More great live shows for you from last year! Who’s in the top half of the list?
#15: Johnny Jewel – September 25, 2025 – Levitation Austin, Austin, TX
Mr. Jewel opened for his own band, Desire, and, for my money, put on the best show of the night at the first day of Levitation Austin last year. It was a showcase of his film scores and covers of other film music ranging from his score to Drive to a David Lynch tribute and giallo-horror tracks.
#14: The Black Angels – September 28, 2025 – Levitation Austin – Austin, TX
The Black Angels always play Levitation. It’s their festival, after all. They help curate it. It was another fine set from them that included many tracks they don’t play often – one of the advantages of not having to promote a new album.
These Dutch funk-rockers played their first gig in the U.S. ever at Levitation Austin last year and had the entire place jumping by the end of it. This was easily the grooviest show of the entire weekend, and everyone was buzzing the rest of the day afterwards.
#12: DITZ – June 27, 2025 – Levitation France – Angers, FR
This was blistering post-punk in a heat wave that had gripped almost the entire county. You can see the dust being kicked up from the mosh pit in that photo due to the arid conditions of the park in Angers where Levitation France took place last year. The lead singer had run off-stage, into the nearby lake, and returned covered in seaweed by the end.
#11: A Place to Bury Strangers – September 28, 2025 – Levitation Austin – Austin, TX
The Palmer Event Center in downtown Austin, where Levitation Austin took place last year, is a big venue…and it still wasn’t big enough to keep the volume of APTBS from flattening you as soon as you entered the place. Lead singer and guitarist Oliver Ackermann used the high ceiling to his delight by tossing his now-famous “half-guitar” sky high multiple times. Two friends who’d never seen them until now were left stunned by the end. “That’s like an assault,” my friend Wes said, wide-eyed and not knowing how else to describe it.
There were a lot of great shows for me in 2025, and we’re now into the top half of the ones I saw last year — and all of this batch were at the Levitation Music Festvial in Austin, Texas.
#20: The Sword – September 26, 2025 – Levitation Austin – Austin, TX
Austin heroes The Sword are enjoying their return to touring and this set almost leveled the Palmer Event Center in Austin. The crowd was bonkers for this one and had been digesting a full menu of metal all day before they came out and provided another massive entrée.
Pixel Grip played one of the late night shows on the first day of the festival, and they did it a man down at that. No one minded, however, because they still sounded great and had a loving crowd packed into the Elysium nightclub who were all in the mood to dance and make out, and PG’s live sets are perfect for both.
#`18: Model / Actriz – September 27, 2025 – Levitation Austin – Austin, TX
“Come on, Austin, we’re all hot!” was the opening call by Model / Actriz’s lead singer, Cole Haden at their Levitation set. They played a hot set of post-punk that had the crowd roaring by the end and made a lot of new fans.
#17: Boy Harsher – September 25, 2025 – Levitation Austin – Austin, TX
Speaking of bands with roaring crowds, Boy Harsher packed people into the Stubb’s outdoor stage area on the opening night of the Levitation festival. It was a sexy, fun set that was a good one for the first night of headliners.
While we’re on the subject of sexy fun, Desire brought plenty of it at Elysium when they played a late-night set at Levitation. Black leather and latex, love songs, lust songs, and cat-like grace across the stage.
Who makes it into the top fifteen? Come back tomorrow!
Mandy, Indiana sign to Sacred Bones and announce their new album, URGH, out February 6th, with lead single “Magazine.” On URGH, Mandy, Indiana is a force of uncanny nature, grafting together a record that is as much a call to action as a parlay into oblivion and transcendence. Following their acclaimed 2023 debut, i’ve seen a way, URGH finds the band expanding their far-reaching sound with each member — vocalist Valentine Caulfield, guitarist and producer Scott Fair, synth player Simon Catling, and drummer Alex Macdougall — actively taking part in the songwriting process. Across ten tracks, Mandy, Indiana interpolate their own unconventional language into a mantra for self-determination and resilience, forging a template for a brighter future before it fades to black.
Co-produced and co-mixed by Fair and Daniel Fox of Gilla Band, much of URGH was written during an intense residency at an eerie studio house in the outskirts of Leeds and recorded across Berlin and Greater Manchester. The process was shaped by adversity with both Caulfield and Macdougall undergoing multiple rounds of surgeries in the same time frame as the album was being written and recorded. The harrowing experience and the exhaustion of their respective recoveries bleed into the surreality of Caufield’s writing, blurring the line between inner turmoil and external chaos.
