Mariners Skip Macklemore’s Song During Seventh-Inning Stretch Following Controversial Comments
In their first home game since Macklemore's recent controversial comments, the Seattle Mariners made a notable change during the seventh-inning stretch, opting not to play the rapper’s hit song "Can't Hold Us," which has been a tradition for over two years.
The decision came after Macklemore faced backlash for shouting "F— America" at a Seattle event, the "Palestine Will Live Forever" festival at Seward Park, which was aimed at raising awareness and funds for Palestinian causes. The comments sparked widespread controversy, prompting local sports teams, including the Mariners, Kraken, and Sounders, to publicly condemn the remarks.
For Mariners fans, the shift may have been a welcome one. Before "Can't Hold Us" became a seventh-inning staple, the team traditionally played The Kingsmen's "Louie Louie," a fan-favorite for years. Many long-time supporters had expressed their preference for the classic song, criticizing the switch to Macklemore’s track when it was first introduced.
Friday night’s game against the Oakland A’s marked a break from the Macklemore tradition, with FOX 13 reporting that the Mariners opted to skip his song after the usual rendition of "Take Me Out to the Ballgame."
It remains unclear if this change will be permanent, but fans in attendance seemed to appreciate the return to the previous seventh-inning atmosphere, which many had missed since "Louie Louie" was replaced.
The Mariners have not yet issued a formal statement on whether Macklemore's song will be reinstated or if the team plans to continue the tradition without it moving forward. The Kraken and Sounders, who also expressed disapproval of the rapper’s remarks, have similarly distanced themselves from his music in recent events.
For now, the decision seems to signal a shift in response to the growing criticism surrounding Macklemore’s comments and the fanbase’s nostalgia for a classic stadium anthem.
(Source: FOX 13 Seattle)
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In their first home game since Macklemore's recent controversial comments, the Seattle Mariners made a notable change during the seventh-inning stretch, opting not to play the rapper’s hit song "Can't Hold Us," which has been a tradition for over two years.
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With a diverse array of genres everywhere from indie-pop to death rock, people interested in finding new local music need not go further than their nearest venue to discover their new favorite band. There are countless talented artists in the Seattle area, all of which deserve to be listened to and talked about. While this article can’t list them all, it will give you a head start on highlighting a few to get your feet on the ground.
Calling all festival goers to Portland rapper Aminé’s inaugural music festival, “The Best Day Ever”. This festival will take place August 10th through 11th at the McMenamins Edgefield Amphitheater in Troutdale, Oregon. Featuring a diverse mix of Hip Hop, Rap, R&B, and Dance/Electronic, this festival won’t be one to miss.
While the album’s production and performances are nothing short of incredible, his album received a significant boost in popularity after a viral appearance on Jimmy Kimmel. Imperfections, like his cracked voice and slightly out-of-tune guitar, enhance the potency of his performance. Amidst the backdrop of moody lighting, the haunting melody of a soprano saxophone adds to the surreal, ethereal ambiance. Fans cite this as their favorite rendition of the song, by far.
Kendrick Lamar fires back at Drake's diss tracks with "Euphoria," addressing their feud head-on. Lamar brings up Drake’s use of AI Tupac, calls him dishonest, and mentions J. Cole, Pusha T. He goes in hard, and there’s a rumored 19-minute unreleased version of the track. Kendrick really hates this guy. The response has garnered praise from Jay Rock and Punch, while Metro Boomin indirectly acknowledges it.
"A Letter From A Friend" feels like an intimate conversation, woven with a warmth that only comes from experience. Across the album, Beck shares his personal reflections, offering a glimpse into nearly a decade of his life. The album isn’t overly dramatic; instead, it’s grounded in the quiet moments of everyday existence. The acoustic-driven sound, organic and unpretentious, creates an atmosphere where each song feels like a slow, deliberate exchange of thoughts—familiar, yet meaningful.
The Mortal Prophets' latest EP The American Junkie Show arrives with a sharp, timely focus on the turbulence of contemporary American life. Led by frontman John Beckmann, the EP centers around its standout feature—a seven-minute opus, also titled The American Junkie Show. This ambitious composition seamlessly intertwines two tracks, "American Junkie" and "An American Scene," delivering an unflinching critique of the country's socio-political climate, perfectly timed amidst a charged election season.
