Tag: BADBADNOTGOOD

Single Review by William Ruben Helms

New Audio: Acclaimed Canadian Act BADBADNOTGOOD Releases a Cover of a Slow-Burning 80s Soul Classic

BADBADNOTGOOD, the Toronto-based jazz-inspired act, currently comprised of founding members Chester Hansen (bass), and Alexander Sowinski (drums) with Leland Whitty has received attention for a sound and compositional approach that draws from hip-hop, electronica, jazz and prog rock — and for jazz based interpretations of hip-hop tracks, which have allowed the act to collaborate with the likes of Kendrick Lamar, Tyler The Creator, Earl Sweatshirt, Denzel Curry, Danny Brown, Mick Jenkins, Ghostface Killah and others. (It shouldn’t be surprising that the act can trace its origins to the band’s founding members bonding over a mutual love of hip-hop — in particular MF Doom and Odd Future.)

As the story goes, the band’s founding members, which also included Matt Tavares played a piece based on Odd Future’s music for a panel of their jazz performance instructors, who  sadly didn’t believe it had much musical value. But after they released the composition as “The Odd Future Sessions, Part 1,” the track caught the attention of Tyler the Creator, who helped the video go viral. 

The Canadian act followed that up with the 2011 release of their full-length debut BBNG, which featured interpretations of A Tribe Called Quest, Waka Flocka Flame and Odd Future. Building upon a growing profile, the members of BADBADNOTGOOD recorded a live jam session with Tyler The Creator in Sowinski’s basement, with videos from the session amassing more than a million views each.

2012’s sophomore effort BBNG2 was recorded over the course of a ten-hour studio session and featured Leland Whitty (saxophone) and Luan Phung (electric guitar) and featured their own original material, as well as renditions of songs by Kanye West, My Bloody Valentine, James Blake, Earl Sweatshirt and Feist. That year, the band was the official Coachella Festival house band, backing Frank Ocean and Odd Future over the course of its two weekends.

2013 saw the release of III, which featured “Hedron,” a track that was also featured on the compilation album Late Night Tales: Bonobo; “CS60” and “Can’t Leave the Night,” which was released with the B-side “Sustain,” and they were involved on the soundtrack for The Man with the Iron Fists, assisting with the production and composition.

2015 saw the release of the band’s fourth, full-length album Sour Soul, and the album which is more of a hip-hop album that nods at jazz found the Canadian act collaborating with Ghostface Killah. They ended the year with covers of a handful of holiday standards, including “Christmas Time Is Here” with Choir! Choir! Choir!

Leland Whitty joined the band as a full-time member in early 2016, and the band quickly went to work producing “Hoarse” off Earl Sweatshirt’s full-length debut Doris and “GUV’NOR,” a remix, which appeared on JJ DOOM’s Keys to the Kuffs (Butter Edition). By the middle of that year, BADBADNOTGOOD released their fifth full-length album IV, an album that featured guest spots from Future Islands’ Sam Herring, Colin Stetson, Kaytranada, Mick Jenkins and JOVM mainstay Charlotte Day Wilson, and was named BBC Radio 6’s #1 album of the year.

Light In The Attic  Records has started a an exclusive vinyl and digital cover series — and the latest installment of the series features the acclaimed Toronto act collaborating with vocalist Jonah Yano on a cover of Majestics’ 1982 slow jam “Key To Love (Is Understanding).” Interestingly, while Jonah Yano and BADBADNOTGOOD finds the acclaimed Canadian act crafting a lovingly straightforward and soulful cover but with a subtle personal twist and a slick production. The BADBADNOTGOOD and Jonah Yano cover along with the Majestics original are available now for streaming through your favorite digital producer and will be released on “Majestic Pink” 7″ vinyl on February 21, 2020 release.

“As lovers of old soul, funk and rare recordings, ‘Key to Love’ has always been a song that has had an impact on our heart and ears,” the acclaimed Canadian act said in a statement. “We hope our version relays how special this song is and gives it some new listeners and a second life […] It’s an incredibly beautiful song that deserves to be heard, and we hope to play a small part in that.” They add, “We had met Jonah Yano about a year ago and we started to jam and make demos. After some really fun recording sessions we asked him if he would help us with the cover and we smashed the whole song out in a week.”

