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Happy 70th Birthday, Robert Hunter!

What a long, strange trip it's been indeed... June 23 marks lyricist, singer-songwriter, and poet Robert Hunter's 70th birthday. A long-time "member" of the band, Hunter first joined up with his old friend Jerry and the gang after penning the fantastical "China Cat Sunflower." He would go on to write countless lyrics for the majority of the band's original songs including the much-beloved "Dark Star," the all-time classic "Friend of the Devil," and of course, "Truckin'."

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Robert Hunter joined the Grateful Dead in the fall of 1967, when he arrived at a rehearsal just in time to write the first verse of the band's classic "Dark Star." Though he'd never play onstage, he became not only a genuine band member but its secret Ace in the hole. Though Bob Weir's words for "The Other One" would endure, most of the band's early verbal efforts would not; it was Hunter's work that would elevate their songs from ditties to rich, complete stories set to song. Hunter had fallen into the Dead's general scene in 1961 when he'd met Garcia in Palo Alto, and he'd played in several of Garcia's early bluegrass bands. But he'd always thought of himself as a writer -- probably a novelist -- and it was only in 1967 that he fulfilled his personal destiny, and enriched the Dead's. He's gone on to write several books of poetry, and is currently at work on a novel.

Robert Hunter turned 70 years old today, June 23rd, 2011.  Happy Birthday, Robert Hunter!

Gent Jazz Festival 2011 line-up is complete

The line-up for the 10th edition of Gent Jazz Festival (July 7th – 17th, Bijloke) is complete, with bands such as Sonny Rollins, Daniel Lanois’ Black Dub feat. Trixie Whitley & Brian Blade, Return to Forever IV, Angus & Julia Stone, Absynthe Minded, Morcheeba, Al Di Meola World Sinfonia feat. Gonzalo Rubalcaba, Randy Brecker/Bill Evans Soulbop Band feat. Medeski, Martin & Wood, Michel Portal Quintet, Agnes Obel, Red Snapper, Dave Holland Quintet, Al Foster/George Mraz Quartet feat. Fred Hersch, Terence Blanchard Quintet and Nouvelle  Vague.

The following bands have already been announced: B.B. King, Gotan Project, Raphael Saadiq, Mavis Staples, Jef Neve Trio and Sing The Truth with Angelique Kidjo, Dianne Reeves & Lizz Wright.

The 10th edition of the Gent Jazz Festival will begin on Thursday July 7th with none other than Sonny Rollins as the Special Nights’ headliner. This jazz legend had been on the festival’s wish list for a very long time and the birthday edition is an excellent occasion. His concert is preceded by the Michel Portal Quintet. The Nathan Daems Quintet, opens the Special Night after having won Young Jazz Talent 2010, the youth contest held yearly on the festival’s fringes.

On Friday the 8th of July, Al Di Meola World Sinfonia, together with special guest Gonzalo Rubalcaba will perform, with Dave Holland Quintet and Al Foster/George Mraz Quartet feat. Fred Hersch. The day’s opener is a coaching project in co-operation with University College Conservatory Ghent called Quartet dal Cuore feat. Paolo Ghetti.

July 9th is the festival’s first Saturday and a Special Night as well. B.B. King, Mavis Staples and the trio of Steven De Bruyn, Tony Gyselinck & Roland will be present.

On Sunday July 10th, the festival’s first four days will be concluded by Return to Forever IV Hymn of the 7th Galaxy Tour (an excellent band with Chick Corea, Stanley Clarke, Lenny White, Jean-Luc Ponty and Frank Gambale). The Belgian Rêve D’ Éléphant Orchestra will open before Terence Blanchard Quintet and Randy Brecker/Bill Evans Soulbop Band with Medeski, Martin & Wood.

Thursday July 14th three jazz queens will line up with Sing The Truth: Angelique Kidjo, Dianne Reeves & Lizz Wright continue the legacies of Miriam Makeba, Abbey Lincoln and Odetta. Three current icons will pay tribute to the women of song from the last generation. They will be preceded by Jef Neve and his trio and Philip Catherine Plays Cole Porter.

Both revelations Agnes Obel and Agnus & Julia Stone are on stage Friday July 15th. This day will be supplemented by local band  Absynthe Minded. It’s a day dedicated to bands currently breaking through internationally and striving to meet high expectations in the future.

