Tag: Terminal 5

New Video: Jordana Shares Cathartic Pop Banger for the Jilted and Heartbroken

2022 has been a massive year for 22 year-old producer, singer/songwriter, multi-instrumentalist and pop Jordana: Earlier this year, she released her sophomore album Face The Wall, which she has supported with non-stop touring both as a headliner and as an opener for the likes of Local Natives and Wallows.

Building upon a momentous year so far, the rising, young multi-hyphenate will be releasing a new EP, I’m Doing Well Thanks For Asking. Slated for a November 11, 2022 release through Grand Jury Music, I’m Doing Well Thanks For Asking reportedly sees the New York-based artist and producer getting to know her various selves. During her relatively young career, Jordana has quickly developed a reputation for being a shapeshifter: 2020’s Classical Notions of Happiness was an album of homespun indie folk. It’s follow-up Something To Say To You EP was spindly bedroom pop. The following year’s collaboration with TV Girl, Summer’s Over saw her veering into a dreamy haze. While Face The Wall saw Jordana crafting glossy pop.

As a result of the constant touring, I’m Doing Well Thanks For Asking sees the rising young, multi-hyphenate pulling from and synthesizing a little bit of everything that came before. Thematically, the material remains obsessed with love and neuroses, being left and leaving, pitying yourself and learning to stop.

The EP’s latest single “SYT” is an indie rock-tinged pop banger featuring glistening synth arpeggios, blown-out boom bap-like beats, bursts of slashing guitars and an enormous, catharsis-inducing hook paired with Jordana’s heartbroken yet resilient delivery. The song’s narrator may be jilted and hurt, but they’ve dug deep to tell that lover off. If you’ve been there, you’ve likely sung along lustily to the song, dreaming off how your unworthy flame would respond.

“It channels the feelings of empowerment and emotional awareness after a tough breakup,” Jordana says.

Directed by Graham Epstein, the accompanying video for “SYT” is shot with a lysergic haze as it follows the rising multi-hyphenate through a series of fantastic set ups.

Sloan Struble is the 20-something  Aledo, TX-born, Austin, TX-based singer/songwriter, multi-instrumentalist, producer and creative mastermind behind the critically applauded and rapidly rising indie rock/indie pop project Dayglow. Dayglow can trace its origins to when Struble was a teen, growing up in a Fort Worth suburb that he has referred to as a “small football-crazed town,” where he felt irrevocably out of place.

Much like countless other other hopelessly out of place young people across both this country and the globe, Struble turned to music as an escape from his surroundings. “I didn’t really feel connected to what everyone else in my school was into, so making music became an obsession for me, and sort of like therapy in a way,” Struble recalled in press notes. “I’d dream about it all day in class, and then come home and for on songs instead of doing homework. After a while I realized I’d made an album.”

Working completely on his own with a minuscule collection of gear that included his guitar, his computer and some secondhand keyboards he picked up at Goodwill, Struble worked on transforming his privately kept outpouring into a batch of songs — often grandiose in scale. “Usually artists will have demos they’ll bounce off other people to get some feedback, but nobody except for my parents down the hall really heard much of the album until I put it out,” Struble recalled. With the self-release of 2018’s Fuzzybrain, the Aledo-born, Austin-based singer/songwriter, multi-instrumentalist and producer received widespread attention and an ardent online following — with countess listeners praising the material’s overwhelming positivity. 

In 2019, Struble re-released a fully realized version of Fuzzybrain that featured Can I Call You Tonight,” a track that wound up being a smash-hit back in 2020, as well as two previously unreleased singles “Nicknames” and “Listerine.”

Last year was a big year for the Aledo-born, Austin-based JOVM mainstay: he kicked off the year with the infectious and sugary pop confection “Close to You,” a track indebted to 80s synth-led soul — in particular Patti Labelle and Michael McDonald‘s “On My Own” Cherelle’s and Alexander and O’Neal‘s “Saturday Love” and other duets, but imbued with an aching melancholy and uncertainty. He then made his national late night TV debut on Late Show with Stephen Colbert, where he, along with his backing band, played “Can I Call You Tonight.” 