The Heroic Enthusiasts’ latest EP, Wake Me When It's Over, is a two-track release that expertly bridges 80s New Wave with contemporary electronic textures. Produced by Stephen Hague, a legend behind artists like New Order and Erasure, the New York duo of James Tabbi and Thomas Ferrara bring their Brit-pop and post-punk influences to life with precision and emotional depth.
Kylie Rothfield’s latest single, Never Loved Somebody, takes indie pop and infuses it with the timeless feel of 70s soft rock, a combination that feels as refreshing as it is emotionally evocative. Co-written and produced with Eric “Potz” Potapenko, the track is crafted with the intimacy of a home studio yet manages to capture the energy and polish of a live band performance.
With ICNCLST/, John Beckmann of Mortal Prophets continues his sonic exploration into the depths of the American psyche, following the striking blues-infused Dealey Plaza Blues with an equally captivating and experimental EP. This 7-song project, produced by David Sisko and mastered by Mike Tucci, infuses Beckmann’s penchant for rock-tinged pop with swirling psychedelia, creating a dreamlike atmosphere that is both haunting and engaging. ICNCLST/ feels like the soundtrack to a heat-soaked, late-summer dream, tinged with an ever-present sense of unease.
Rusty Reid’s Head to Heart feels like a personal manifesto, wrapped in folk-country charm, and delivered with the reflective wisdom of a troubadour who’s been around long enough to offer genuine insight. With its remix released in 2024, this album presents a more polished sound, inviting listeners to engage with its philosophical depth while enjoying the enhanced clarity and smoothness of its production. The title track, "Head to Heart," embodies the heart of this project—both musically and thematically.
Lolita Terrorist Sounds' latest release, “Living-in-glory,” feels like a meditation on tension—personal, political, and historical. The track, an avant-garde blend of drone, industrial clatter, and the unnerving intimacy of ASMR, doesn’t hold your hand through a narrative but instead invites you to sit with a strange discomfort. It’s unsettling and oddly hypnotic, a soundscape that is as much about the space between the notes as the tones themselves.
Tessa Lee’s “Mountains” is the kind of track that captures the restless spirit of adventure with an effortless charm. There’s something in the song’s laid-back, infectious energy that makes it feel like a soundtrack to a journey—whether you’re on the open road or simply daydreaming about being there. With riffs that stick in your head, a guitar solo that blazes through the mix, and sweet harmonies, it’s a song that feels light but carries just enough weight to linger.
Linda Sussman’s “Remember Dorothy” feels like a quiet anthem for today’s complex landscape. It's not loud, but it doesn’t need to be. The song, rooted in simple acoustic slide guitar and Sussman’s unvarnished vocals, speaks to the necessity of courage in the face of societal pressures. There’s a directness in her delivery that brings to mind the classic folk-blues era, where the music’s power lay in its message, not its embellishments.
Shaun Bartlett’s “I Threw A Stone – 2019 demo” carries a quiet confidence, wrapped in its simplicity. The track feels intimate, built around a soft piano progression and Bartlett’s calming vocal delivery. There’s something in the phrasing, the melody especially, that recalls the reflective tones of Coldplay, but it never feels derivative. Instead, it captures a certain universality in its approach to melody and space.
Citizens of Yeah!!!'s new single, "3 Little Piggies," offers an unexpected mix of angular guitars and sharp commentary on the rising cost of living in the UK. Led by Newcastle-based multi-instrumentalist Jonathan Womack, the track paints a stark, albeit playful, picture of a world where wolves loom large—both metaphorically and literally.
Attom Darcy Blvd’s debut single, "Let's Try Again," is a steady dive into the nostalgic heart of soul music, evoking the spirit of Etta James and Otis Redding. The track, set in a slow 6/8 time signature, builds itself around a bluesy ballad structure that lets its soulful foundation breathe.
Seattle’s music scene is no stranger to innovation, and Waltzerr is adding its own distinct voice to the mix. With their recent EP, the band isn’t just following indie rock traditions—they’re reshaping them. In this interview, we explore how they’ve crafted their sound, the intricacies of their recording process, and how Seattle’s vibrant music landscape shapes their work.