Gent Jazz Festival announces Gotan Project who are electro-tango masters and a retro-funk musician Raphael Saadiq on July 16th. Nouvelle Vague will be the first group to play on the initial day of the Gentse Feesten.

Daniel Lanois’ Black Dub feat. Trixie Whitley & Brian Blade will play on the closing day, July 17th. The festival organization looks forward to this concert after having cancelled Daniel Lanois’ Black Dub last year due to a motorcycle accident. But we are looking forward to vocalist Trixie Whitley as well. Last year her performance won hearts and minds with a special project. Later that day groups include: BackBack which is a local band, Red Snapper and Morcheeba with frontwoman Skye in the original line-up.

The music contest ‘Young Jazz Talent Ghent, an initiative in co-operation Duvel-Moortgat brewery will take place at the festival grounds’ entrance. Free entry every time right before the first concert on the main stage.

New!

Thanks to the co-operation with the city museums in Ghent it is now possible to get free access to one of the 9 museums in Ghent using your Gent Jazz Festival Ticket as an admission ticket. A nice extra for festival visitors. Up until the end of August visitors can be introduced free of charge to the permanent collections from De Wereld Van Kina, Design Museum, Huis Van Alijn, Kunsthal St.-Pietersabdij, MIAT, MSK Gent, Museum Dr. Guislain, SMAK and STAM.

The tickets will obviously remain valid as transportation ticket on De Lijn busses or trams. De Lijn will take you for free, safe and without parking concerns to Gent Jazz Festival and back!

The new online platform will become active on 30.03, the platform will inform festival enthusiasts thoroughly about the festival and about other information such as website, facebook, blog… In the coming weeks the website will be expanded with an archive containing past editions, blog messages, actions and cool extras. Moreover, written and photo reports will be published on this platform during the festival.

Info: www.gentjazz.com. Tickets: gentjazz.com or Fnac. Day Ticket early bird rate: 35 Euro – Special Night early bird rate: 42 Euro – July 15th: 25 Euro. Festival pass early bird rate: 212 Euro (limited number, early bird action up until April 30th). 3day pass early bird rate: 79 Euro (early bird action up until April 30th). The sales channels will add a 3 Euro reservation cost per ticket or pass. The prices for buying tickets on the spot is presale rate + 7 Euro.

Digitalism Loves You, Dude! New Album Coming in June

With a new album ready to drop on June 21st, Digitalism is back in action with their latest record I Love You, Dude, following up 2007’s Idealism, an album described by Pitchfork as solidifying the Hamburg team as “the artists probably most dedicated of all to the idea of merging rock and electronic dance music” out of all their contemporaries aiming to get the indie rock kids on the dancefloor. If you were at a party at any point in the year that album dropped, you are familiar with Digitalism’s tunes as they were blasted out of every home stereo and club soundsystem across the globe from here to Australia.

Music lovers from an early age, Jens Moelle and Ismail ‘Isi’ Tuefekci worked in music before they were propelled into the limelight. They came together when Jens, working afternoons in Hamburg’s Underground Solution record shop, became friends with Isi, who worked at a vinyl distributor. The two quickly bonded over their love of vinyl and became a DJ tag team. They were soon using early CD-writers to burn their own edits, and in jokey tribute to Bob Sinclar’s Africanism All Stars project and to their own love of electronic dance music, they scribbled the word ‘Digitalism’ on the CDs to identify them for playing out. A band was born and their 2005 tune “Zdarlight” put them on the radar of a new network of young DJs across the globe pushing club culture in a heady rock direction.

Soon they’d honed a live show that became hugely in demand and took them all over the world, with firing tunes such as “Jupiter Room” and “Pogo” backing up the hype alongside remixes for Depeche Mode and Daft Punk. They toured the Idealism album for a couple of years and then went to ground, cutting back to a few DJ dates a month so they could concentrate on crafting I Love You, Dude in their Hamburg bunker studio.  The new album further serves their aim of getting everyone to dance with 10 tracks each of with their own vibrant identity, this is the sound of a band welding dancefloor pugilism onto crafted sonic sculpture. The band set the bar high for themselves, featuring tracks like  “Forrest Gump,” co-written with Strokes frontman Julian Casablancas, “Circles,” with its Who-ish keyboard and apparently existential lyrics, and stand out track “2 Hearts,” a curveball of a pop song.