“It is a pleasant surprise,” Donald Cooper of Majestics said upon hearing BADBADNOTGOOD’s version of the song. “They did a good job and it was well done with their own slight personal twist […] [it’s] an honor to be recognized.”

Single Review by William Ruben Helms

Back in 2016, the Toronto-based pop rock act Jane’s Party — comprised of Devon Richardson (bass, vocals), Tom Ionescu (guitar, vocals), Jeff Giles (keys, vocals) and Zach Sutton (drums)  — opened for Tom Odell during the singer/songwriter’s 2016 No Bad Days Tour across Europe. The experiences the band had while on the road wound up inspiring a set of home studio demos that would eventually become the backbone to their latest album Casual Island. As the story goes, after returning home, the members of the band called up producer Derek Hoffman, who’s known for his work with likes of The Trews, Arkells, The Elwins, Willa and others, to set up the recording sessions for their latest album.

Casual Island finds the band collaborating with a handful of acclaimed Toronto-based artists including DJ Skratch Bastid, BADBADNOTGOOD‘s Leland Whitty and Fast Romantics‘ Kirty and Matt Angus. “For the four of us, writing and recording music has always been a collaborative process,” the band’s Zach Sutton says in press notes. “Bringing in Skratch, Leland and Kirty is our way of expanding the family and getting fresh creative juices into the mix. Every collaboration has been a huge source of inspiration that challenges the way we approach music making.” The band’s Jeff Giles adds, “This album feels very personal to us, like we’re sharing that initial intimate experience when you’re first coming up with the song and recording it in your bedroom.”

The up-and-coming Canadian act, which has played with Arkells, LIGHTS, Blue Rodeo, Stars, The Trews, Sam Roberts Band, Lowest of The Low, Matt Mays, Tom Odell, Manic Street Preachers and Lord Huron recently released a re-imagined and subtly re-worked version of “Straight from the Heart.”  The re-worked version, which features Skye Wallace as a lead vocalist and backing vocalist manages to retain the original’s hook while being a slow-burning and ethereal fever dream that’s one part yacht rock, one part R&B and one part pop.

Interestingly, the reworked version finds the thematically content shifted a bit, with the song exploring love from balancing the excitement and mundanity of being with someone, and the compromise and empathy required to sustain any relationship whether romantic or plutonic. And as the band notes, the duet strives to evoke the feeling one should get, knowing that the little things in a relationship are ultimately there to teach us about the importance of empathy, love and partnership.

 

 

 

 

 

women who kick ass by William Ruben Helms
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Live Concert Photography: Celebrate Brooklyn! Festival at the Prospect Park Bandshell 6/8/19: Ibeyi with Sudan Archives

Live concert photography of Ibeyi with Sudan Archives at Celebrate Brooklyn! Festival at Prospect Park Bandshell earlier this month.

Single Review by William Ruben Helms

 

I’ve written quite a bit about the Oakland, CA-based futuristic soul act and JOVM mainstays Bells Atlas over the past few years, and as you may may recall, the act which is comprised of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys) have received attention across the blogosphere for a lush, kaleidoscopic sound that draws from indie rock, 90s R&B, Afro-pop, Afro-futurism, jazz, electro pop and experimental pop. Adding to a rapidly growing profile, the act has opened for Hiatus Kaiyote, BADBADNOTGOOD, Bilal, Meshell Ndegeocello, W. Kamau Bell, Angelique Kidjo and others, as well as Bermuda Triangle, the side project of Alabama Shakes‘ Brittany Howard. Along with that, they spent 2016 as the touring band for NPR’s Snap Judgement.

Last year, the act released the SALT AND SOAP EP, an effort inspired by cleansing rituals and preservation methods, with the understanding that when you’re not accustomed to releasing your most personal stories, the idea is then to take a moment to prepare for a shift — for a new way of being open. Interestingly, during the creative process for the EP and their full-length effort the mystic, which is slated for release later this week, the band stumbled upon a new songwriting process that incorporated the use of sampling grainy phone memo recordings of Geneva Harrison’s drumming as the bedrock of the material.

