Two Indie Music Masters and The Nowhere Inn

Written by Andreas Babiolakis


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A year after its Sundance Film Festival debut (and nearly two years by the time it finally comes out in September), the world will finally get The Nowhere Inn: an off-the-walls mockumentary where a documentation of the music world becomes something completely else. While I’m a little indifferent on the film itself, I am beyond excited to see two of indie rock’s guitar virtuosos doing their thing (let’s also not forget their singing talents and phenomenal songwriting capabilities, either). The Nowhere Inn looks okay, but I’m completely invested in at least seeing it once, just because of the two creative spirits that co-wrote and star in this Bill Benz flick. Of course, let’s finally get to the two stars: Carrie Brownstein and Annie Clark, who are real life best friends.

Brownstein goes way back to the ‘90s as one of the songwriters and guitarists for Olympia outfit Sleater-Kinney, next to Corin Tucker; their classic lineup was complete with Janet Weiss, who was in the band from 1996 until 2019. Some of my all time favourite songs and albums are by these riot grrrl, punk rock legends (Dig Me Out and One Beat being notable examples, amongst others). The band are renown for their stage performances, including Brownstein, who feels like the reincarnation of a Pete Townshend of sorts. Being a presence is just in Brownstein’s blood, and she would showcase these talents on screen by the new millennium. She specialized in comedy with her signature brand of awkward, silent gazes and humanistically uncomfortable responses to quirky scenarios. This would land her guest spots on classic shows like Curb Your Enthusiasm, but it would eventually lead to her own major television vehicle Portlandia: a sketch show that combines the idiosyncrasies of the Oregon city and whatever interesting ideas her and collaborator Fred Armisen saw fit. She is presently working on her cinematic directorial debut with Fairy Godmother.

Then there’s Annie Clark, otherwise known as St. Vincent, whose guitar-branded indie lullabies (and jams) have been at the forefront of the genre since the mid 2000’s. Her connection to visual entertainment is undeniable, with her debut Marry Me being named after Maeby Fünke’s quick retort from Arrested Development. During her self titled album cycle, Clark underwent a drastic change in character, with her pearl-white locks and futuristic attire allowing her to channel her inner David Bowie, Prince, Grace Jones, and any other musical icon that created alter egos. Musically, she is mightily adaptable as well; she is known for her solo performances of “Dig a Pony” by The Beatles, her “Lithium” blitz with the remaining Nirvana members for their Rock and Roll Hall of Fame induction, and numerous other online playings (ranging from Pantera and Tool to much lighter melodies). Her latest album, Daddy’s Home, shows yet another evolution: Clark has gone full-on ‘70s funk and soul, and this time she is in era-appropriate wardrobes and bleach-blonde hair.

Brownstein and Clark began their professional careers together when the latter produced the 2019 Sleater-Kinney album The Center Won’t Hold, but it was only destiny that they would work on something visual; perhaps a narrative of some sort. Lo and behold, there’s the partnership of The Nowhere Inn, which reflects both artists’ different — and similar — styles. Brownstein loved poking fun at reality on Portlandia, where a number of celebrity cameos resulted in these players mocking themselves to varying degrees; there are also all of the instances of relatability Brownstein and Armisen point out in many of the sketches. Clark opts for something a little darker, which you can often find in her lyrics. Musically, her genre bending ways make a perfect case as to why The Nowhere Inn makes these drastic shifts. In short, both women seem like they had the time of their creative lives writing and starring in a vehicle like this. Again, I’m not sure how great it looks, but knowing the years of history that converged at this point at least has me intrigued enough to see what they came up with. Hey, no matter The Nowhere Inn ends up, maybe this will allow for more collaborations between two of the finest rock musicians of our time (who moonlight as storytelling chameleon-comediennes in their spare time).

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Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.