The epic Mosswood Meltdown, hosted by the inimitable John Waters, is returning to Oakland’s Mosswood Park July 1st and July 2nd. Today, they announce additional performers and single day lineups (for which tickets are on sale now). The festival’s newest additions include Twompsax (for their last performances ever),The 5678’s, Vore, and Teddy Bear Orchestra, joining “a legendary lineup” (Consequence) of headliners Le Tigre, Bratmobile for their first public performance in over 20 years, Gravy Train!!!!, ESG, Mika Miko, Snõõper, and more. The weekend will kick-off with a grand opening party at Thee Stork Club on Friday, featuring John Waters and Gravy Train!!!!. The antics will continue late into the night, with a smorgasbord of bombastic after parties (a full list can be found below). Tickets for the weekend are nearly sold-out, and single day tickets are expected to go quick. This is a weekend not-to-miss!
Mosswood Meltdown Single Day Lineups
Saturday, July 1st Le Tigre (1st Bay Area gig in 15 years) Twompsax (last all ages show ever) ESG (First performance in Oakland, CA) The 5678’s Tina & The Total Babes (only gig in 2023) The Rondelles (only show in 2023) Quintron & Ms. Pussycat Morgan & the Organ Donors Cumgirl8 Memo P.S.T.
Sunday, July 2nd Bratmobile (first public performance in 20 years) Gravy Train!!!! (only gig in 2023) Mika Miko (1st show in a decade) J.J. Fad The Avengers Teddy Bear Orchestra Snõõper Brower Warp Vore
Friday Kick Off Party at Thee Stork Club Hosted by John Waters Gravy Train!!!! Trap Girl Tragic Queendom Drag Contest
Saturday After Party at Thee Stork Club Twompsax (final show ever) Warp BAUS Croissant Vore
SundayClosing Party at Thee Stork Club Snõõper Diesel Dudes Gumby’s Junk Blues Lawyer
and More at Eli’s Mile High Club and Golden Bull Alternative Tentacles Parties Slovenly Records Parties
Ticket Prices GA Single Day – $89 GA Weekend Pass – $159 VIP Single Day – $149 VIP Weekend Pass $279 Pre-Parties & Afterparties pass $99 or available “ala carte” Party Tickets available at mosswoodmeltdown.com
It was a cool night in Kalamazoo, and the music venue at Bell’s Brewery in Kalamazoo, Michigan, Bell’s Eccentric Café, was packed with fans of heavy psychedelic rock. Thankfully, both power trios performing that night were ready to blast out heavy sets of it.
First were Detroit’s Sisters of Your Sunshine Vapor, three lads I’ve known for a while and who never disappoint with their sets. They played a combination of stuff from their last couple albums and some new material from an album they just finished recording and will soon be mastering for release. The new material has industrial influences that mix well with their “Doors meet early Pink Floyd” sound and bring a new powerful energy to their music. Bassist Eric Oppitz (playing in a chair due to having a leg brace thanks to a hockey accident) told me they plan to tour for a couple months once the new album is finished.
Sisters of Your Sunshine Vapor
King Buffalo, all the way from Rochester, New York (and SOYSV) had just played the night before at a small venue in Whitestown, Indiana, and I overheard multiple people saying they’d followed both bands from there to Kalamazoo. King Buffalo were wrapping up their North American tour and didn’t skimp on anything just because it was their last show before heading to Europe. The crowd was enthusiastic for the entire set, with many singing along with every song they played.
The crowd was still buzzing after King Buffalo’s powerful set, feeling like they’d been levitating for the last hour. Venues in Europe are going to love their sets. Also, both bands don’t overprice their merchandise, so load up on their stuff whenever you see them.