Continuing upon that momentum, Struble released his Dayglow sophomore album Harmony House, an album that was inspired by the 70s and 80s piano-driven soft rock that he had captured his ears. Interestingly, around the same time, he had been watching a lot of Cheers. “At the very beginning, I was writing a soundtrack to a sitcom that doesn’t exist,” Struble recalls. And while actively attempting to generate nostalgia for something that hadn’t ever been real, as well as something most of his listeners had never really experienced. Thematically, the album concerns itself with a deeply universal theme — growing up and coping with change as being an inevitable aspect of life.

Struble’s third Dayglow album, People In Motion is slated for an October 7, 2022 release through AWAL. Entirely written, played and produced by Struble, the 10-song album continues upon the JOVM mainstay’s reputation for crafting upbeat, optimistic, hook-driven pop rooted in his desire to steer clear of conflict and offering someone something to love.

People In Motion‘s third and latest single “Second Nature” may arguably be the funkiest and most dance floor friendly single Struble has released to date. Sonically seeming like a synthesis of 80s pop, Daft Punk, The 1975, and LCD Soundsystem, “Second Nature” is centered around glistening synth arpeggios, Struble’s plaintive vocals, an infectious vocoder’ed vocal-driven hook and an irresistible feel good vibe meant to get your ass on the dance floor.

“‘Second Nature’ is one of the most ambitious songs I’ve made so far. I didn’t think it would be a ‘Dayglow’ song until the rest of People in Motion started to take shape,” Struble says in press notes. “I made so many versions of it— I just kept writing more and more melodies and ideas. The Logic file ended up being like this 15 minute jam that I eventually condensed to be the near 6 min song it is.

I was really inspired by songs like Lionel Richie’s ‘All Night Long,’ Michael Jackson’s ‘Wanna Be Starting Somethin’, and of course Daft Punk. I just love songs that have repeatable chord progressions that never seem to even reach their potential— they just keep going on and on. Lyrically and musically I wanted to create a song that felt like that. A song that just celebrates itself and the joy of dancing and making music. It doesn’t even feel like ‘Second Nature’— it feels completely innate and natural to make music to me. I love it more than anything and it feels like what I was made to do, and ‘Second Nature’ just grasps that idea and runs with it confidently.”

After a sold-out Australian tour and a packed house set at this year’s Outside Lands, Struble will be embarking on a North American tour that includes a November 7, 2022 stop at Terminal 5. Check out rest of the tour dates below.

Dayglow / People In Motion North American Tour:

10/9/22 – Phoenix, AZ – The Van Buren

10/10/22 – Tucson, AZ – Rialto Square Theatre

10/13/22 – Anaheim, CA – House of Blues

10/14/22 – San Diego, CA – SOMA

10/15/22 – Los Angeles, CA – The Novo

10/19/22 – Salt, Lake City, UT – The Union

10/21/22 – Portland, OR – Roseland Theater

10/22/22 – Seattle, WA – Showbox SoDo

10/23/22 – Vancouver, BC – Commodore Ballroom

10/25/22 – Denver, CO – Ogden Theatre

10/28/22 – Dallas, TX – South Side Ballroom

10/29/22 – Houston, TX – House of Blues

10/30/22 – Tulsa, OK – Cain’s Ballroom

11/1/22 – St. Louis, MO – The Pageant

11/2/22 – Minneapolis, MN – Palace Theatre

11/4/22 – Chicago, IL – Riviera Theatre

11/5/22 – Indianapolis, IN – Egyption Room

11/6/22 – Columbus, OH – Kemba Live

11/8/22 – Nashville, TN – Ryman Auditorium

11/10/22 – Atlanta, GA – The Eastern

11/11/22 – Charlotte, NC – The Fillmore

11/12/22 – Raleigh, NC – The Ritz

11/14/22 – Washington, DC – 9:30 Club (SOLD OUT)

