Let the Kids Dance!

We recorded this episode with Ben Gibbard and Lori LeFavor before a live audience at Easy Street Records in West Seattle on August 1, 2024.

Lori LeFavor is the most prolific all-ages concert promoter in Seattle--and perhaps the US. Starting from age 17 and over the next 30 years, Lori hosted more than 3,000 shows across the Northwest. Her home base during the 90s was RKCNDY, a much-loved all-ages venue where she hosted every major (and minor) band of the era. And she did it all as an independent, woman-owned business.

Ben Gibbard is the lead singer, songwriter and bandleader of Death Cab for Cutie and the Postal Service. Before he sold millions of records and toured the world with his bands, he started playing music and going to shows as a teenager growing up in Bremerton, WA, across the Puget Sound from Seattle. He's been an advocate for all-ages music ever since and remains one to this day.

At the turn of the 21st century, the TDO’s days are numbered. A generational shift puts a new era within sight. The closest mayoral election in Seattle's history will decide the fate of all-ages music. But even with a win, the creative community will face new economic pressures as old Seattle gives way to modern gentrification. 

After 15 long years of the TDO, public opinion is shifting. Local alternative media starts covering the fight for all-ages music. Rock stars join activists in musical flash mobs to protest at city council meetings and community forums. And for the first time, a new slate of elected leaders recognizes the law's overreach.  

The TDO made it impossible for venue owners to turn a profit while hosting all-ages shows. But the law contained a few exceptions, allowing concerts at nonprofit spaces and religious institutions. Savvy promoters take full advantage. In the latter half of the 90s, two all-ages venues sent a lifeline to the all-ages community by hosting unforgettable shows, leading to dramatically different results. 

Seattle’s homegrown hip-hop scene is born from DJ-led dance parties put on by school-aged kids for their friends in backyards, rec halls and community centers. With the arrival of the TDO, these events draw scrutiny from Seattle police, who seem particularly intent on interfering with—and extorting—Black culture. But hip-hop finds a way to thrive, and soon Seattle artists are playing underground shows, building community and blowing up.