US tour dates are on the horizon….

Jam In the Dam 2012 Festival Announced

All Good and Vision International present the return of Jam in the Dam: a multi-day, multi-room extravaganza held at the legendary Melkweg in Amsterdam, The Netherlands on March 14, 15 and 16, 2012.

Celebrating music in an intimate atmosphere, the sixth edition of Jam in the Dam features the music of moe., Mike Gordon (of Phish), Dark Star Orchestra (continuing the Grateful Dead concert experience) , Lotus and Keller Williams. Each artist will play extended sets all three nights in one of the two concert halls, all under one roof.  With this conjunction of musical stars, mind-blowing collaborations are just the beginning.

The music runs from 8:00 pm to 2:30 am.  This schedule allows fans to enjoy the wonders of Amsterdam by day and rock out by night. The city's rich cultural offerings include famous museums and art galleries such as the Van Gogh and Rijksmuseum; cozy pubs and café terraces; open-air markets and trendy boutiques; and of course the legendary coffee shops. This unique opportunity to combine the exploration of a world-class European city with the expansion of musical horizons is what makes Jam in the Dam an experience not to be missed.

Tickets are available starting March 24 at http://jaminthedam.missiontix.com at $225 Early Bird pricing, saving $60 off of the gate. In Europe, tickets will go on sale soon at http://www.ticketmaster.nl, and will be priced at 170 Euro for Early Bird.  Single night tickets are available in Europe for 60 Euro.

Travel packages including special perks will be available from CID Entertainment, including options for installment payments. Complete Jam in the Dam festival information and travel support is available online:

http://www.JamInTheDam.com - Official Website
http://www.facebook.com/JamInTheDam - Official Facebook Page

Iron & Wine @ the Boulder Theater | 06.04.11

97.3 KBCO & Z2 Entertainment are proud to present Iron & Wine at the Boulder Theater on Saturday, June 4th, 2011.

Over the course of his ten-year career, Iron & Wine’s Sam Beam has become one of today’s greatest story tellers, crafting meticulous tales full of forlorn love, religious imagery and wistful dreams.  It’s been more than three years since his last studio effort, The Shepherd’s Dog, which was widely praised by fans and critics alike. While Beam’s early albums were sparse, intimate solo affairs, Shepherd’s introduced layered textures and poly-rhythmic sounds that allowed his lyrics to spring to life. It’s only natural then, that Beam took this sonic collage and built upon it for his new album, Kiss Each Other Clean. The result is a brighter, more focused record that retains the idiosyncratic elements that make Iron & Wine such an engaging band.

Beam continued to mine folk, African, rock, country, and Jamaican musical traditions, but switched the focus of his studio lens to 60s and 70s pop influences for the Kiss Each Other Clean sessions. Mingling memories of his parents’ record collection and hits heard between the static of scanning the car radio on family drives for inspiration, Iron & Wine is once again pushed into new territory. Multi-part vocal arrangements reminiscent of Buckingham / Nicks era Fleetwood Mac albums and classic Motown singles permeate “Half Moon” and “Godless Brother.” Electronic synthesizer sounds percolate through “Monkeys Uptown” and “Glad Man Singing” recalling the adventures of Elton John and Stevie Wonder. The horn sections on “Big Burned Hand” and “Lazarus” match the confidence of Beam’s vocal delivery and bring an entirely new dimension to Iron & Wine. Kiss Each Other Clean’s dynamics and surprises are the latest chapter in Beam’s studio collaborations.

Producer Brian Deck returned for the Kiss Each Other Clean sessions, continuing the creative partnership that he and Beam have developed over the course of three albums. The comfort level and respect found between Deck and Beam allows for a unique working relationship where they push each other to experiment, while still letting the songs naturally evolve in the studio. The Shepherd’s touring rhythm section Matt Lux, Ben Massarella (Califone), and Chad Taylor (Chicago Underground Duo) arrived early for live recording of basic tracks at Chicago’s Engine Studios and overdubs continued for about a year. Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger and Sarah Simpson round out the other musicians brought into the sessions to complement and fully realize the songs on Kiss Each Other Clean.