11/15/22 – Washington, DC – 9:30 Club

11/17/22 – New York, NY – Terminal 5

11/18/22 – Boston, MA – House of Blues

11/19/22 – Philadelphia, PA – The Fillmore

11/21/22 – Montreal, QC – Corona Theatre

11/22/22 – Toronto, ON – Danforth Music Hall

11/26/22 – Orlando, FL – The Beacham

11/27/22 – St. Petersburg, FL – Jannus Live

11/28/22 – Fort Lauderdale, FL – Revolution Live

12/2/22 – Austin, TX – Stubb’s (SOLD OUT)

12/3/22 – Austin, TX – Stubb’s

Melbourne-based punk rockers and JOVM mainstays Amyl and The Sniffers recently wrapped up their first Stateside tour in three years, a tour that saw the Aussie outfit playing some of their largest shows to date, including sets at Coachella, Shaky Knees and Brooklyn Steel, as well as their late night, Stateside TV debut on Late Night with Seth Meyers.

Photo credit: Jamie Wdziekonsk

The JOVM mainstays will be turning to the States this fall to play the biggest venues they’ve ever played. The tour includes a September 23, 2022 stop at Terminal 5 and one of my favorite venues in Chicago, The Vic Theatre on September 28, 2022.

I caught them at Brooklyn Steel last month and the band is a must see. So if you live near any of these tour stops — and even if you don’t — cop some tickets y’all and catch Amy Taylor and her Sniffers destroy your eardrums. Ticket presale begins June 15, 2022 at 10:00am local time and the general on-sale begins June 17, 2022 at 10:00am local time.

As always, tour dates below. And you can get those tickets here: https://www.amylandthesniffers.com/shows

Tour dates

9/18/22 – Primavera Sound – Los Angeles, CA

9/20/22 – Brooklyn Bowl – Nashville, TN

9/21/22 – Variety Playhouse – Atlanta, GA

9/23/22 – Terminal 5 – NYC

9/24/22 – 9:30 Club – Washington, D.C.

9/25/22 – Big Night Live – Boston, MA

9/27/22 – Majestic Theatre – Detroit, MI

9/28/22 – Vic Theatre – Chicago, IL

9/29/22 – First Avenue – Minneapolis, MN

10/1/22 – Ogden Theatre – Denver, CO

10/2/22 – The Depot – Salt Lake City, UT

10/4/22 – Knitting Factory – Boise, ID

10/5/22 – Sessions Music Hall – Eugene, OR

10/6/22 – Showbox Sodo – Seattle, WA

10/9/22 – Ohana Encore Weekend – Dana Point, CA

Live Footage: Amyl and The Sniffers Perform “Hertz” on “Late Night with Seth Meyers”

Acclaimed Melbourne-based punk act and JOVM mainstays Amyl and The Sniffers — Amy Taylor (vocals), Gus Romer (bass), Bryce Wilson (drums) and Declan Martens (guitar) — released their Don Luscombe co-produced sophomore album Comfort To Me last year through ATO Records.  Written during a long year of pandemic quarantining, in which the members of the band lived in the same house, the album’s material sonically draws from a heavier set of references and influences including AC/DC, Rose TattooMötorhead,  Wendy O. WilliamsWarthogPower Trip, Coloured Balls and Cosmic Psychos. Taylor’s lyrics and delivery were also inspired by her longtime love of hip-hop and garage rock. 

“All four of us spent most of 2020 enclosed by pandemic authority in a 3-bedroom rental in our home city of Melbourne, Australia. We’re like a family: we love each other and feel nothing at the same time,” the band’s Amy Taylor says in a lengthy statement on the album. “We had just come off two years of touring, being stuck in a van together eight hours a day, and then we’re trapped together for months in this house with sick green walls. It sucked but it was also nice. We spent heaps of time in the backyard listening to music, thrashing around in shorts, eating hot chips. The boys had a hard time being away from the pub and their mates, but it meant we had a lot of time to work on this record. Most of the songs were really intuitive. Main thing, we just wanted it to be us. In the small windows we had in between lockdowns, we went to our rehearsal space, which is a storage locker down the road at National Storage Northcote. We punched all the songs into shape at Nasho and for the first time ever we wrote more songs than we needed. We had the luxury of cutting out the songs that were shit and focusing on the ones we loved. 