Tinariwen—the legendary GRAMMY-winning Tuareg collective—present their new single, “Kek Alghalm,” from their forthcoming album, Amatssou, out May 19th on Wedge. Following lead single “Tenere Den,” an “understated tribute to the desert and to the Tuareg revolution in the highlands of Mali” (WNYC), “Kek Alghalm” opens Amatssou as a call to the Tuareg tribes to unite against present threats, its lyrics calling out complicity in silence: “So where are the Touareg? // And why do they remain silent // In the face of so much disrespect // Perpetrated shamelessly with uncovered face.” Featuring Nashville’s WesCorbett on banjo, “Kek Alghalm” is a longtime live favorite amongst Tinariwen fans and it’s presented here in its recorded form for the first time.
Tinariwen, composed of founding members Ibrahim Ag Alhabib, Touhami Ag Alhassane and Abdallah Ag Alhousseyni, plus bassist Eyadou Ag Leche, percussionist Said Ag Ayad and guitarist Elaga Ag Hamid, single-handedly invented a guitar style that has captured the world’s imagination. They call it ishumar or assouf (“nostalgia” in Tamashek) but the rest of the world has come to know it as the Tuareg or desert blues. It is music that is imbued with sorrow and longing but it’s also music to dance to, to forget our cares.
Throughout Amatssou, the band’s ninth studio album, they set out to explore the shared sensibilities between their trademark desert blues and the vibrant country music of rural America. Recorded in Djanet, an oasis in the desert of southern Algeria located in Tassili N’Ajjer National Park, with additional production by DanielLanois (Brian Eno, U2, Bob Dylan, Emmylou Harris, Peter Gabriel, Willie Nelson), Amatssou finds Tinariwen’s signature snaking guitar lines and hypnotic grooves seamlessly co-existing alongside banjos, fiddles and pedal steel. Lanois’ haunting pedal steel and crystalline production add a soaring ambience to Tinariwen’s trance-like desert blues.
For decades, Tinariwen have remained ambassadors for the Tuareg people, a way of life in tune with the natural world, which is under threat as never before. Amatssou is Tamashek for “Beyond The Fear,” and it fits, as Tinariwen have always been characterized by their fearlessness. Though Tuareg culture is as old as that of ancient Greece or Rome, the songs of Amatssou speak to the current and often tough reality of Tuareg life today. Unsurprisingly, there are impassioned references to Mali’s ongoing political and social turmoil. Full of poetic allegory, the lyrics call for unity and freedom. There are songs of struggle and resistance with oblique references to the recent desperate political upheavals in Mali and the increasing power of the Salafists. Tinariwen’s message has never sounded more urgent and compelling than it does on Amatssou.
Beginning May 27th at Chicago’s Old Town School of Folk Music, Tinariwen’s US tour will see them bringing their cherished songs to cities including NewYork, LosAngeles, and more before they head overseas for a run of EU/UK dates. All shows are on-sale now with tickets available here.
Tinariwen Tour Dates Sat. May 27 – Chicago, IL @ Old Town School of Folk Music Tue. May 30 – Portland, OR @ Wonder Ballroom Wed. May 31 – Seattle, WA @ Showbox Fri. June 2 – Berkeley, CA @ UC Theater Sat. June 3 – Los Angeles, CA @ Fonda Theater Mon. June 5 – New York, NY @ Webster Hall Tue. June 6 – Boston, MA @ Sinclair Wed. June 7 – Washington, DC @ Lincoln Theatre Sat. June 10 – Hilvarenbeek, NL @ Best Kept Secret Festival Mon. June 12 – Rubigen, CH @ Muhle Hunziken Wed. June 14 – Florence, IT @Ultravox Thu. June 15 – Milan, IT @ Triennale Garden Fri. June 16 – Turin, IT @ Hiroshima Mon Amour Sun. June 18 – Dublin, IE @ Body & Soul Festival Thu. June 22 – Berlin, DE @ Festsaal Kreuzberg Sat. June 24 – Glastonbury, UK @ Glastonbury Festival Mon. 26 – Lille, FR @ Splendid Wed. June 28 – Paris, FR @ Salle Pleyel Thu. June 29 – Brussels, BE @ Ancienne Belgique Sat. July 1 – Roskilde, DK @ Roskilde Festival Sun. July 2 – Stockholm, SE @ Slaktkyran Tue. July 4 – Oslo, NO @ Rockefeller Fri. July 7 – Bilbao, ES @ BBK Live Festival Tue. July 11 – Arles, FR @ Les Suds Arles Thu. July 13 – London, UK @ Somerset House Sat. July 15 – Bristol, UK @ SWX Mon. July 17 – Glasgow, UK @ St Lukes Wed. July 19 – Birmingham, UK @ Institute 2 Sat. July 22 – Cheshire, UK @ Bluedot Festival Tue. 25 – Vigo, SP @ Terraceo Festival Thu. July 27 – Sines, PT @ FMM Sat. July 29 – Luxey, FR @ Musicalarue Festival