With the writing and recording sessions focusing on spontaneity and even humor, the band aimed to craft music that managed to be cinematic yet deeply personal — all while allowing room to highlight each member’s individual skills and talent within the larger whole. Narratively and thematically, the album is a sci-fi fantasy of two first generation Nigerian-American women coming to terms with a mental health diagnosis — and at the same time, a universal exploration of how we make sense of reality. “It’s about a truth seeker and a skeptic trying to make sense of what’s mystical and what’s clinical,” the band’s Sandra Lawson-Ndu says in press notes. “The listener is made to consider the possibility of magic. Is it possible, for instance, that someone who navigates the world differently may have a deeper understanding of the universe? The mystic is a spectrum of deep emotionality, impulse, and even humour; a tool to explore the full dimension of our reality.” the mystic‘s latest single is the slow-burning and ethereal “Final Ceiling.” Centered around Lawson-Ndu’s dreamy cooing, shimmering synths and guitar and gently propulsive drumming, “Final Ceiling” evokes a hazy yet vividly remembered dream that lingers in your consciousness for hours.

The Oakland-based JOVM mainstays will be touring to support the mystic throughout May and June, and the tour includes a June 1, 2019 stop at C’mon Everybody. Check out the tour dates below.

TOUR DATES 

5.9 Los Angeles, CA The Satellite 
5.10 The Wayfarer Costa Mesa, CA 
5.11 Starline Social Club Oakland, CA 
5.16 Doug Fir Lounge Portland, OR 
5.17 Fisherman’s Village Festival Everett, WA 
5.18 Rhythm and Rye Olympia, WA 
5.19 The Auditorium Seattle, WA 
5.23 BSP Kingston Brooklyn, NYC 
5.24 Riverwalk Cafe and Music Bar Nashua, NH 
5.25 The Diving Bell Social Club Montreal, CA 
5.26 Columbus Theatre Providence, RI 
5.28 State House New Haven, CT 
5.30 Milkboy Philadelphia, PA 
5.31 Songbyrd Record Cafe and Music House Washington, DC 
6.1 C’mon Everybody Brooklyn, NYC 

Video by William Ruben Helms

New Video: Acclaimed Toronto Producer Harrison Teams Up with RALPH on Soulful 90s Synth Pop Inspired Track

With the release of his 2016 full-length debut, the critically applauded, Juno Award-nominated Checkpoint Titanium, the Toronto-based electronic music producer, electronic music artist Harrison turned from DIY bedroom producer, posting tracks on Soundcloud to a nationally and internationally acclaimed artist and producer, at the forefront of his hometown’s R&B tinged electro pop scene. 

Building upon a rapidly growing profile, the acclaimed Canadian’s sophomore album Apricity, (which is defined as “the warmth of the sun in winter”) found him at a point where he was evolving his sound and approach, figuring out ways to translate ideas and challenge existing conventions more effectively while working with an equally acclaimed set of collaborators including Daniela Andrade, IaamSaam, BADBADNOTGOOD’s Matty Tavares, Prince Innocence’s Talvi, Basecamp’s Aaron Tiem, Prince DCF and RALPH among others. 

Interestingly, Harrison quietly released a set of B-sides through Bandcamp that will be included as part of the Apricity Deluxe bundle, which also will include an official Fingerboard, and a limited edition 140g, Black Smoke LP copy signed by Harrison, as well unlimited Bandcamp streaming; but let’s talk about Apricity’s sultry, 90s synth pop-inspired summer banger “Your Girl.” A collaboration featuring up-and-coming local vocalist RALPH, the track is built upon a dense, hook-driven production consisting of lush layers of shimmering and arpeggiated synths, tweeter and woofer rocking beats, RALPH’s soulful, come hither delivery and chopped up vocal samples. Directed by Ft. Langley, the video stars Doug Paton as “The Man” and is a slick, hilarious and absolutely incisive commentary on consumerism and advertising becoming a part of our innermost dreams and fantasies. 

Single Review by William Ruben Helms

 

Over the past couple of years, I’ve written a bit about the acclaimed Toronto, Ontario, Canada-based singer/songwriter, guitarist and producer Charlotte Day Wilson. And as you may recall, Wilson’s musical career started in earnest with a stint as the frontwoman of the equally acclaimed jazz, funk and soul act The Wayo; but with the release of her debut single “After All,” the Canadian singer/songwriter, producer and guitarist quickly emerged as an up-and-coming solo talent within her hometown’s scene, eventually beginning ongoing collaborations with BADBADNOTGOOD and River Tiber.