“We were all better musicians, as well, because that’s what happens when you go on tour for two years, you get really good at playing. We were a better band and we had heaps of songs, so we were just different. The nihilistic, live in the moment, positivity and panel beater rock-meets-shed show punk was still there, but it was better. The whole thing was less spontaneous and more darkly considered. The lyrics I wrote for the album are better too, I think. The amount of time and thought I put into the lyrics for this album is completely different from the EPs, and even the first record. Half of the lyrics were written during the Australian Bushfire season, when we were already wearing masks to protect ourselves from the smoke in the air. And then when the pandemic hit, our options were the same as everyone: go find a day job and work in intense conditions or sit at home and drown in introspection. I fell into the latter category. I had all this energy inside of me and nowhere to put it, because I couldn’t perform, and it had a hectic effect on my brain. 

“My brain evolved and warped and my way of thinking about the world completely changed. Having to deal with a lot of authority during 2020 and realising my lack of power made me feel both more self destructive and more self disciplined, more nihilistic and more depressed and more resentful, which ultimately fuelled me with a kind of relentless motivation. I became a temporary monster. I partied more, but I also exercised heaps, read books and ate veggies. I was like an egg going into boiling water when this started, gooey and weak but with a hard surface. I came out even harder. I’m still soft on the inside, but in a different way. All of this time, I was working on the lyrics. I pushed myself heaps and heaps, because there were things that I needed to say. The lyrics draw a lot from rap phrasing, because that’s what I’m into. I just wanted to be a weird bitch and celebrate how weird life and humans are. 

“The whole thing is a fight between by my desire to evolve and the fact that somehow I always end up sounding like a dumb cunt. So anyway, that’s where this album comes from. People will use other bands as a sonic reference to make it more digestible and journalists will make it seem more pretentious and considered than it really is, but in the end this album is just us — raw self expression, defiant energy, unapologetic vulnerability. It was written by four self-taught musicians who are all just trying to get by and have a good time. 

“If you have to explain what this record is like, I reckon it’s like watching an episode of The Nanny but the setting is an Australian car show and the Nanny cares about social issues and she’s read a couple of books, and Mr. Sheffield is drinking beer in the sun. It’s a Mitsubishi Lancer going slightly over the speed limit in a school zone. It’s realising how good it is to wear track pants in bed. It’s having someone who wants to cook you dinner when you’re really shattered. It’s me shadow-boxing on stage, covered in sweat, instead of sitting quietly in the corner.”

In the lead up to the album’s release, I managed to write about three of the album’s released singles: 

  • Guided by Angels,” a riotous, mosh pit friendly ripper centered around Taylor’s frenetic energy and punchily delivered vocals, buzzing power chords and a pub friendly, shout along with a raised beer in your hand hook. But underneath all of that, “Guided by Angels” is fueled by a defiant and unapologetic vulnerability and a rare, unshakeable faith in possibility and overall goodness; that there actually are good angels right over your shoulder to guide you and sustain you when you need them the most. 
  • Security,” a Highway to Hell-era AC/DC-like anthem full of swaggering braggadocio, boozy power chords, thunderous drumming, shout along worthy hooks and Taylor’s feral delivery. Much like its immediate predecessor, the song is fueled by its narrator boldly and unapologetically declaring that they need and are looking for love — right now! “
  • Hertz,” an AC/DC-ike ripper fueled by the frenetic energy of the bored, lonely and trapped within their heads and those desperately desiring something — hell, anything — different than the four walls that they’ve gotten sick of. Interestingly, “Hertz” captures a feeling that I’ve personally struggled with during the pandemic, and I’m sure you have too. And it does so with a urgency and vulnerability that’s devastating. 