UK-based quintet Squid present the new single, “Undergrowth,” from their sophomore album, O Monolith, out June 9th on Warp Records, the “Undergrowth”-inspired video game by Frank Force, and announce a North American Tour. Renowned for their unerring experimentation, Squid continue their idiosyncratic sonic journey with “Undergrowth,” where dubbed-out bass grooves under cinematic synth chops explode into bursts of guitar and frenetic brass. Through the radical meld of textures and tones, Squid drummer and vocalist Ollie Judgestill manages to create an earworm chorus, repeating “Ergonomic for the rest of my days, I’d rather melt melt melt melt melt melt away.” Themes of environmental peril, morality, and the natural world are all present on “Undergrowth” and further explored on the rest of O Monolith.
Judge explains, “I really got into animism, the idea that spirits can live in inanimate objects. I was watching Twin Peaks, and there was the episode where Josie Packard’s spirit goes into a chest of drawers. So ‘Undergrowth’ was written from the perspective of me being reincarnated as a bedside table in the afterlife, and how the thought of being reincarnated as an inanimate object would be dreadful. ‘This isn’t what I wanted/ So many options to be disappointed.’ Even though I’m in no way religious I don’t think anyone who isn’t religious is confident enough to not have had the fleeting thought of ‘Fuck, what if there is an afterlife? What if I’m going to Hell?’”
“Undergrowth” is accompanied by a visualizer directed by Squid’s Louis Borlase. In describing the story behind it, he says, “When we were writing O Monolith we rented a little studio in St Pauls and whichever way we’d walk home, the BRI Hospital chimney would always be standing there – jutting out in front of a disc of countryside beyond. Sometimes it feels like most folklore hides in the countryside’s nooks. At other times it comes in closer, lurking in the bins on the walk back from the shops.”
Additionally, today, the band unveil “Undergrowth,” the game! A bit like the bastardized love child of Super Mario and Space Invaders, with an English Folklore twist. Who’s gonna get the high score? Who’s gonna defeat the monolith? Creator Frank Force adds, “Imagine the game itself as an interactive music video where gameplay and animation is synched up to the music and changes as the song progresses, moving into different phases.”
Produced by long-time collaborator, Dan Carey, and mixed by John McEntire (of Tortoise), O Monolith teems with melodic epiphanies and is a musical evocation of environment, domesticity and self-made folklore. Like its predecessor, it is dense and tricksy – but also warmer, with a winding, questioning nature. Squid began work on O Monolith only two weeks after the release of Bright Green Field while the band were on tour in 2021. The songs continued to take shape in rehearsal rooms around Bristol, where the band were based at the time, eventually moving to Peter Gabriel’s Real World Studios in Wiltshire. This change in environment further pushed the development of the band’s sound from claustrophobic post-punk to something more free-flowing and spacious. Although originating in Brighton and now largely based in South London, every member of the band has a strong connection with the West Country, which only deepened during the recording process. One interpretation of O Monolith is a condensation of the environment into song. “There’s a running theme of the relation of people to the environment throughout,” says Borlase. “There are allusions to the world we became so immersed in, environmental emergency, the role of domesticity, and the displacement you feel when you’re away for a long time.”