2016’s CDW featured critically acclaimed singles “Work” “Find You,” and the aforementioned “After All,” and unsurprisingly, the album found Wilson further establishing herself as an artist, who crafted deeply personal songs with an wisdom, insight and honesty that betrayed her relatives youth — paired with sleek, minimalist, electronic production. Interestingly, this past year may arguably be one of biggest years of her career: Stone Woman, Wilson’s sophomore effort is a decided and self-assured change in sonic direction in which Wilson paired her effortlessly soulful vocals with neo-soul, soul and jazz-leaning production in which organic arrangements are meshed with subtle electronic production.  Since its releasee earlier this year, Stone Woman has amassed over 30 million streams across all screaming platforms. Wilson was nominated for a Polaris Music Prize — and the video for “Work” was awarded a Prism Prize for best Canadian music video. Wilson and the video’s directed Fantavious Frtiz used the prize money to create the Work Film Grant, a fund that awarded $10,000 to emerging female and non-binary directors. 

Additionally, Wilson toured with longtime collaborators BADBADNOTGOOD, which included an incredible BRIC Celebrate Brooklyn! Festival at the Prospect Park Bandshell stop back in August. The acclaimed Canadian artist  ends a big 2018 with two Spotify singles recorded at Toronto’s HOB Studios– “Doubt,” the first single off Stone Woman is a slow-burning and soulful ballad featuring a production that recalls Bilal, Erykah Badu and others; but more important, the song is centered around a heartbreaking emotional honesty in which, the song’s narrator expresses a deep, crippling uncertainty over her own worthiness. The Spotify singles version possesses a “you-were-there-in-the-room” immediacy that gives the song’s an emotional punch. 

The second track is Wilson’s cover Dolly Parton‘s “Here You Come Again” centered around a sparse arrangement featuring the Canadian singer/songwriter, producer and guitarist’s soulful vocals, shimmering guitars, twinkling keys — and although Wilson’s version is a slow-burning and atmospheric take, the track maintains the song’s ache, reminding contemporary listeners of what an under appreciated songwriter Parton is. 

 

 

Video by William Ruben Helms

Live Session: Bells Atlas on Audiotree Live

Now, over the past couple of years, I’ve written quite a bit about the Oakland, CA-based futuristic soul act Bells Atlas. And as you may recall, the act which is comprised of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys) of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys)  have received attention for a forward-thinking, kaleidoscopic and lush sound that draws from indie rock, 90s R&B, Afro pop, Afro-futurism, jazz, electro pop and experimental pop. Adding to a rapidly growing profile, the members of the Oakland-based act has opened for the likes of Hiatus Kaiyote, Badbadnotgood, Bilal, Meshell Ndegeocello, W. Kamau Bell, Angelique Kidjo and others, as well as Bermuda Triangle, the side project of Alabama Shakes‘ Brittany Howard. Along with that, they spent 2016 as the touring band for NPR’s Snap Judgement.

Released earlier this year, the acclaimed futuristic soul act’s latest EP SALT AND SOAP is inspired by cleansing rituals and preservation methods, with the understanding that when you’re not accustomed to releasing your most personal stories, the idea is then to take a moment to prepare for a shift — for a new way of being open. Interestingly, during the creative process for their latest EP, the band stumbled upon a new songwriting process that incorporated the use of sampling grainy phone memo recordings of Geneva Harrison drumming as the bedrock of each song of the EP — and in turn, their full-length album The Mystic, which is slated for a March 2019 release. Focusing on spontaneity and sometimes even humor, the aim developed into writing music that was cinematic yet personal while highlighting each member’s individual skills and talent within the larger whole.

A few weeks ago the members of Bells Atlas were invited to Audiotree Live to do a live session centered around the material of the SALT AND SOAP EP including “Downpour,” a paradoxically slick yet lo-fi, lush and lysergic groove-driven track that recalled Drakkar Nowhere, Pavo Pavo and Erykah Badu; “Be Brave,” a sinuous and fluidic track centered around an incredibly dexterous and percolating bass line, driving percussion and rapidly morphing tone and time changes; the incredibly sultry “NCAT,” centered around shimmering and bubbling arpeggiated synths, stuttering drumming and a rolling bass, as well as two other tracks I haven’t written about — “Overshare” and “Find Where You Rise.” Throughout the live session, the material proves to be a perfect foil for Lawson-Ndu’s vocals, which manage to express a visceral vulnerability and human need, awe, strength and resiliency within a turn of a phrase.