Since its release last year Comfort to Me has been a commercial and critical success: The album hit #1 on Billboard‘s Alternative New Albums Chart, #2 on both the Heatseekers and Top New Artist Albums Charts, #4 on the Independent Albums Chart, #7 on the Rock Albums Chart, #9 on the Alternative Albums Chart and it landed on the Top 20 on the Albums Sales Chart. In the UK, the album was named BBC 6 Music‘s Album of the Day, and chartered at #21 on the UK charts. And in the band’s native Australia, the album was named Triple J’s Featured Albums of the Week while charting at #2. 

Building upon the attention and buzz of their sophomore album, the Aussie JOVM mainstays will be releasing a deluxe, expanded edition of Comfort To Me. Slated for a vinyl release on May 13, 2022, Comfort To Me (Expanded Edition) will be a double LP that features the original full-length album and a bonus live LP recorded on a dock outside of Melbourne, a fold-out poster and new artwork by graphic designer Bráulio Amado. 

The band is currently embarking on an extensive and mostly sold-out Stateside tour that now includes two — that’s right two! — New York Metropolitan area dates: May 19, 2022 at Brooklyn Steel and a newly added September 23, 2022 stop at Terminal 5.

There are still a small handful of remaining, available tickets left for some of the previously announced shows — and for the newly announced Terminal 5 show. Tickets and information can be found here: https://www.amylandthesniffers.com/shows

If you’ve been frequenting this site over the course of this year, you may recall that the Aussie JOVM mainstays gave fans a sneak peek of their live show with a live version of “Maggot,” filmed on a dock, just outside of Melbourne. Much like the album’s previously released singles “Maggot” was an infectious mix of mosh pit friendly fury and achingly earnest, heart-worn-on-sleeve vulnerability.

So far, the JOVM mainstays have made the best of their latest Stateside tour: Last night they made their late night Stateside TV debut on Late Night with Seth Meyers, where they performed the AC/DC-like ripper “Hertz.” Amy Taylor is an explosive bundle of energy that can be barely be contained within the confines of a small screen.

New Audio: Jai Wolf Releases an Anthemic M83-Like Single

Earlier this month, I wrote about the Bangladesh-born, New York-based electro pop Sajeeb Saha. Best known for his solo recording Jai Wolf, Saha’s work is inspired by a diverse and eclectic array of music, including indie rock, punk rock, hip-hop, classic music and Bollywood. Thematically, much of his work draws from his own experiences growing up as a third culture kid. 

Saha’s full-length debut The Cure To Loneliness is slated for an April 5, 2019 release through Mom + Pop Music, and as Saha professes in press notes, “In my heart, this album is me,” professes. From the sounds to the lyrics, it’s everything that I’ve always wanted to do.” Now, as you may recall, The Cure To Loneliness’ M83-like “Your Way,” was a collaboration with Day Wave that’s centered around jangling guitars, shimmering and arpeggiated synths, soaring hooks, thumping beats and plaintive vocals — and interestingly, the song was a bitter lament from a narrator, who’s lonely and profoundly disconnected from everything and everyone, including himself. The Cure To Loneliness’ latest single is the anthemic instrumental composition “This Song Reminds Me Of You.” Owing a major sonic debt to M83, the track is centered around layers of shimmering and arpeggiated synths, warm blasts of guitars and a motorik groove — and interestingly, as a result, the track possesses a swooning urgency. 

New Video: Jai Wolf Releases Trippy and Cinematically Shot Visuals for Brooding Yet Anthemic “Your Way” feat. Day Wave

Sajeeb Saha is a Bangladesh-born, New York-based electro pop artist, best known for his solo recording project Jai Wolf. Saha’s work is inspired by a diverse and eclectic array of music including indie rock, punk rock, hip-hop, classical music and Bollywood while thematically drawing from his own experience as a third culture kid. 