“Undergrowth” follows lead single “Swing (In A Dream)” which was recently added to BBC 6 Music’s A-List. As FADER commented, “[‘Swing (In A Dream)’] suggests their new album O Monolith will retain all of the intensity and sense of adventure that made their 2021 debut Bright Green Field essential listening for post-punk fans.” Indeed, like its namesake, O Monolith is vast and strange; alive with endless possible interpretations of its inner mysteries.
Squid have long been praised for their expansive must-see live show, touring extensively in support of Bright Green Fieldin 2021 and 2022. Following the band’s biggest UK and EU shows yet in support of O Monolith this fall, Squid will return to North America in 2024. This run sees them playing many cities for the first time. Tickets are on sale now.
DEBAUCH-a-ReNO returns with a two-part festival in Reno, NV, from June 16th – June 18th, and in Virginia City, NV, at Piper’s Opera House on July 14th with performances by The Mummies, Wild Billy Childish, The Kids, The Zeros, and many more.
(Reno, NV) The fifth installment of northern Nevada’s trash rock n’ roll bash is back in its birthplace in The Biggest Little City In The World and split across two weekends, with DEBAUCH-a-ReNO 2023 marking another strong lineup of budget rock delights spanning the old-school genre pioneers with the new.
Weekend one’s shindig kicks off the evening of June 16th in midtown Reno, where the nighttime events will be held at Cypress Bar, and the daytime/afternoon events taking place in downtown Reno at Wingfield Park Amphitheatre on June 17th and 18th.
June 19th is the federal holiday of Juneteenth, a date to celebrate in itself with its significance marking the news of slavery’s abolition in the United States. It’s a three-day weekend for those from many States — and for those with righteous employers!
Anchoring the weekend’s performances are a slew of punk bands from the New and Old with highlight appearances, including Northern California’s budget rock titans, The Mummies, returning to the festival’s stage, notorious Belgians, The Kids, journeying from the EU capitol country back to the United States after a long absence, and one of San Diego’s earliest pioneers of the West Coast punk rock movement with The Zeros making their DEBAUCH debut alongside the guitar twang and dark humor of fellow San Diegans and self-proclaimed “Scariest Band In the World,” Deadbolt, among many, many more!
Along with We’re Loud, the two producing companies behind this festival are marking significant milestones in their history, with Slovenly Recordings turning 20 years old in 2022 and Sticker Guy! celebrating a pearl anniversary in 2023.The second weekend’s one-night stand soiree will occur south of Reno in the time-stamped silver mining town of Virginia City on July 14th and anchored by a man whose work crosses music, publishing, and painting AND whom Kurt Cobain, Jack White, Graham Coxon, and Kylie Minogue have paid tribute to in their own right with Wild Billy Childish & CTMF, making their exclusive US performance for 2023 at Piper’s Opera House (est. 1863) alongside Sacramento’s garage-mod screamers, Th’ Losin Streaks. A goodclosing lineup, right? Well, those two weren’t enough because we’ve got one of America’s more criminally underrated bands flying in from one sweatbox to another, with the gutter minimalist bump n’ grind of Subsonics making a rare and special appearance all the way from Atlanta.
DEBAUCH-a-ReNO 2023 TICKETING INFO, HOTEL INFO
In 2023, BUDGET ROCK is more important than ever, and the organizers are doing everything they can to make their events affordable to all. Here’s how!
TICKETS Passes are on sale now (full passes gain you access to both the Amphitheatre and Cypress events, while Park gets you in the Amphitheatre) and sold through Eventsmart. This means you’re clear from those non-sensical hidden surcharges and fees a company like Ticketmaster throws at you.
I made the chilly trip to Chicago once again, but this time to see a full night of doom metal at one of the best punk and metal clubs in town – Reggie’s. Four bands playing doom and stoner rock? I’m there.
First up were two local bands, the first being Unto the Earth, who played a solid doom and sludge set set with serious shredding (on one of the most metal-looking guitars I’ve seen in a while). They were clearly having a great time.