URGH is deeply personal, yet also reflects the violent, fractured state of the wider world as Caulfield’s lyrics grapple with assault, systemic indifference, and the omnipresence of pain. While most of the lyrics are in her native French, the emotional clarity cuts through regardless of language. Caulfield still uses her voice as a distorted instrument and a weapon, oscillating between equal parts playful and eviscerating, showcased on today’s single, “Magazine.” The throbbing siren-sound of the song finds the band garnering drama from the juxtaposition of quiet moments and explosive commotion as Caufield sings in French: “Abandon / All hope / Because tonight / I’m coming for you.” The accompanying visualizer was directed by Stephen Agnew.
Commenting on the song, Caulfield explains: “‘Magazine’ is the expression of the frustration and deep-seated violence I felt while attempting to recover from being raped. Just like most victims of sexual assault, I will never get justice, and just like most perpetrators, my attacker will never be punished. My therapist encouraged me to channel my anger into something productive, so here it is: my primal, screaming call for retribution. It is the only way I will ever get to say to my rapist: you hurt me, so I’m going to hurt you.”
Although there are still undeniable “bangers” across the album, from the bristling techno of “Cursive” to the frazzled rap of “Sicko!” featuring billy woods, URGH feels hewn with precise cinema. Fair and Macdougall explain that “a lot of the record is a remix of itself,” a cohesion of the band’s aptitude for collaging sounds and ideas that could operate as a film score or an industrial club night. Where i’ve seen a way drew from escapism, URGH (even from the reactive nature of the title alone) belongs in the physical world, and the artwork by the artist Carnovsky, featuring an anatomical illustration of Andreas Vesalius, underscores the record’s visceral confrontation with the body and its limits.
For Mandy, Indiana, the truth is the only way through. In 2025, the ability to make art that is seen and heard is its own form of protest, and directly addressing these issues is its own reclamation of power and strength in solidarity. URGH is a cathartic first step toward healing and a refusal to let the conversation die.
Mandy, Indiana will tour across Europe next year with shows in London, Paris, Berlin and more. All dates are listed below.
Mandy, Indiana Tour Dates Wed. March 25 – London, UK @ Heaven Fri. March 27 – Leeds, UK @ Brudenell Social Club Sat. March 28 – Glasgow, UK @ Room 2 Wed. April 8 – Dunkirk, FR @ Les 4 Ecluses Thu. April 9 – Paris, FR @ Petit Bain Sun. April 12 – Cologne, DE @ Bumann & Sohn Tue. April 14 – Copenhagen, DK @ Huset Wed. April 15 – Berlin, DE @ Urban Spree Thu. April 16 – Hamburg, DE @ MS Stubnitz Fri. April 17 – Tilburg, NL @ Roadburn Sat. April 18 – Rotterdam, NL @ Motel Mozaique
Today James Adrian Brown, former Pulled Apart By Horses guitarist, announces his debut solo album ‘Forever Neon Lights‘ out Jan 30th via Castles In Space. After achieving chart success, touring the world, and releasing four critically acclaimed studio albums with PABH, Brown has begun paving a new path in instrumental electronic music and composition. New single “Generator” is online now and Brown will be touring the UK and Ireland throughout November.
Forever Neon Lights is inspired by Brown’s formative memories of visiting the Blackpool Illuminations as a child. Those bright lights by the sea became a personal symbol of hope, possibility, and escapism, shaping the creative vision Brown now brings to his solo work.On the new single, Brown says ” ‘Generator’ is about creating your own momentum and powering through life’s challenges. Just as the illuminations need a generator to shine, we all have to find and build our own energy source to keep moving forward. For me, it’s about resilience, staying true to your dreams, and making them real.”
Brown’s solo work is heavily electronica-based, utilising analogue synths alongside tape machines, piano, strings, and immersive ambient atmospherics. His focus lies in the analogue process of capturing and creating sound using physical hardware. Taking inspiration from artists such as Boards of Canada, Rival Consoles and Thom Yorke, Brown is exploring, evolving, and pushing his songwriting into bold new sonic territories.