Saha’s full-length debut The Cure To Loneliness is slated for an April 5, 2019 release through Mom + Pop Music, and as Saha professes in press notes, “In my heart, this album is me,” professes. From the sounds to the lyrics, it’s everything that I’ve always wanted to do.” The Cure To Loneliness’ latest single is the wistful, M83-like “Your Way,” which features Day Wave. Centered around jangling guitars, shimmering and arpeggiated synths, soaring hooks, thumping beats and plaintive vocals, the song is a bitter lament from a narrator, who’s profoundly lonely and disconnected from everything and everyone. 

The recently released video follows an acclaimed and highly successful pop artist Chet Porter, and although he’s achieved his dream and then some, attaining success beyond his wildest dreams, the bitter irony is that he’s alone and disconnected because of his success. As the video continues, our protagonist seems to fall deeper into his own brightly colored hallucinations; in fact, part of the video resembles a feverish acid trip. 

Last month, I wrote about the Sydney, Australia-based electro pop trio RUFUS DU SOL, and as you may recall, with the release of their first two albums — 2013’s ATLAS, which landed at number 1 on the Australian charts and earned platinum status and 2016’s critically and commercially successful follow up, Bloom, which featured smash hits “You Were Right” and “Innerbloom,” the trio comprised of Tyrone Lindqvist, Jon George and James Hunt quickly became sensations both at home and internationally. And over the course of a lengthy two-year long international tour, the Australian electro pop trio developed a reputation for combining the DIY live aesthetics of indie rock and punk rock with the euphoria of club culture.

After completing the tours to support their first two albums, the Australian trio spent the past year or so in Venice, CA writing and recording their highly-anticipated third full-length album SOLACE, which is slated for release this fall, and as the trio note, the album is largely influenced by the dichotomy of the stark desert landscapes and coastlines of California — but while being a much fuller exploration of their evolving sound, and a deeper, more intimate glimpse into both melancholy and transcendence. It feels like a new RÜFÜS,”the trio says. “We are inspired by our new home out here, by the people we’ve met and the music we’ve heard along the way. We’ve got a refreshed sense of ambition and cannot wait to share our creation with the world.”

Underwater,” SOLACE‘s second single further cemented the trio’s growing reputation for forward-thinking, boundary-pushing production as the track was centered around arpeggiated and propulsive Giorgio Moroder-like synths, a soaring choral hook and verses that express an aching longing. Ultimately, the track reveals an act that has managed to carefully walk a tightrope between arena and club rocking bombast with an earnest and intimate emotionality. “Lost In My Mind” the album’s third and latest single continues with forward thinking, electronic production centered around twinkling and arpeggiated synths, a chopped up choral-based hook paired with soulful vocals, and while sonically  making a subtle nod to Snap!‘s “Rhythm is a Dancer,” the song manages to evoke both the anxious desperation of someone hopelessly trapped within his own mind, and the push and pull of new love.

The internationally renowned electro pop trio will be on a month long North American tour during the fall and it includes three New York City area dates — November 23, November 24 and November 25 at Terminal 5. Check out the tour dates below.

 