Kiss Each Other Clean’s profound artistic statement continues to move the listener’s expectation forward with regard to what one can expect from Iron & Wine. Beam’s masterful storytelling and musical experimentation relies on the conflict from combining the happy and the sad, the heavy and the light, and creating an ongoing narrative between the artist and the listener. It’s the blending of all of these elements that allows Kiss Each Other Clean the versatility to paint a true portrait of life.

Kiss Each Other Clean was recently released on January 25th, 2011 on Warner Bros. Records.

For more information, visit www.ironandwine.com

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Tickets are on sale at Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone.

Tickets are also available through our website @ www.bouldertheater.com.

Tickets are On Sale Friday March 4th!

$32.50 adv / $35.00 dos

Lissie To Perform At Hiro Ballroom In NYC Tonight

Lissie, chosen by Vogue.com, Billboard.com, and Metromix as one of the top artists to see at the 2010 CMJ Music Marathon, is set to perform at her sold-out show tonight at Hiro Ballroom in New York, NY, following nine days of vocal rest. She will continue to be monitored by a doctor through tomorrow afternoon but is scheduled to hit the stage at 8pm. Eight postponed dates in Denver, Minneapolis, Rock Island (IL), Chicago, Toronto, Philadelphia, Washington (DC), and Boston will be rescheduled in early 2011.

Last week, Lissie's network television debut - taped October 7th at the Troubadour in Los Angeles - aired on Last Call with Carson Daly. In addition to current features in Relix and Blurt magazines, she was chosen as a 'Breaking Out' artist in SPIN's October issue. Lissie's debut full-length album, Catching A Tiger, was released in the U.S. August 17th via Fat Possum.

THE DEFINITIVE DAVE BRUBECK

Over the course of seven decades, Dave Brubeck has become one of the most iconic and influential figures in all of jazz. In that time, the pianist/composer/bandleader continually has defied conventions and preconceptions by grafting elements of numerous styles — classical, Latin, pop and more — into a solid and unwavering jazz foundation and creating a musical hybrid that still is deeply rooted in the jazz tradition. While his 1959 opus, Time Out, is considered a landmark recording, it represents only the tip of the iceberg that is Brubeck’s massive and enduring body of recorded work.

Concord Music Group provides a sweeping look at that body of work in The Definitive Dave Brubeck on Fantasy, Concord Jazz and Telarc. The ambitious two-disc collection — the latest in CMG’s ongoing Definitive series — assembles some of Brubeck’s earliest session work from the 1940s as well as some of his more recent recordings from the past few decades. The Definitive Dave Brubeck is set for release on November 16, 2010, in celebration of the music icon’s 90th birthday on December 6.

The collection’s comprehensive liner notes — written by music journalist and historian Ashley Kahn and based on a recent interview with Russell Gloyd, Brubeck’s manager/producer/conductor of more than 30 years — carefully parse out each of the 26 tracks in the set and the relationship between the two distinct periods represented on each disc. Disc 1 chronicles the Fantasy years, from the very beginning of Fantasy Records in the 1940s to the end of 1953, when Brubeck still was learning, absorbing, experimenting and recording mostly standards and other jazz repertoire — already proving himself to be a top-tier musician and bandleader. Disc 2 follows the artist from the 1980s to the early years of the 21st century, performing many of his own compositions, still exploring and creating vibrant music.

“The link between these two discs is one of consistency,” says Gloyd, producer of The Definitive Dave Brubeck collection. “Most of the elements of Disc 2 — melodic ideas and musical innovations, the choice of songs and sidemen — can be traced back to Disc 1, especially with the early Trio recordings.”

Regardless of where one lands on the continuum of Brubeck’s career, the exploratory nature of his approach to music remains constant. “Whether it’s his earliest recordings or his more recent releases, Brubeck is consistently probing, curious and inventive,” says Nick Phillips, Concord Music Group’s Vice President of Jazz and Catalog A&R and director of Concord’s Definitive series. “He’s a rare artist who has never put up barriers between genres. Here you have someone who was studying classical music and classical composition in a conservatory setting, but ultimately decided to become a jazz artist. That, however, didn’t mean he’d put up a wall between jazz and classical, or jazz and Latin, or what have you.”

