This weekend, while walking around Capitol Hill in the rain—my idea of meditation—I decided to see how many Cate Le Bon posters were tacked up between downtown and First Hill. I found one at Pike and Madison. That's it. I'm sure there are more, because one would be weird, but I didn't see any others.
The Control Group
I have no idea how much of a difference posters make, but if I'm enthusiastic about a musician, I hope to see a few along my travels. If they do make a difference, then Bradford Cox will surely reap the whirlwind, because there are Atlas Sound posters all over the place. And that's no diss; I like his music.
Then again, hundreds of posters within a four-block radius smacks of desperation and/or sloppiness (and that wasn't the case with Cox). Fortunately, it's not as if no one's paying attention to Le Bon: Dave Segal reviewed her album here and interviewed her here, Paste made this stream available, and KEXP booked a broadcast for Wed., Feb. 22, at 1pm (I also blogged about her here and here).
Then, she plays that night at The Crocodile with Charles Leo Gebhardt IV. I've listened to a lot of records since Jan. 1, and Le Bon's Cyrk is my favorite so far. I'm just hoping Seattle shows the Welsh singer the love she deserves when she comes through town. I always feel bad when a European artist, like Anika, ends up playing for a handful of people, no matter how appreciative. It's better than nothing, but it makes the city look bad and doesn't help pay the bills. And I'd love to see Cate Le Bon—and Anika—making more great music for years to come.
P.S. I recently heard from Branden Daniel & the Chics, the gents behind the Chic Shit campaign, and they confirm that postering does make a difference (look for their new record on May 8th).