7th Level Music

Horsegirl announce new album, single, and tour.

Today, Chicago trio Horsegirl announce their debut record, Versions of Modern Performance, out June 3rd on Matador, a summer tour, and present charged lead single/video, “Anti-glory.” Penelope Lowenstein (guitar, vocals), Nora Cheng (guitar, vocals), and Gigi Reece (drums) – the best friends comprising Horsegirl – do everything collectively, from songwriting to trading vocal duties and swapping instruments to sound and visual art design. The warmth and strength of their bond crackles through every second of their debut. With lyrics intentionally impressionistic and open-ended, and a sound that ranges with joy and enthusiasm across a range of styles, Versions of Modern Performance offers many pathways. Following last year’s one-off “Billy,” lead single “Anti-glory” is elastic and propulsive, entrancing listeners with a central call: “Dance / Dance / Dance / Dance / With me.” The accompanying video, directed by Erin Vassilopoulos, exudes confidence, putting Horsegirl front and center, their uncanny ability to layer sound on full display.

“We wrote Anti-glory almost by accident, while messing around with an old song during rehearsal. The song fell into place immediately, and looking back, we have no idea how we wrote it,” the band explains. “As always, this song and album are for Chicago, our friends, our friend’s bands, everyone who can play the guitar, and everyone who can’t play the guitar.”
Watch Horsegirl’s Video for “Anti-glory”

The friendship of these three goes far beyond Horsegirl. Reece and Cheng, college freshmen, and Lowenstein, a high school senior, learned to play—and met—through the significant network of Chicago youth arts programs, and they have their own mini-rock underground, complete with zine distros, that they describe as somewhat separate from the “adult shows” that take place at bars and DIY spaces they don’t have access to. They’re exultant about their friends’ talent, noting that any of the bands from that scene could have been (or might still be!) plucked up the way they were.

Versions of Modern Performance was recorded with John Agnello (Kurt Vile, The Breeders, Dinosaur Jr.) at Chicago’s Electrical Audio. “It’s our debut bare-bones album in a Chicago institution with a producer who we feel like really respected what we were trying to do,” the band says. Across the record, Horsegirl expertly play with texture, shape and shade, showcasing their fondness for improvisation and experimentation. One can hear elements of the ‘80s and ‘90s independent music the band love so deeply and sincerely—the scuzzy melodicism of what used to be called “college rock,” the cool, bubbly space-age sheen of the ‘90s vamps on lounge and noir; the warm, noisy roar of shoegaze; the economical hooks and rhythms of post-punk. There’s even a bit of no wave mixed in for good measure. But as Horsegirl fuse all of this together, it feels not like a pastiche or a hacky retread but something as playful and unique as its predecessors. They’re best understood as part of a continuum, but they’re building something for themselves.

Horsegirl will tour North America this summer, playing their first ever shows in most cities across the country. This all kicks off with a special record release show at Thalia Hall in Chicago on Sunday, June 5th. Next week, Horsegirl head to SXSW before their debut performances in Philadelphia, Washington, DC and New York City. Full dates are listed below, and tickets for newly announced shows go on sale this Friday, March 11th at 10am local time.
Watch Horsegirl’s Video for “Billy”