Unto the Earth
Next, from nearby DeKalb, Illinois, came Blunt, who set up their gear, tuned a bit, and then said, “Hello. We are Blunt.” and then proceeded to unload a thundering set of sludge metal.
Blunt
I admit, I was a little sleepy after Blunt’s set. This was not from their set. It had been a long day and a two-hour drive to Reggie’s from my house, so I was a little drowsy during the downtime after they were taking their gear from the stage. That ended when, all the way from Sweden, Firebreather came out and practically set the place on fire with their blast furnace-like set.
Firebreather
Closing out the night were The Well, from Austin, Texas, who are one of my favorite doom-psych bands out there. I’d last seen them at Levitation Austin last year, and they sounded even better here. Praise must be given to whomever was mixing the sound at Reggie’s that night, because he or she helped pull every note from The Well’s set to help melt our faces and minds. One of the highlights for me was hearing a new song they’re working on (tentatively called “Christmas” or “Christmas Lights”) after hearing it for the first time at Levitation. I could tell they’d been working the song for a while because it was tighter, creepier, and stronger. The whole set roared.
The Well
The Well and Firebreather are still touring together, so get to see this heavy double-bill while you can.
What do you get when Tim Alexander (on percussion) of Primus and Skerik (on saxophones and synths) of Les Claypool’s Fearless Flying Frog Brigade have a jam session one night and later invite bassist and synth-player Timm Mason from Wolves in the Throne Room to the party? You get something that sounds like Neu! mixed with Aphex Twin. You get Sound Cipher.
Their debut album, All That Syncs Must Diverge, is a wild mix of electronica, pulsing beats, saxophone skronks, and glitchy android synths. “Grind Incursion” is the sound of panic in a robot disco. “Ransomwar” reminds you of faraway desert oasis fires and beautiful dancing maidens…and all of it is a slightly unnerving hologram. The way Alexander’s percussion drifts into “Church Turing” and slowly takes over the song like dusk turning to night is a cool effect.
“Permissive Action Link” starts the second half of the album with bad-ass synth bass and growling percussion that will inspire you to throw on a black faux-leather coat and ride a futuristic motorcycle fitted with flame throwers and rockets into a post-nuclear war wasteland in order to rescue someone lovely from a band of mutants. “God Mode” is the song that plays when that quest takes a strange turn after you accidentally fall into a missile silo that’s now used as an underground temple for a strange cult that worships the AI computer that started the war. The song rolls straight into “Entropy Pool,” threatening to pull you down into an even deeper abyss, but showing you a way out of it: a pulsing light in the distance and the sounds of tribal drumming and smoky saxophone reminding you of the lovely companion you came here to rescue. It won’t be an easy climb out of the old missile silo, but it can be done. It must be done.
So, yeah, All That Syncs Must Diverge is pretty much the soundtrack to a cool 1980s European post-apocalyptic / future dystopia film you found one night while scrolling through a weird Roku channel. I hope this project isn’t just a one-off thing. I’d love to hear more from them.
The title of Bodywash‘s new record, I Held the Shape While I Could, is a perfect summary of how it feels to be barely holding your life together and then finally, sometimes blissfully, being able to drop that façade when you’re alone and just cry your eyes out.
The record was made as both Rosie Long Decter and Chris Steward were coming out points in their lives that had resulted in dissatisfaction, alienation, boredom, and heartbreak. Opening track “In As Far” sets up a major theme of the album (breaking through ennui by being willing to face it head-on) with Steward’s synths that burst open like the sun through clouds. “Picture Of” has Decter reminiscing about a past lover and how sometimes the memory is better than the relationship truly was (“You were hard to believe, asking everything close. You were hard to prove. Something to see and not know.” / “I decide to lie and wait, picture of desire in a frame.”)