Hot off the heels of producing Benefits’ critically acclaimed album Constant Noise earlier this year, and following a continual flow of live shows, singles, EPs, collaborations and remixes by the likes of Hayden Thorpe, Blood Red Shoes & Benefits.
A deeply personal yet outward-looking debut, Forever Neon Lights is a conceptual record that draws on memory, imagination, and transformation. Across its tracks, Brown reflects on childhood wonder, the excitement of possibility, and the struggles and triumphs of chasing a creative life. The Blackpool Illuminations serve as both literal and metaphorical inspiration: dazzling, unending, and powered by unseen energy.
Sonically, the album finds Brown pushing into new territory with long-time producer James Mottershead, weaving pulsing electronics, immersive textures, and evocative melodies into a dynamic, shifting instrumental landscape. It marks a bold evolution from his guitar-led past into a fully realised electronic vision.
Speaking about making the record, Brown says:
“This album is me laying everything out, the things I’ve carried since being a child, the hopes, dreams, and doubts I’ve felt as an adult, and the stubbornness to see things through. Writing and recording it felt like reconnecting with that wide-eyed version of myself who thought the lights back in Blackpool wrapped right around the entire country every Christmas and went on forever. It’s about taking that feeling and turning it into something lasting and real.”
Forever Neon Lights will be released January 30th, 2026, on one of Britain’s most essential electronic record labels, Castles In Space. The album will be available on limited 12” gatefold vinyl and across all streaming platforms.
See James Adrian Brown live: 20th Nov – Preston – Mad Ferret 21st Nov – Leeds – Headrow House 25th Nov – Manchester – 33 Oldham Street 27th Nov – Belfast – Black Box 28th Nov – Dublin – Crowbar Terrace
LUCKYANDLOVE‘s new album, Humaura, has an interesting dichotomy running through it. The band love analog synths, Moog synthesizers, drum machines, and other electronic instruments and deftly use them to create lovely synthwave and dark wave music…
…and yet Humaura opens with “I Am Human” – a song that encourages us to “cut the wire” and back out of all this technology that consumes and does more to separate us than keep us together. Shut off your phone, stop binge-watching shows, get outside and breathe for a bit.
Then come back for the dance party that is “Feelz So Good,” because you do feel good after a break from the cyber-world. You always do. You always remember how good it feels to be present. “Run on Run” is a saucy tale of finding and walking away from love with April Love repeating “Just let me go.” to her former lover, as they’re not “the only one who can have some fun.” Speaking of love, “Name of Love” has some of Love’s best vocals on the record as the song goes from dark wave to electro-disco.
“Lonely at Night” is pure goth-wave as Love relates to all of us feeling isolated in the darkest hours of the evening. “You’re the only one who gets me,” Love sings on “Down to Black” – in which she happily (as happy as you can get in a goth dance tune, that is) sings about finally finding someone who understands her.
Loren Luck ups the percussion on “Secret Is Out,” which is about a vampire who needs to reveal their nature to a lover but is debating the decision. Will it bring relief or misery? “Hawks Do Cry” is another showcase of Love’s excellent vocals. “Melt in Sunshine” might refer to the vampire in “Secret Is Out.” It’s a slick track, with some of Luck’s best beats. It almost becomes dream pop at some points.
Again, it’s an interesting dichotomy – An electro record made with modern and analog technology that encourages you to put away technology, investigate yourself, and find love and human connection. In other words, LUCKYANDLOVE have delivered one of the most important messages of the year.
It’s easy to forget that the gap between Portishead‘s second album and their literal Third album was eleven years long. They’d put out two perfect trip-hop records and then faded out after drummer and songwriter Geoff Barrow became uninspired with music, underwent a divorce, and moved to Australia.
He started tinkering with music again in 2003, eventually landing on one of the tracks that would be on Third. That led him to link back up with keyboardist and guitarist Adrian Utley in 2005 and things blossomed from there.
They, along with singer Beth Gibbons, started collaborating on more tracks and Third emerged seemingly out of nowhere, surprising fans and critics alike. The surprise came from not only Portishead releasing an unexpected album, but also from the unexpected sound of it. Gone were the trip-hop elements, replaced with krautrock, synthwave, and dark wave.
