-binding take on folk - a phrase I think many fans of The Crane Wives would use to describe their music. After the tough year Williams has had facing off against Richard Grenell, interim director of the Kennedy Center, I truly hope this tour has been a source of light in her life. She certainly brought light in the thirty minutes she was on the stage of The Crocodile.
But what about the main event? It's safe to say that The Crane Wives live up to their moody and witchy aesthetic. As the crowd lights dim for the main act, humming is heard from offstage. A performer in an antler mask and a large old-fashioned gas lantern walks onto the stage, staring over the audience. They promptly walk off. What does it mean? Will there be performance art? What's going o- …Is that "Unwritten" by Natasha Benningfield?
The crowd bursts into laughter as the beginning "Ah's" of "Unwritten" plays over the loud speakers. We manage to sing along through the first chorus before The Crane Wives take to the stage, clearly amused at how the concert goers are already singing along. Their set begins with "Arcturus Beaming," off their most recent album Beyond Beyond Beyond (2024). Emilee "Lee" Petersmark and Kate Pillsbury trade off vocals between songs, with the two of them easily swapping back and forth during this first track. Their voices blend so well, it's sometimes difficult to tell who is singing what and when. At the lyrics "Asking themselves what exists beyond, beyond, beyond, beyond," the crowd joins in all at once, each beyond growing in volume, with the crowd screaming in unison after. There's an incredible instrumental break towards the end of the track that goes absolutely crazy live, particularly with Rickabus' drum work. His banging on the toms stands out stark, with cymbals taking more of a backseat live than in the studio version of "Arcturus Beaming." From this very first song, it's clear that The Crane Wives are excellent at giving each band member their opportunity to shine, with an incredible balance between instrumental breaks and vocals. It's definitely a continuous thread throughout their music, but I think it definitely speaks to the band's ethos that this is presented at the very beginning of their show.
"You guys are like… right here," Pillsbury says as she catches her breath. She's right, The Crocodile can feel a little too close for comfort sometimes. "Gonna warn you guys up front, you're in the splash zone," she laughs, looking down at the audience members almost squished up to the stage. It's the intimacy of The Crocodile that really makes or breaks a show at the venue. The best shows I've seen at The Croc have always been ones where the crowd is invested, singing along and cheering for the artist on stage. That energy, of devotion and joy and exhilaration is what makes the stage so magical, and can make the indie venue go from feeling like the small 300 capacity crowd it is in reality to a roaring stadium show. From the get go, it's clear that The Crane Wives will be putting on a show that'll make The Crocodile turn into The Godzilla.
Emilee Petersmark shreds the guitar at The Crocodile. Photo by Megan Lorich.
Petersmark leads the band's next track, "Nobody." There's a post that makes the rounds on Tumblr begging for The Crane Wives, Hozier, and Mitski, to cover each others' respective songs titled "Nobody." Petersmark would be excellent at covering either the Hozier or the Mitski track, as The Crane Wives' version of "Nobody" is the perfect way for her to show off her vocal tricks. Her vocal runs match the imagery of the song's lyrics, spinning webs like a spider, just like the love interest of the song does in the track's first verse. For those in the know about vocal technique, Petersmark's voice is incredibly flexible - easily navigating between head and chest voice and blending as needed. The song feels like a walk in the park for her, though this doesn't take away from the emotion present in her voice as she sings about the song's love.
Her vocal runs match the imagery of the song's lyrics, spinning webs like a spider, just like the love interest of the song does in the track's first verse. For those in the know about vocal technique, Petersmark's voice is incredibly flexible - easily navigating between head and chest voice and blending as needed. The song feels like a walk in the park for her, though this doesn't take away from the emotion present in her voice as she sings about the song's love.
"We've been a band for quite a long time," Petersmark begins once the song ends. "We have quite a few studio albums, some old, some new, some stuff that isn't on studio records… I hope we play your favorite songs." With the crowd's reaction to "Allies or Enemies," it's very clear that Petersmark's hope is coming true. A newer track in The Crane Wives discography, "Allies or Enemies" still comfortably sits in their Spotify Top 10. It's no surprise that the crowd sings along, bouncing on their feet, as Pillsbury's vocals lead the way. It's an instant crowd pleaser and an easy track to sing-along to if you're in the crowd yet unfamiliar with the band. Rather than taking a break, the opening guitar riff of "Never Love an Anchor" begins right after the comedown of "Allies or Enemies." The opening notes send the crowd into a frenzy, with concert goers singing along right away yet again. The Crane Wives are masters when it comes to imagery, but parts of "Never Love an Anchor" are blunt. "I am selfish, I am broken, I am cruel. I am all the things they might have said to you." If the lyrics of "Never Love an Anchor" are the honest feelings and words of the song's protagonist, the way the crowd sings the "Oh's" over and over again. The crowd's rendition almost feels like wailing - a way for the song's protagonist to cry without actually featuring sobbing on the track. That's the music about live performance, the artists get to create art with their audience. "Thank you for singing with us," Petersmark says as the song concludes. "You guys sound so lovely."