As one example, Russell Gloyd cites Brubeck’s Trio recording of “How High the Moon”:  “Note that Dave cut this right at the height of bop but took it in a completely different direction, recording counterpoint for the first time and winding up closing in the style of a Bach chorale.”  Another example, more than three decades later, is Brubeck’s recording of “Take Five” live in the Soviet Union, in which he quotes the theme from the first movement of Shostakovich’s Fifth Symphony in his piano improvisation.

The juxtaposition of the early and recent recordings within a single collection highlights what Kahn calls the “scripted quality” to the Dave Brubeck story, “as if some master novelist sketched out the narrative in advance. There’s hardly a wasted step or a creative dead-end in his career; early decisions and musical forays consistently predicted or prepared Brubeck for what followed . . . To recognize this aspect of Brubeck’s career is to grasp the idea that serves as the foundation for this collection: the first time the earliest echoes of his musical genius have been combined with his best recordings of recent years.”  Indeed, it makes for a most fitting celebration of the 90th anniversary of the legendary artist’s birth.

On Monday, December 6th, Turner Classic Movies (TCM) will also celebrate Brubeck’s birthday with the premiere of Dave Brubeck: In His Own Sweet Way, a new documentary executive-produced by Clint Eastwood and narrated by TCM Essentials co-host Alec Baldwin. Directed by Bruce Ricker, the film features perceptive interviews with such well known luminaries as George Lucas, Sting, Wynton Marsalis and Bill Cosby and performances by Keith Emerson, Yo-Yo Ma and David Benoit.

For all of the insight provided by The Definitive Brubeck, the story is far from over.  Unimpeded by the approach of his 90th birthday in early December, Brubeck continues to follow the narrative. “He has always been, and continues to be, a restlessly creative artist,” says Gloyd.

TRACK LIST:

Disc 1
I Found a New Baby
The Way You Look Tonight
(Back Home Again In) Indiana
Laura
Singin’ in the Rain
That Old Black Magic
Sweet Georgia Brown
Perfidia
Avalon
How High the Moon
Look for the Silver Lining
This Can’t Be Love
My Romance
Lulu’s Back in Town
Over the Rainbow
How High the Moon
All the Things You Are

Disc 2

Koto Song
Black and Blue
St. Louis Blues
Take Five
(Variations On) Brother, Can You Spare a Dime?
Here Comes McBride
Waltzing
Day After Day
Forty Days

David Bromberg Quartet @ Boulder Theater

Often referred to as a musician's musician throughout his career, David Bromberg has spent almost as much time being a sideman to people like Bob Dylan and Jerry Jeff Walker as he has fronting his own band. Session credits for albums by Tom Paxton and Jerry Jeff Walker started getting Bromberg attention in the mid-'60s, and he began making the transition from sideman to frontman in the early '70s, when he was signed to record for Columbia Records.

The key to appreciating Bromberg is to realize he has an equal passion for blues, folk, country and western, bluegrass, and rock & roll. This diverse range of influences is reflected on all his recordings for Columbia, Fantasy, and Rounder, and in his performances as well. His musical eclecticism over the years may have cost him some fans, but a typical Bromberg concert can be a musical education. Bromberg disappeared in the early '90s to become a full-time violin maker, but returned in 2007 with Try Me One More Time, an all-new, all-acoustic solo set of blues and folk tunes.

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David Bromberg Quartet @ Boulder Theater

October 22, 2010, 8:00 pm | Buy Tickets

Furthur | Red Rocks | 9/24/2010

Two of the world's greatest road warriors, Phil Lesh & Bobby Weir, made their almost annual stop to the venue the epitomizes everything organic, granola, hippie and The Grateful Dead.  As many venues as both Lesh & Weir have played, every show at Red Rocks is just a little extra special.  Phil while doing his donar rap -- mentioned his love for the amphitheater and has said on at least a few occasions it is his favorite venue in the world.

Outside fans were arriving pretty early filling up the lower south lot and upper north lots first.  The weather couldn't have been any better, and those who live here in Colorado know late September at Red Rocks is precarious, at best.  There was some vending in the lots, though by and large it was fairly quiet.  Grateful Web, however, was hawking our "Make Love Not War" t-shirts in light of election season and America's never-ending political quagmire.  Give one as a gift to your political nemesis!  Email us if you'd like one or want more information. 

My friends went inside early to scope out some good seats.  I stayed back to guard the fort, which really means playing hacky sack with my new neighbor friends, drinking some beers, talking about which run at MSG was the best (I say 1990, hands-down -- another said '87, another said '88 - this continued through our hackin), and having a great time in the gorgeous Red Rocks parking lot.