“Massif Central” is Steward’s buzzing shoegaze tale of losing his Canadian work status in 2020 due to a typographical error, thus leaving him alienated and unemployed just as we were all hearing the early warnings of the pandemic. “Bas Relief” is an instrumental, sounding like ocean waves and wind and some kind of early 1990s mall music tape that’s been left near a space heater.
Steward sings about trying to fit in as half-Japanese, half-British (“To feel half is not to feel whole.”) and Canadian. “Kind of Light” is about Decter trying to fit in after after the end of a relationship while others are enjoying love around her (“Pull back all the ways you count her gone. Spend a year living trying to hold yourself to a certain kind of light.”)
“One Day Clear” is almost a spoken word piece as Decter tells a lonely tale and Steward plays simple, hypnotic, looping synths behind her. “Sterilizer” is a tale full of bright shoegaze guitars while discussing the idea trying to make a relationship work, but knowing, in your heart, that, while it feels good now, it’s probably going to make both of you bitter in the long run (“We talk inside of swallowed pride, still I warm your sleep tonight.”).
“Dessents” floats right into the snappy, electro-thumping “Ascents” – which is a lovely song about Decter and Steward’s friendship forged even harder during their long drives to gigs while working out their relationship woes. The shimmering sound and wispy vocals on “Patina” (another song about moving past an ended relationship) remind one of some Besnard Lakes tracks, which isn’t surprising when you consider that Jace Lasek from The Besnard Lakes recorded and mixed the album.
Decter is at least in the process of healing by the time we get to “No Repair.” Her vocals are a bit melancholy, but her voice doesn’t seem to be carrying as much weight, and the instrumentation behind her helps rejuvenate her and us. Lyrics like “And sometimes when I’m quiet and alone, I need no repair. If this is as far as it goes, write it in handfuls of air. You were there.”
That’s a lovely lyric to end a lovely album.
Keep your mind open.
[It would be a massive cool thing of you to subscribe.]
The cover of Dry Cleaning‘s new EP, Swampy, is intriguing. It’s an image of broken blinds hanging in a window of some boarded up building. We can see an intersection and some sort of building, possibly a store or a house, across the street in the window’s reflection. It could be anywhere, and the blind could be a reflection of something else. Weariness? Depression? The sagging post-Brexit British economy? Or, it could just be an image as intriguing as Swampy‘s music.
The title track begins the record with almost romantic guitar riffs from Tom Dowse until Lewis Maynard‘s bass comes in an changes the mood to something mysterious. Lead singer Florence Shaw tells a story, as she always does, about, I think, politicians who supported the Brexit, but now regret it and are too afraid to admit it for fear of losing a good chunk of their voting base. “Sombre Two” is indeed somber. Dowse’s guitar sounds like it’s slogging through a manic depressive episode. I don’t know how he gets his guitar to make sounds like this.
The next two tracks are remixes of songs from their newest full-length album, Stumpwork. “Hot Penny Day” (remixed by Charlotte Adigéry and Bolis Pupul) becomes a fat synth-bass dance track suitable for all you “disco pickles” with Shaw’s voice being pitch-changed now and then to make her sound like a robot, seductress, and ghost – often all at once. The Nourished By Time remix of “Gary Ashby” has male lead vocals for part of the track, which sound jarring at first after you’ve heard Shaw’s spoken-word vocals for so long. She joins the vocal track soon, however, and then both vocals are pushed a bit back so Dowse’s guitar sounds can becoming a bright, shimmering experience. The EP ends with a demo version of “Peanuts” that has fun percussion from Nick Buxton and lounge-like saxophone and electric piano riffs.
It’s a nice little gem from this band who keeps doing their own thing and waiting for you to catch up to them.
