“Singers and Musicians are beings who have tasted life’s nectar in that crystal moment when they poured out their creative spirit and touched another’s heart. In that instant, they were as close to magic, God, and perfection as anyone could ever be.” (Los Angeles Times critic, David Ackert)
Earlier this month I had the opportunity to see two very different but equally dynamic pop stars in the making. Bellingham, Washington’s own Veronica North and about whom I’ve written previously, and Morgan McHugh, also a Bellingham native who now calls Boulder, Colorado home, both gave stand out performances irrefutably confirming the musical riches of this little Pacific Northwest city.
Bellingham’s distinctive musical history goes back to the Summer of Love when Haight-Ashbury’s Merry Pranksters traveled to nearby Fairhaven to welcome the Jefferson Airplane. Allen “Howl” Ginsberg and Ken “Cuckoo’s Nest” Kesey emceed the show. Local band, Safety Patrol, opened the concert on May 26, 1967 at Western Washington State College’s (WWSC) Carver Gymnasium where, in violation of the rules, the Airplane exhorted the seated audience to get up and dance. As a result, Bellingham had its very own ‘Dirty Dancing’ moment prompting countless outraged letters to the editor and editorial page condemnations.
Over time, musical focus shifted to downtown Bellingham, tempers cooled and townie attitudes loosened, leading to an arts revival. Today, the city’s two larger venues, Wild Buffalo and Mt. Baker Theatre, host major touring acts. Smaller venues like the New Prospect Theatre, The Shakedown, and the Blue Room, host international, regional, and local artists. Finally, countless bars, breweries, and listening rooms (Aslan Brewing, Karate Church, Oddfellows Temple) provide additional opportunities for local musicians to practice their performance chops. Music and arts festivals flourish throughout the year.
Last weekend, Veronica headlined The Shakedown’s stage and Morgan opened for Noah Gundersen at the Wild Buffalo. Though both are relatively young by Bellingham musical alumni standards (e.g., Ben Gibbard and Death Cab For Cutie, the Posies, and ODESZA), they nonetheless project the self-assuredness and musical chops of performance veterans. Though they may still be considered local artists, 2026 appears to be a breakout year for both as they continue to expand their reach.
Since the first time I saw Veronica perform (solo, in an ice cream shop), she’s reconfigured and streamlined her backing band, with stunning results. No longer relying on a back-up singer to augment vocals has forced her singing to take on a more powerful role-a task she accomplished with gusto. Secondly, the band is tight, locking into the groove early on thanks to musical director and lead guitarist Andy Klassen’s increased onstage role. Together, Veronica and Andy have built a fierce and loyal Bellingham following, playing shows whenever possible and deftly employing social media to keep fans informed of new recordings and upcoming shows. 2026 will see an expansion of her musical reach playing Seattle next month, and Brooklyn, New York this summer.
In contrast to Ms. North’s pop-singer inspired music (think Hayley Williams, Chappel Roan, Gaga or Taylor), Morgan McHugh’s subtle story-telling approach echoes Nebraska-era Springsteen and singer-songwriter Joe Pug, with nods, of course, to Dylan and Young. Opening for Noah Gundersen at the Wild Buffalo, Morgan’s warmly received set featured a lovely, wistful duet with violinist Abby Gundersen. Unlike with most openers, however, the packed house paid rapt attention to McHugh’s musical tales, not a loud audience talker to be found.
I don’t need to remind readers how important local venues, large and small, are to cultivating and providing performance opportunities to local artists. Photographing and writing about local musicians since my Washington, DC days has provided insights to the unique challenges they face. I remember one spirited rant from a local musician I interviewed several years ago lamenting how single ownership of multiple venues limited performance opportunities for local acts, instead favoring larger touring bands with greater name recognition to bring in more revenue. If new artists were to rely on streaming services and open mic nights, they would never manage to make a living at their craft.
Artists early in their musical journeys will always face daunting economic challenges, but the availability of performance spaces is critical to their growth, creatively and financially. Bellingham’s diversity of venues supports the notion of listening rooms as musical incubators, that tomorrow’s superstars must all initially labor in obscurity, playing for family and friends as they gain onstage experience and grow their audiences. For artists like Morgan and Veronica, local venues are their lifeblood and career stepping-stones, no matter how “successful” they ultimately become.
(All photographs @Mark Caicedo/PuraVida Photography)
Beautiful work as always, Mark, and very timely about the economic struggles artists are facing now. It's a brutal world out there for musicians.
Echoing your words on the importance of small venues that give artists a chance to build their craft. I remember playing various small venues in Vancouver and Bellingham when I started years ago. Equally important is the coverage that you are giving these artists as they build their presence in the music world. Kudos to you and your awesome work!