The band came on around 8pm.  The sound where I was sitting was superb, but considering I was sitting literally over the heads of the soundboard folk, this would make sense.  Futhur is finishing their late summer/early fall tour here in Colorado.  You may wonder how in the world does a 70 year old another 62 year old just continue to tour -- but I must tell you I thought both Bobby and Phil both looked pretty well-rested and enthused on stage last night, which has not always seen the case with Weir during the past few years.  But Bobby seemed more engaged than I have seen him in a while, yet still giving John plenty of space to roam.  Furthur shows for me are pretty tame experiences, but I did find a few moments last night when John really opened things up and hit some pretty nice peaks, particularly in 'Fire on the Mountain,' which was more than apropos considering the recent fires in the near-bye foothills.    

I think Chimenti is a fine piano player, but personally I’d prefer more Hammond organ stuff and less piano. Furthur is mellow enough already, which is why I really think they would benefit more from a big Brent-esque organ sound more than all the piano playing.  Just my 2cents – with that said,  I would be a very happy camper if I could play piano as well as Jeff, so nothing at all personal toward him.  Joe Russo, on the other hand, is a groove machine.  This guy is really great and impresses me more each time.

Grateful Web is currently uploading videos, so check back through the next few hours for links to them. The videos really came out nice, especially set 1..

Vanity Theft Drop New EP "Anatomy" and Announce Tour!

Five years ago the girls of Vanity Theft were high schoolers in Dayton, Ohio itching to do something more with their free time after school, so like many kids across the country, they started a band. What set them apart from the other teenagers they knew rocking in their parents' basement is that they knew from the moment that they picked up their guitars, that this wasn’t some fleeting childhood hobby- this was their life.

Alicia Grodecki (vocals/keyboard), Brittany Hill (guitar) and Elyse Driskill (drums) gigged their asses off around Ohio, making a name for themselves in their hometown and surrounding areas. They were gaining a considerable local following and the buzz kept mounting, resulting in a stint on the 2009 Warped Tour. They continued playing more and more high profile gigs and venues, packing places like the Peabody's in Cleveland and the Viper Room in LA.

In early 2010, they realized there was something missing from the band…a solid permanent bassist. Having not found someone that fit the mentality of the band as a collaborative partnership with being friends and having fun coming first, they finally fell into a bit luck. Their brand of dancey, catchy-as–hell rock caught the attention of former Disney Channel star, Lalaine who had been a fan since their last LP Postscript: Pace Yourself. After hearing through friends that the band was in need of a bassist, Lalaine flew from Burbank to audition for them in Ohio. The new quartet hit it off immediately, and Lalaine relocated soon after.

Inspired by heroes like Sleater-Kinney, the girls of Vanity Theft are ready to dominate. They releasing a new EP Anatomy October 26th, touring like crazy, and prepping a full length for release early Spring.

Check out some A/V goodies from the upcoming EP…Click HERE for a free download of the track “Anatomy” or HERE to watch their video for the tune “Limb from Limb”

US Tour Dates

09/21- SEATTLE, WA @ Studio 7
09/22 - PORTLAND, OR @ Mississippi Pizza
09/26 - LOS ANGELES, CA @ Roxy
09/29 - ROSWELL, NM @ Unity Center
09/30 - EL PASO, TX @ House of Rock
10/02 - DALLAS, TX @ The Prophet Bar
10/03 - SAN ANTONIO, TX @ The Ten Eleven
10/04 - KANSAS CITY, MO @ Riot Room
10/05 - ST. LOUIS, MO @ Cicero's
10/20 - NEW YORK, NY @ Webster Hall (CMJ SESAC Showcase w/ BRAHMS, HOUSES) - 7pm
10/23 - DANBURY, CT @ Larry's
10/24 - NEW HAVEN, CT @ Stella Blues Bar
10/25 - PITTSBURGH, PA @ The Shadow Lounge
10/27 - SOUTH BEND, IN @ Anchor Inn
10/29 - ST. PAUL, MN @ Big V's
10/31 - MADISON, WI @ The Annex
11/05 - COLUMBUS, OH @ Circus
11/12 - DAYTON, OH @ Canal Street Tavern