Today, Alex Lahey presents her new single/video, “They Wouldn’t Let Me In,” from her forthcoming album, The Answer Is Always Yes, out May 19th on Liberation. Following the “big, bright” (Stereogum) lead single, “Good Time,” the previously-shared “Shit Talkin’,” plus the “volcanic and cathartic” (TheNew York Times) “Congratulations,” “They Wouldn’t Let Me In” is Lahey’s first song to mine the depths of her queer teenage years. Where Lahey’s beloved debut I Love You Like A Brother and its 2019 follow-up The Best of Luck Club took their focus through the lens of relationships, The Answer Is Always Yes sees Lahey analyzing her otherness through different lenses, from its isolating effect to the surrealism and humor it instills. The “They Wouldn’t Let Me In” video, co-directed by Lahey and Claire Giuffre, is a lighthearted accompaniment to the reflective track. Lahey draws out the absurdity, assuming the role of a furniture salesperson and leading a humorous countdown: “I couldn’t get into the threesome, the foursome, the fivesome, the sixsome.”
“After watching the brilliant tv series ‘Heartstopper,’ I spent a lot of time thinking about my own experiences growing up as a queer teenager,” Lahey says. “Although I was extremely lucky that the majority of my experience was filled with joy, acceptance and love, it wasn’t always smooth sailing. This song is inspired by those tougher moments – not being allowed to attend my high school girlfriend’s school formal, being excluded from conventional romantic rites of passage, moments of isolation and feeling like I couldn’t relate to anyone around me. ‘They Wouldn’t Let Me In’ is by far the most direct song I’ve ever written about this time.”
As a queer person, Alex Lahey learned how to adapt to a world that wasn’t made for her. For those who exist on the fringe, you learn to pave your own way, foster your own community, and create your own joy. With The Answer Is Always Yes, Lahey examines how she finds comfort in the discomfort, whether its reveling in absurdity or turning towards exploration. “Living in a world that wasn’t made for you makes you pretty strong and adaptive, and you find the fun in it,” says Lahey. “It also makes you realize how absurd everything is. With The Answer Is Always Yes, I wanted to get weird because the world is weird, and it’s even weirder when you realize you don’t fit into it all the time.”
Just as Lahey learned to reimagine the world around her, the music of The Answer Is Always Yes is also the product of reimagination. After making a name for herself with heartfelt, witty, and energizing indie rock songs, Lahey felt she had accrued tried and true songwriting tricks. Instead of resting on her laurels, Lahey took a risk by inviting other writers and producers into the early stages of her creative process for the first time. The resulting album is not only Lahey’s most collaborative yet, but also her most dynamic and surprising.
Beginning May 19th, Alex Lahey will embark on a North American tour in support of The Answer Is Always Yes, bringing her captivating full-band performance to a slew of cities across the continent. Full dates are listed below and tickets are on sale now.
Alex Lahey Tour Dates: Fri. May 19 – Santa Ana, CA @ Constellation Room Sat. May 20 – Los Angeles, CA @ Zebulon Sun. May 21 – San Francisco, CA @ Bottom of the Hill Tue. May 23 – Portland, OR @ Polaris Hall Wed. May 24 – Seattle, WA @ Madame Lous Fri. May 26 – Salt Lake City, UT @ Kilby Court Sat. May 27 – Denver, CO @ Lost Lake Tue. May 30 – Minneapolis, MN @ 7th Street entry Wed. May 31 – Chicago, IL @ Schubas Fri. June 2 – Columbus, OH @ Ace of Cups Sat. June 3 – Cleveland, OH @ Mahalls Sun. June 4 – Toronto, ON @ Velvet Underground Tue. June 6 – Boston, MA @ Crystal Ballroom Wed. June 7 – New York, NY @ Baby’s All Right Fri. June 9 – Philadelphia, PA @ Johnny Brendas Sun. June 11 – Washington, DC @ Songbyrd Mon. June 12 – Durham, NC @ Motorco Music Hall Tue. June 13 – Atlanta, GA @ Masquerade Purgatory Thu. June 15 – Houston, TX @ White Oak Music Hall Upstairs Fri. June 16 – Austin, TX @ Parish Sat. June 17 – Dallas, TX @ Club Dada Tue. June 20 – Phoenix, AZ @ Rebel Lounge Wed. June 21 – San Diego, CA @ Soda Bar