"We're going to slow it down for this one," Pillsbury says before the band dives into "Pretty Little Things." As mentioned before, watching Pillsbury and Petersmark hop back and forth on vocals feels less like a ping-pong match and more like watching watercolors swirl together. While it was incredible to see the fan response to The Crane Wives up close and personal, the downside was that the crowd's singing covered up the beautiful way the two vocalists blended together live. Despite the slower nature of "Pretty Little Things," the track's breakdown is anthemic live. It's at this point in the song that the crowd almost overwhelms the vocals, with the track's heavy cymbals adding fuel to the fire. The folk roots of the band shine in its softer and slower moments - the howls on the chorus being an especially nice highlight. Despite my complaints about the crowd being a tad overwhelming during the live rendition of "Pretty Little Things," the message of the lyrics during the breakdown - when the crowd's reaction was at its peak - explains why this track hits so hard for so many. "Maybe you're right, and maybe I have been used up by another man's hungry hands. And maybe you're right, and maybe I have been ruined by another man after him. But maybe I'm the one who's right, maybe you will prove why women like me never fall for pretty little things." The Crane Wives have a fanbase made up largely by women and members of the LGBTQ+ community. The notion of asking for it, of being ruined, and spat on, are experiences that are unfortunately all too common for both communities. I am being a hypocrite. I also screamed along to these lyrics - furious, yet full of shame, somewhat self-deprecating like the lyrics themselves. The crowd howls, angry "ah-ooh, ah-ooh, ah-ooh." Maybe the fact that the crowd was so loud that you could barely hear Pillsbury and Petersmark is a new take on the art itself.
Petersmark takes a moment to talk about how the band's newfound popularity has influenced their lives. Beyond Beyond Beyond had a lot of momentum behind it, with the band working with a PR company for the first time and creating music videos. The band all nods as Petersmark talks about the difficulties and financial toll of being a touring musician - how much work and resources goes into putting on these shows. It's fitting that Petersmark gives this introduction before "Bitter Medicine," a song off the aforementioned album. As a whole, Beyond Beyond Beyond features more rock instrumentation and production than The Crane Wives' previous projects. While the band has played other songs off the album throughout the show, "Bitter Medicine" is the best example of this new sound. There's an epic guitar solo on the track, with Petersmark and Pillsbury trading not just vocal riffs back and forth, but now guitar licks. The next track on the setlist, "Turn out the Lights," returns to their folk roots. It's a smart way to balance both sounds and to cater to both new and old fans. The vocals were also difficult to hear during "Turn out the Lights," though this time it seemed to be more of a mixing issue rather than the crowd being excited.
Emilee Petersmark and Kate Pillsbury duel guitars on stage at The Crocodile. Photo by Megan Lorich.
Petersmark leads the next song, "Metaphor." Slinky and smooth, the "Ooh's" on this track feel almost southern gothic. Commenting on her background vocals, Pillsbury remarks that "it's funny to sing the ooh's on that song since I'm smiling. It's the wrong vowel shape!" she exclaims. "Y'all are awesome." "Black Hole Fantasy" feels almost like 2018 indie rock, with its surfy electric guitar reminding me of bands like Wallows and Lunar Vacation. The ironic dissonance of its upbeat instrumentation and disillusioned lyrics is also reminiscent of that sound - "If love is just a chemical reaction, is there a pill to take?" Pillsbury asks. In a way, the song is a spiritual successor to "Never Love an Anchor" - both songs angry with love. "And on the other side is another life. A version of me with a spark in her eyes that I don't have. And now she's laughing. And it's killing me that I cannot see what's making her laugh from where I'm standing." Phenomenal lyrics and artistry as usual, with those lines hitting particularly hard for me in the moment.
The song that crowns The Crane Wives' Spotify Top 10 is currently "The Moon Will Sing." With 30 million streams separating the track from its runner-up, "Curses," it seems that "The Moon Will Sing" will likely take this top spot forever. Like many others, this was the track that introduced me to The Crane Wives. It really is the perfect introductory song for the band, as it includes so many core tenants of the band's music that you can hear throughout their whole discography - vivid disillusioned lyrics about love, folk instrumentation, animal noises. The crowd howls back at Petersmark and Pillsbury when they do. If there's any song in the set that confirms that it's best to hear The Crane Wives live, it's "The Moon Will Sing." Petersmark isn't just a technically proficient vocalist, she knows how to put emotion in her voice. That may seem like a trainable skill, and to an extent it is, but you can tell when someone is born with that gift and when someone has worked to develop it. Hearing her live rendition of "The Moon Will Sing," it's clear she's in the former camp.
After the song concludes to thunderous applause, Petersmark takes the opportunity to talk about the difficulties and financial toll of being a touring musician - how much work and resources goes into putting on these shows. The rest of the band nods along as she expresses her gratitude: "We used to do this for no money." It's clear that the band would have made their art regardless of how much money they made, but any artist can tell you it's much easier to make art when you know you're financially stable. While Petersmark absolutely nailed the emotion in "The Moon Will Sing," Pillsbury showed her own chops in her rendition of "The Hand That Feeds." Rickabus' drums act as an anchor for the entire track, perfectly emphasizing the rawness of Pillsbury's vocals when the song hits its peak. "I may never be a rich man," Pillsbury practically screams. "But the rich man will never have me, never have me." Following Petersmark's remarks about the band's struggles, the track hits that much harder.