Pre-Order Versions of Modern Performance

Horsegirl Tour Dates:
(new shows in bold)
Wed. March 16 – Austin, TX @ SXSW – FLOODfest @ Mohawk @ 2:00pm
Wed. March 16 – Austin, TX @ SXSW – Roskilde Festival @ Cheer Up Charlie’s @ 10:00pm
Thu. March 17 – Austin, TX @ SXSW – SX San Jose @ Hotel San Jose
Thu. March 17 – Austin, TX @ SXSW – Gorilla vs. Bear x Luminelle @ Seven Grand @ 11:15pm
Sat. March 19 – Philadelphia, PA @ PhilaMOCA
Sun. March 20 – Washington, DC @ DC9
Tue. March 22 – Brooklyn, NY @ Market Hotel
Sun. May 29 – Allston, MA @ Boston Calling Festival
Sun. Jun. 5 – Chicago, IL @ Thalia Hall (RECORD RELEASE SHOW) ^
Fri. Jun. 10 – Giessen, DE @ Stadt ohne Meer
Sun. Jun. 12 – Mannheim, DE @ Maifield Derby
Thu. Jun. 16 – Antwerp, BE @ Trix Bar
Fri. Jun. 17 – Paris, FR @ Pop Up Du Label
Sun. Jun. 19 – London, UK @ Paper Dress Vintage (EARLY SHOW)
Sun. Jun. 19 – London, UK @ Paper Dress Vintage (LATE SHOW)
Tue. Jun. 21 – Manchester, UK @ YES (Basement)
Wed. Jun. 22 – London, UK @ Bermondsey Social Club
Sun. Jun. 26 – Bristol, UK @ Rough Trade Bristol
Tue. Jun. 28 – Cologne, DE @ Bumann & Sohn
Wed. Jun. 29 – Berlin, DE @ Monarch
Fri. Jul. 1 – Denmark, DE @ Roskilde Festival 2022
Sat. Jul. 2 – Hamburg, DE @ Molotow Upstairs
Fri. Jul. 15 – Vancouver, BC @ Wise Hall *
Sat. Jul. 16 – Seattle, WA @ Neumos *
Sun. Jul. 17 – Portland, OR @ Polaris Hall *
Tue. Jul. 19 – San Francisco, CA @ Rickshaw Stop
Thu. Jul. 21 – Los Angeles, CA @ Zebulon *
Fri. Jul. 22 – Los Angeles, CA @ The Echo *
Sat. Jul. 23 – Santa Ana, CA @ Constellation Room *
Tue. Jul. 26 – Minneapolis, MN @ Fine Line *
Wed. Jul. 27 – Madison, WI @ High Noon Saloon *
Fri. Jul. 30 – Sat. Jul. 31 – Detroit, MI @ Mo Pop Festival
Tue. Aug. 2 – Columbus, OH @ Rumba Cafe *
Wed. Aug. 3 – Cleveland, OH @ Grog Shop *
Fri. Aug. 5 – Toronto, ON @ Velvet Underground *
Sat. Aug. 6 – Montreal, QC @ Petit Campus *

^ w/ Lifeguard, Friko, Post Office Winter
* w/ Dummy

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[Thanks to Jaycee and Jessica at Pitch Perfect PR.]

Review: BODEGA – Broken Equipment

BODEGA, the Brooklyn post-punk outfit, has long been fascinated with technology and all its goods and ills. Their new album, Broken Equipment, references this many times, first in the album’s title. Broken gear is a source of worry, anguish, and / or rage in this day and age due to our over-dependence on technology. BODEGA knows this, and openly discuss how they, too, fall victim to these glitchy woes.

Opening track (and the first single released from the album), “Thrown,” has lead singer Ben Hozie singing about how he has a Bermuda Triangle within him that sucks him into situations where he’s not sure how he got there or how to get out (“I was thrown here by chance…I was targeted by big rock ads…”). “Doers” is a poke in the eye of tech-bros and people who think their moving and shaking is actually going to amount to something in the grand scheme (“Ten minutes planning my next ten minutes!”).

“Territorial Call of the Female” has Nikki Belfiglio taking on lead vocals, which always means you’re in for a treat. Belfiglio’s vocals are often a great mix of snarky and sweet, and this track about ladies sometimes unintentionally sabotaging each other is a great example. “NYC (Disambiguation)” takes a brutal, honest look at NYC’s history – warts and all. “Statuette on the Console” ups the punk in their post-punk, taking off like a hot rod from the green light in an illegal street race. Belfiglio embraces her love of Patti Smith, Wendy O. Williams, and Poly Styrene, and the guitar solo on it by Dan Ryan is top-notch.