“Silence” opens the record with industrial percussive beats while Charlotte Nicholls‘ cello haunts the entire track and its abrupt ending pulls the rug from under you. “Hunter” sounds like something you’d hear in a Twin Peaks episode if the show were scored by Can instead of Angelo Badalamenti. “Nylon Smile” has Gibbons singing about how she’s trying so hard to accept love and give more in a relationship that’s already boring her. “The Rip” almost becomes a sea shanty with Utley’s simple guitar picking, but then it transforms into a synthwave hypnosis session.
“Plastic” is jagged and weird (in a good way), reminding me of giallo film music at times. “We Carry On” goes almost full krautrock with its throbbing beats and unsettling synths as Gibbons sings about tastes she can’t describe and putting one foot forward to get to the next moment. The shoegaze guitar power chords from Utley are sharp on this track. “Deep Water” is an acoustic track that’s almost a lullaby.
“Machine Gun” is an immediate contrast with industrial thumps and hisses while Gibbons sends out siren song to hypnotize the sailors working deep in the hold of a passing ship. “Small” gets close to trip-hop, but keeps a darker edge to it that gets under your skin and into the back of your skull.
“Magic Doors” is the no wave song Barrow started writing in 2003 that eventually led to Third‘s creation. Vintage synthesizers are all over the album, with the final track, “Threads,” being no exception. The band used a detuned sound of a VCS 3 to create a spooky effect that resembles a clarinet played by a wraith. Jim Barr‘s guest bass is like a slowly boiling contents of a cauldron found simmering in a dark woods.
People are still unraveling Third, myself included, all these years later. It’s worth the effort.
Take some flute, add synthesizers, mix them with early morning sun bouncing off the Partheon in Athens, Greece, and have it served up by a former noise rocker. What do you get? Ston Elaióna, a beautiful ambient album from John Also Bennett.
I’m not sure how to describe this album, or even if I should. It’s something best experienced. The opening title track is like falling into a dream. “Gecko Pads” is inspired by a lizard Bennett saw on the wall of his apartment studio. “Hailstorm” mixes soft synths and flute with the quiet ticks of the titular storm Bennett recorded in Athens.
“A Handful of Olives” almost ventures into drone music with its long synth notes, but Bennett’s flute turns the song into a lovely stroll through a grove. “Sacred House” refers to the home of the Oracle of Dodoni (as does the mist-like track “Oracle” later on the record) and sounds like a record played by a ghost. Heck, “Seikilos Epitaph” is a composition found carved on an ancient pillar (the oldest known complete musical composition to exist).
“First Lament” is a song Bennett has been performing for years in different forms. Here it’s like something you’d hear drifting over a mountain path as you approach a temple you’ve been climbing toward for days. “Easter Daydream” is, I think, the only song on the album with percussion…and that is a field recording of a church bell across the street from Bennett’s apartment during Holy Week. Finally, if you buy a physical copy of the record, you also get “Lonely Melody.” Remember that ghost playing a record earlier? Well, now he’s doing spectral tidying of the haunted house to keep his mind off the fact that no one comes around to listen to his spooky records.
Again, it’s better to experience all of this than to read about it. Grab a copy of it, sit with it, and let it drift around and through you.
I’m going to call the September 25, 2025 Thursday night late shows of Levitation Austin 2025 as “Day Zero” since the official festival doesn’t start until September 26th. “Day -1” would’ve been September 24th when you could’ve seen Mdou Moctar, Beach Fossils, Strange Lot, Water Damage and other good bands.
The main festival has a new home — the Palmer Event Center pretty much in the middle of the city, and only has the “pub crawl” events (shows at various venues downtown) at night. As usual, there’s always at least one good band playing the Thursday night before Levitation to entice you into coming to town early. This year, “Day Zero” had several: Warmduscher and Starjunk 95 among them, and I opted for two other shows out of six you could attend.
I first went to Stubb’s BBQ for what would be the only show I would attend there the whole weekend (which felt odd): Kumo 99, Martin Rev, and Boy Harsher.
Kumo 99 kicking off Levitation with a good start.
I’d only heard one song from Kumo 99 before coming to Austin, so I didn’t know what to expect apart from some electro music. What I got was electro plus synthwave plus Japanese vocal punk rock. I was impressed, and so were a lot of others judging by the size of the line at their merch booth after their set.
Martin Rev will hit you with a key-tar and then put you in the Sharpshooter.