Interestingly, during the session the band’s Lawson-Ndu speaks about her own deep, personal experience and love of sci-fi and fantasy and how they’ve influenced her to consider those genres through the experiences of being a woman of color.

Single Review by William Ruben Helms

 

Throughout the course of this site’s eight-plus year history, I’ve written quite a bit about the Los Angeles-based singer/songwriter, bassist and JOVM mainstay Stephen “Thundercat” Bruner, and as you may recall Thundercat has developed a reputation as a highly-desired collaborator and a critically applauded solo artist; in fact, he has collaborated with Kendrick Lamar  on Lamar’s Grammy Award-winning album, To Pimp A Butterfly and  Brainfeeder Records labelmate, Kamasi Washington’s The Epic, which he promptly followed up with one of my favorite releases of 2015, the mini-album The Beyond/Where the Giants Roam. 2017’s Drunk, Bruner’s critically applauded third full-length album was written as an epic journey into the bizarre, hilarious and sometimes dark mind of the singer/songwriter and bassist, and it featured an All-Star list of collaborators including some of his go-to collaborators Kamasi Washington, Kendrick Lamar, Wiz Khalifa and Pharrell Williams, along with Michael McDonald and Kenny Loggins.

Currently comprised of founding members Matthew Tavares (keys), Chester Hansen (bass), and Alexander Sowinski (drums) with newest member Leland Whitty (saxophone), the Toronto, Ontario, Canada instrumental act BADBADNOTGOOD derive their name from an abandoned comedy TV project that Tavares was working on before the band formed – and whether as trio or a quartet, the band has developed a reputation for a sound and compositional approach that draws from hip-hop, electronica, jazz, prog rock; but they’re perhaps best known for their jazz-based interpretation of hip-hop tracks, which have allowed them to collaborate with Kendrick Lamar, Tyler The Creator, Earl Sweatshirt, Denzel Curry, Danny Brown, Mick Jenkins, Ghostface Killah and others. Interestingly, the band can trace its origins to when the band’s founding trio bonding over a mutual love of hip-hop – in particular MF Doom and Odd Future.

As the story goes, the then-trio played a piece based on Odd Future’s music for a panel of their jazz performance instructors, who didn’t believe it had much musical value – but interestingly enough, after they released the track as “The Odd Future Sessions, Part 1,” the track caught the attention of Tyler The Creator, who helped the video go viral. The Canadian act followed that up with the 2011 release of their full-length debut BBNG, which featured interpretations of A Tribe Called Quest, Waka Flocka Flame and Odd Future. Building upon a growing profile, the members of BADBADNOTGOOD recorded a live jam session with Tyler The Creator in Sowinski’s basement, with videos from the session amassing more than a million views each.

2012’s sophomore effort BBNG2 was recorded over the course of a ten-hour studio session and featured Leland Whitty (saxophone) and Luan Phung (electric guitar) and featured their own original material, as well as renditions of songs by Kanye West, My Bloody Valentine, James Blake, Earl Sweatshirt and Feist. That year, the band was the official Coachella Festival house band, backing Frank Ocean and Odd Future over the course of its two weekends.

2013 saw the release of III, which featured “Hedron,” a track that was also featured on the compilation album Late Night Tales: Bonobo; “CS60” and “Can’t Leave the Night,” which was released with the B-side “Sustain,” and they were involved on the soundtrack for The Man with the Iron Fists, assisting with the production and composition.

2015’s fourth, full-length album Sour Soul, found them collaborating with Ghostface Killah – and interestingly, the album is more of a hip-hop album that nods at (and is largely influenced by) jazz. They ended the year with covers of a handful of holiday standards, including “Christmas Time Is Here” with Choir! Choir! Choir!

Leland Whitty joined the band as a full-time member in early 2016, and they followed that up with producing “Hoarse” off Earl Sweatshirt’s full-length debut Doris and “GUV’NOR,” a remix, which appeared on JJ DOOM’s Keys to the Kuffs (Butter Edition). By the middle of that year, BADBADNOTGOOD released their fifth full-length album IV, an album that featured guest spots from Future Islands’ Sam Herring, Colin Stetson, Kaytranada,Mick Jenkins and Charlotte Day Wilson, and was named BBC Radio 6’s #1 album of the year.