"Scars" has an ethereal opening, like fog settling in a valley, before its bassline sets up the trudging steady drag of the tune. It's yet another example of The Crane Wives having stellar songwriting with metaphors that both cut deep, but are simple to understand.
The band moves on to "Steady, Steady" after discussing their next show at the Showbox SoDo. Because the band's history is so long, there are underground tracks that they swap around from set to set. Pillsbury promises that the set at the Showbox SoDo will be slightly different than the one at The Crocodile and encourages the audience to attend if they can. But in the meantime, the crowd gets ramped up by the opening of "Steady, Steady." Pillsbury and Petersmark duel on their guitars like a spaghetti western standoff. The audience is absolutely enthralled, clapping on beat just like they did for Yasmin earlier in the show. A ramp up and a wind down, "Steady, Steady" has a fakeout that leads listeners to believe that the track should end earlier than it does. Its, well, steady outgoing bassline is also phenomenal.
Without hesitation, the band goes straight from "Steady, Steady" into "Curses." Pillsbury talks over the drums to remind the audience of each band member's name and to thank everyone profusely. "Curses" feels like being in a swanky underground speakeasy, even more so on the track's studio version which features woodwinds. It's a fun way to (supposedly) end the night.
The Crocodile welcomes The Crane Wives back on stage for their encore. Photo by Megan Lorich.
The band "leaves" the stage, but The Crocodile hungers for more, cheering loudly for an encore. When the band returns to the stage, Petersmark thanks the crowd this time with Pillsbury thanking and naming members of their touring crew. Rickabus punctuates each name with a hit of a drum from his kit, including Steve, who came out at the beginning of the show in the antler mask. The crowd chants his name over and over again until Steve runs out onto the stage to cheers. I can barely see over the crowd with all of the heart hands in the air. According to Pillsbury, Steve also helped out with a few of the guitar solos. Maybe he decides who wins the guitar duels. After all, another one is featured in the first song of the encore – "Queen of Nothing." A bit of a wildcard from the band, the track's introduction definitely feels more in line with their more recent indie rock stylings. The only thing I could think of throughout the track was how fun this show had been, how sad I was going to be that it was over. The best kind of show.
The first notes of "Sleeping Giants" instantly have the crowd jumping and clapping. It's a very bouncy tune, one that'll easily make your head bob up and down if your knees are too brittle to jump. Petersmark proves her vocal prowess again, absolutely murdering the vocal riffs all over the track. It's amazing to see an audience be so engaged, particularly when the song ends. "My pulse is clear, rushin' in my ears, I hear something calling me," the crowd sings along with the Petersmark and Pillsbury practically acapella. The acoustics of the room have everyone's voices pinging off the walls, almost like one voice in unison rather than a crowd of hundreds.
"Tongues & Teeth" concludes the night – probably the most recognizable track from the earlier half of The Crane Wives' catalog. If "The Moon Will Sing" is the defining track of The Crane Wives' new sound, "Tongues & Teeth" is the band's foundation. Folk instrumentation, disillusioned lyrics about love mixed with self-hatred - "I know that you mean so well but I am not a vessel for your good intent. I will only break your pretty things. I will only wring you dry of everything and if you're fine with that…".
With endless thanks, the band makes their way off the stage for the final time. Pillsbury makes sure to mention that both Petersmark and Rickabus have new solo projects out - multiple singles under the name Lee Emi and an album titled Ache in the Blooming respectively. Both are well worth a listen.
The Crane Wives have been a project for more than fifteen years, but only started getting their flowers within the last five. Sure, they had plenty of critical success even in their early days, but in terms of compensation, only the last few have really supported them financially. They've used their tour to support their touring staff, to showcase the genius that is Yasmin Williams, and to spread joy within their audience. They are nothing but grateful. It would be unfair to say that The Crane Wives are reinventing the wheel, but I do think it would be fair to say that they are introducing the wheel to a new audience. If an alien came to Earth and was in the crowd at The Crocodile that summer evening, I’m sure they would’ve thought that The Crane Wives were the most popular act on the planet. The band isn’t beloved simply because of what they stand for, but because of the quality and care they put into their artistry. It is toiling to be an artist. It is time consuming. It often times feels like a Sisyphean task. And yet, somehow, The Crane Wives persisted and have become one of the most exciting folk acts in the country. The band is proof that showing up for the art you love is worth it. Perform as boldly as you can — whether that’s to a crowd of none, a crowd of 300+ at The Crocodile, or a crowd that could hit 1800 like at the Showbox SoDo.
If you love stories, if you're a little hard on yourself, if you're a little too attached to your favorite characters – you will undoubtedly love The Crane Wives. As mentioned before, "Tongues & Teeth" and "The Moon Will Sing" are excellent gateways to their discography. Give the band a listen, but more importantly, if you're able to hear them live… go!