Up next was the legendary Martin Rev — one half of synth / punk pioneers Suicide. He came out in ripped-up leather pants, a sleeveless shirt, and goggles suitable for alpine skiing or for Brett “Hitman” Hart cutting a professional wrestling promo. What followed was a weird, loud no wave noise set that left most of the audience (who didn’t realize who he was) baffled. Rev was hammerfisting his keyboard through most of the set, bludgeoning us with distorted din. He sampled Bon Jovi, ZZ Top, and The Trammps at various points while singing / talking with so much reverb in his microphone that one guy in front of me just yelled, “What are you saying?” during a brief break in the noise. Rev even did a bizarre cover of Sam the Sham & the Pharohs‘ “Wooly Bully” at one point. A woman next to me said, “I hope I can be that cool at (age) seventy-seven. I’m ready for bed by eight and he’s out here doing his thing.” That “thing” being not giving a damn what people think and giving them more of an experience than a performance.
Boy Harsher winning over the crowd at the first note.
The crowd (with a big goth and queer contingent. Hell yeah!) for Boy Harsher was huge by the time they took the stage. They played much the same set as when I saw them at Levitation France months earlier — packing in pulsing synthwave with great electro dance beats. I found out from the woman next to me that they’d played a DJ set from the back of a truck the previous day and had done a record signing at End of an Ear in Austin. That’s way cool.
Johnny Jewel “covering” Chromatics.
Speaking of way cool things, I walked a half-block after Boy Harsher’s set to Elysium where I caught Johnny Jewel‘s great set of his film score and other music – which included a set from Drive, a salute to David Lynch, and even a different version of Chromatics‘ “Lady.” He played various clips from Lynch films, Twin Peaks, giallo films, and other oddities throughout it.
Desire instilling that in all of us.
Up next, and closing out Day Zero, was one of Jewel’s many side projects — Desire. They played a long set of lovely synthwave and electro-dance tracks, mostly about wanting, finding, and / or losing love. The crowd loved them, and the trio work well together. They even played two New Order covers (“Bizarre Love Triangle” and “Blue Monday” – with Jewel on lead vocals for the second) and Taylor Dane‘s “Tell It to My Heart” — which was a natural fit for lead singer Megan Louise.
It was a late night, but worth it. There’s a lot of good synthwave at Levitation this year, and Day One will end with more…but first there will be a lot of metal.
Keep your mind open.
All right, all right! I’ll get on it…And you spelled my name wrong again, David!
Jasamine White-Gluz got out of the city to make Bugland, the newest No Joy album, experimenting and collaborating with Fire-Toolz (AKA Angel Marcloid) for an record that is difficult to categorize, but why should we even bother to try? Why not just sit back and enjoy it?
Starting with electronic bloops, bleeps, and beats, “Garbage Dream House” gets things off to a weird, wonderful start – mixing buzzing guitar chords with synths and processed drums while White-Gluz’s voice bounces off the back wall at some points and nuzzles your ear the next. The title track crunches and munches like an early Garbage track and White-Gluz’s reverb-soaked vocals practically lift you off the floor.
“Bits” has more 90s electro-rock vibes to it, practically begging you to blast it on your headphones as you hit the mid-mark of your treadmill workout. “Save the Lobsters” is based on a true story of White-Gluz smashing open lobster traps washed up on beaches so she could get the creatures back into the ocean. Her vocals are often drenched in distortion or echo effects, seemingly putting you under the water with the freed animals.
“My Crud Princess” not only has a great title, but also a sparkling energy bursting through the slightly sludgy (cruddy?) drum beats. “Bather in the Bloodcells” reminds me of My Bloody Valentine if they turned down the volume a bit and covered Elastica.
“I Hate That I Forget What You Look Like” is a stunner about grief that, for some us, is all too relatable. The snappy drums and synths grow like a mind almost spiraling into panic, but catching itself just before toppling into madness. The psychedelic closer, “Jelly Meadow Bright” is almost eight minutes of trippy bliss, nearly fading out halfway through it and then returning with a wild saxophone-led acid-jazz / industrial freak-out.
Again, I’m not sure how to describe Bugland…apart from it being one of the best releases of 2025 so far.
Annie-Claude Deschênes presents the first in a series of remixes of “Main de Fer“, her latest single released in April. Produced by Shit Robot (DFA Records), it is available now on all platforms. The track is out now via Italians Do It Better (US) and Bonsound (ROW).