SOLACE North American Fall Tour Dates (with more dates to be announced):
Oct 24th – Charlotte, NC – The Fillmore
Oct 25th – Atlanta, GA – Coca Cola Roxy
Oct 26th – New Orleans, LA – Voodoo Music & Arts Experience
Oct 27th – Houston, TX – House of Blues (Houston)
Oct 28th – Austin, TX – Emo’s
Oct 30th – Phoenix, AZ – The Van Buren
Oct 31st – San Diego, CA – Valley View Casino Center
Nov 1st – Los Angeles, CA – Shrine Expo Hall
Nov 2nd – Los Angeles, CA – Shrine Expo Hall
Nov 3rd – Los Angeles, CA – Shrine Expo Hall
Nov 6th – San Francisco, CA – Bill Graham Civic Auditorium
Nov 9th – Salt Lake City, UT – The Complex
Nov 10th – Denver, CO – The Fillmore Auditorium
Nov 11th – Denver, CO – The Fillmore Auditorium
Nov 13th – Minneapolis, MN – First Avenue
Nov 14th – Chicago, IL – Aragon Ballroom
Nov 15th – Detroit, MI – Royal Oak Music Hall
Nov 16th – Toronto, ON – The Danforth Music Hall
Nov 18th – Montreal, QC – MTELUS
Nov 20th – Boston, MA – House of Blues (Boston)
Nov 21st – Boston, MA – House of Blues (Boston)
Nov 23rd – New York, NY – Terminal 5
Nov 24th – New York, NY – Terminal 5
Nov 25th – New York, NY – Terminal 5
With the release of their first two albums — 2013’s ATLAS, which landed at number 1 on the Australian charts and earned platinum status and 2016’s critically and commercially successful follow up, Bloom, which featured smash hits “You Were Right” and “Innerbloom,” the Sydney, Australia-based electro pop trio RUFUS DU SOL, comprised of Tyrone Lindqvist, Jon George and James Hunt quickly became international sensations — and over the course of a two year long international tour, developed a reputation for combining the DIY live aesthetics of indie rock with the euphoria of classic club culture.
The Australian trio spent the past year in Venice, CA writing and recording their highly-anticipated third full-length album SOLACE, and as the trio notes, the album is largely influenced by the dichotomy of the stark desert landscapes and coastlines of California while being a much fuller exploration of their evolving sound, and a deeper, more intimate glimpse into both melancholy and transcendence. It feels like a new RÜFÜS,”the trio says. “We are inspired by our new home out here, by the people we’ve met and the music we’ve heard along the way. We’ve got a refreshed sense of ambition and cannot wait to share our creation with the world.”

 

SOLACE’s second and latest single “Underwater” will further cement the Australian trio’s growing reputation for forward-thinking, boundary pushing production as the track is centered around arpeggiated and propulsive Giorgio Moroder-like synths, a soaring choral hook and verses that express an aching longing. And from the latest single, it shouldn’t be surprising that the act manages to walk a tightrope between arena and club rocking bombast with an earnest and intimate emotionality, as though the song is confession between the listener and the song’s narrator.

The internationally renowned electro pop trio will be on a month long North American tour during the fall and it includes three New York City area dates — November 23, November 24 and November 25 at Terminal 5. Check out the tour dates below.

 

SOLACE North American Fall Tour Dates (with more dates to be announced):
Oct 24th – Charlotte, NC – The Fillmore
Oct 25th – Atlanta, GA – Coca Cola Roxy
Oct 26th – New Orleans, LA – Voodoo Music & Arts Experience
Oct 27th – Houston, TX – House of Blues (Houston)
Oct 28th – Austin, TX – Emo’s
Oct 30th – Phoenix, AZ – The Van Buren
Oct 31st – San Diego, CA – Valley View Casino Center
Nov 1st – Los Angeles, CA – Shrine Expo Hall
Nov 2nd – Los Angeles, CA – Shrine Expo Hall
Nov 3rd – Los Angeles, CA – Shrine Expo Hall
Nov 6th – San Francisco, CA – Bill Graham Civic Auditorium
Nov 9th – Salt Lake City, UT – The Complex
Nov 10th – Denver, CO – The Fillmore Auditorium
Nov 11th – Denver, CO – The Fillmore Auditorium
Nov 13th – Minneapolis, MN – First Avenue
Nov 14th – Chicago, IL – Aragon Ballroom
Nov 15th – Detroit, MI – Royal Oak Music Hall
Nov 16th – Toronto, ON – The Danforth Music Hall
Nov 18th – Montreal, QC – MTELUS
Nov 20th – Boston, MA – House of Blues (Boston)
Nov 21st – Boston, MA – House of Blues (Boston)
Nov 23rd – New York, NY – Terminal 5
Nov 24th – New York, NY – Terminal 5
Nov 25th – New York, NY – Terminal 5