Interestingly, Thundercat and BADBADNOTGOOD have collaborated on what may arguably be one of the most hotly-anticipated collaborations in recent memory, “King of the Hill,” a track that’s a seamless meshing of Bruner’s soulful and dreamy falsetto with his dexterous bass work, a swaggering, boom-bap like backbeat from BADBADNOTGOOD and an atmospheric and shimmering production from Flying Lotus — and as a result, the track manages to be a soulful yet psychedelic take on jazz fusion that’s retro-futuristic yet incredibly contemporary.

Look for the track to be featured on Brainfeeder Records’ forthcoming 36 track Brainfeeder X compilation, and the compilation which is is slated for a November 16, 2018 release will celebrate the label’s decade of releasing the work of fearless and uncompromisingly forward-looking artists that will be split into volumes — a retrospective of their critically applauded releases and the other featuring even more forward-thinking work and collaborations.

 

Single Review by William Ruben Helms

I’ve written quite a bit about the  Oakland, CA-based quintet Bells Atlas over the past few years, and as you may recall, the act, which is comprised of Derek Barber (guitar) Geneva Harrison (drums, percussion, keys) Sandra Lawson-Ndu (vocals, percussion, keys) and Doug Stuart (bass, vocals, keys) have received attention from this site and elsewhere across the blogosphere for a lush, forward-thinking, kaleidoscopic and difficult to pigeonhole sound that seamlessly incorporates elements of indie rock, R&B, Afro pop, Afrofuturism, jazz, electro pop, experimental pop and soul.  And adding to a rapidly growing profile, the Oakland-based quintet has opened for Hiatus Kaiyote, Badbadnotgood, Bilal, Meshell Ndegeocello, W. Kamau Bell, Angelique Kidjo and Bermuda Triangle, and they spent 2016 as the touring band for NPR’s Snap Judgement.

Slated for release next Friday, the act’s soon-to-be released SALT AND SOAP EP is reportedly inspired by cleansing rituals and preservation methods, with the understanding that when you;re not accustomed to releasing your most personal stories, the idea is to take a moment to prepare for a shift — for a new way of being open. Along with that, the band stumbled upon a new and very different creative and songwriting process that incorporated an unusual sampling method: the use of grainy phone recordings of the act’s drumming eventually became the bedrock for each song of the EP — and in turn, their forthcoming full-length album The Mystic. Focusing on spontaneity and sometimes even humor, the aim developed into writing music that was cinematic yet personal while highlighting each member’s individual skills and talent. And as you’ll hear on the EP’s latest single “Downpour,” the result is something that manages to be paradoxically slick yet lo-fi, lysergic yet groove-driven, lush and enveloping but while revealing a band radically reinvented its sound and approach in a way that recalls (to my ears at least)Drakkar Nowhere, Pavo Pavo and Erykah Badu simultaneously.

As the band says in a statement: “Growing up it seemed like it was important to hold so many things as secrets, some of which are at this point laughable, some still heavier.

These secrets often gave the sense that there was something wrong and unusual about me or that part of my life. They also gave the sense that if there was actually something difficult it wasn’t necessary to let anyone outside of it know.

This led to a lot of creative improvising and getting used to being a little less like myself.

Eventually I started  to ask “what would be the consequence of sharing versus the weight of holding?”

The track Downpour is about at first getting used to living in a secret, but then facing a growing unease of having to continue to tuck yourself away.”

The band will be embarking on a West Coast tour during the fall. Check the tour dates below.

Bells Atlas Tour Dates: 

9/20 Oakland – New Parish w/ Chanti Darling
10/4 Los Angeles – The Satellite
10/6 Joshua Tree, CA – Joshua Tree Music Festival
10/7 San Diego, CA
10/11 Portland, OR Holocene w/ Chanti Darling
10/14 Seattle, WA Nectar Lounge w/ JusMoni
10/16 Boise, ID Neurolux
10/20 Basalt, CO The Temporary
10/21 Denver, CO Globe
10/23 Iowa City, IA Gabe’s
10/24 Chicago, IL Hideout Inn
11/18 Palm Springs, CA Ace Hotel