“I chose Shit Robot because his unique sound and creative vision felt like the perfect match to reimagine Main de Fer in a bold, new way”, explains Annie-Claude. The Irish producer and DJ, known for his affiliation with the DFA Records label, brings an analog touch to the track by using a variety of synthesizers and sequencers straight out of the 90s. “This was one of those great projects where you fire up the machines and everything falls into place really quickly. I was very excited to get started on this as the original vocals are great and the energy of the track is infectious”, adds Shit Robot, who also mixed the final result alongside LCD Soundsystem member and Grammy Award winner Korey Richey.
Annie-Claude Deschênes will perform at the Reeperbahn Festival in Hamburg on September 18th and at Rialto Hall at POP Montreal on September 25th before embarking on a European tour in October. This series of dates will take her to Brussels, Strasbourg, Lyon, Luxembourg, and Paris, among other cities, after which she will return to Canada for dates in Toronto and the province of Quebec. She will also be part of M for Montreal’s official selection in November. See the list below for all tour dates.
Multidisciplinarity is an integral part of the creative process of Annie-Claude Deschênes, who continues her perpetual personal quest of uniting music and performance art by bending the pre-established conventions of stage presence. A key figure on the Montreal independent music scene for almost twenty years, she made her mark as a singer, musician, songwriter, performer and visual artist with Duchess Says and PyPy, two bands that are renowned as much for their electrifying performances as for their artistic sensibility. Over the course of her career, she shared the stage with a number of internationally renowned bands, including The Yeah Yeah Yeahs, Teenage Jesus and the Jerks, The Black Lips, The Hives, The Hot Snakes and Buzzcocks. Duchess Says and PyPy’s extensive touring has taken her all over North America and Europe, playing venues and festivals (Primavera Fest, Eurockéennes de Belfort, OSHEAGA, Sled Island, etc.) as well as unconventional locations such as golf courses, factories and churches. Her exploratory approach to staging and sound design takes a new direction with this solo project: the urgency that characterizes her work remains, but frustration and aggression give way to introspection and vulnerability. Annie-Claude Deschênes explores and reinvents herself under her own name, driven by a constant need to create outside of her comfort zone.
Inspired by minimal pop and the pioneers of electronic music, LES MANIÈRES DE TABLE, her first solo album released in spring of 2024, is as danceable and melodic as it is disquieting and dystopian, proposing to set the table differently by deconstructing the social codes of politeness imposed on us. LES MANIÈRES DE TABLE earned a spot on the Polaris Prize long list and garnered attention from international media outlets such as KEXP, BrooklynVegan, CLASH, The Guardian, Les Inrockuptibles and Radio Nova, as well as landing on several year-end lists.
Tour dates: 09/16/2025 – Berlin, DE – Berlin Experience (Reeperbahn Festival) 09/18/2025 – Hamburg, DE – UWE (Reeperbahn Festival) 09/19/2025 – Hamburg, DE – MOPO Stage (Reeperbahn Festival) 09/25/2025 – Montreal, QC – Rialto Hall (POP Montreal) * 10/03/2025 – Brussels, BE – Botanique (Festival FrancoFaune) 10/04/2025 – Mulhouse, BE – Motoco (Festival Microsiphon) 10/07/2025 – Reims, FR – La Cartonnerie 10/09/2025 – Longwy, FR – The Long Way 10/10/2025 – Strasbourg, FR – La Grenze *** 10/11/2025 – Lyon, FR – Le Sonic 10/14/2025 – Luxembourg, LU – Les Rotondes 10/16/2025 – Tours, FR – Le Super 9 10/17/2025 – Metz, FR – Les Trinitaires 10/18/2025 – Troyes, FR – Midi O Halles (Festival Off Off Off) 10/22/2025 – Dunkirk, FR – Le LAAC *** 10/23/2025 – Paris, FR – Le Hasard Ludique *** 10/31/2025 – Toronto, ON – Wavelength @ St. Anne’s 11/07/2025 – Alma, QC – Café du Clocher + 11/08/2025 – Jonquière, QC – Côté-Cour + 11/15/2025 – Rimouski, QC – Salle Desjardins-TELUS +
* Opening for Bolis Pupul *** Opening for Camilla Sparksss + Opening for Choses Sauvages