“C.I.R.P.” takes a shot at media elitists (backed by a wicked bass line from Adam See). “Pillar on the Bridge of You” is a delightful love song Hozie wrote to Belfiglio in which he claims all he wants to do is support her. “I have so many things to offer,” Hozie sings on “How Can I Help YA?” – a song that seems to be about self-proclaimed influencers. Ryan unleashes another solid solo right in the middle of it. “No Blade of Grass,” influenced by the bleak (but excellent 1970 disaster film of the same name), has Hozie and Belfiglio singing about how we’re constantly pummeled by disasters both real and imagined, mainly to benefit those with more wealth than us (“We need strength and discipline…So, give more power to the rich, they say. Inequality, it is natural.”).

The band’s fondness for The Velvet Underground comes through on “All Past Lovers,” which has that cool, driving beat (provided by Tai Lee, who sizzles on the entire record, really) and almost-drone guitar that is hard to do without sounding like a damn mess. Hozie dreams of rest and escaping loneliness on “Seneca the Stoic.” The album ends with “After Jane,” an acoustic ode to Hozie’s mother – with whom he admits he had a rocky relationship at times, and that her battle with mental illness was one of the hardest challenges of their life together, but he acknowledges that he now can “channel your hurt when I sing my songs.”

Broken Equipment is another sharp record from a band that has taken critique and self-critique to Zen levels and can make you pogo while doing it.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Seth Walker drops the truth with his new single “The Future Ain’t What It Used to Be.”

Seth Walker has announced his eleventh album, I Hope I Know, will be released May 20 on Royal Potato Family. It’s the North Carolina-based singer/songwriter’s third studio collaboration with producer Jano Rix. Each song on the ten track collection shines with what many have come to love about Walker and his soulful Americana: diverse influences, contemplative lyrics, that signature blue tone on the guitar, and movement both geographic and spiritual. The album’s first single, “The Future Ain’t What It Used To Be” is out today (listen/share). Walker will support the album with a U.S. tour beginning in May.

I Hope I Know might best be described as Walker’s ’round-midnight album. Written in the midst of a breakup, relocating from his home in Nashville, TN to Asheville, NC, and the enduring mental struggles of the pandemic, it’s a beautiful reckoning with heartbreak, moving across states and coming to terms with the uncertainty of the future. Its tempos are slower and tonality darker than on previous work. In Walker’s words, he had to just “sit with it.” The music’s creation embodied trying and failing without forcing anything: not time, not the songwriting or its grooves, not a sense of control, not even his own healing. He credits the practice of “search and surrender,” a quest for new meaning in things he may never fully understand.

“This last year and a half has personally cracked me open. In many ways, for the first time, I’m observing myself and how I relate to the music, how I sit with the feeling, the emotion, my shadow and light,” explains Walker. “I have always been in this place of action, and finally, when all this happened, I found myself in a place of relinquishing—an active state of inaction.”

The first sessions for I Hope I Know began in 2019, but it wouldn’t be until the second half of 2020 when Walker would truly dive into the writing and recording process. Oliver Wood—Jano Rix’s bandmate in The Wood Brothers—cowrote three of the songs, as did Walker’s longtime songwriting partner Gary Nicholson, while Jarrod Dickenson also contributed to one song. Among the album’s highlights are “Why Do I Cry Anymore,” which asks unanswerable questions about recovering from heartbreak, ultimately coming to the conclusion that love is still worth it. “Remember Me” haunts with old jazz and blues, a falsetto vocal, arco acoustic bass and dusty drums. The title track came from the “Ho’oponopono Prayer,” a Hawaiian poem about forgiveness and reconciliation that his mother sent him, which translates as “I am sorry. Forgive me. Thank you. I love you.” Special guest Allison Russell adds vocal harmonies.

Three cover songs featured on the recording offer something familiar to hold onto—a tinge of nostalgia, minus the impulse to cling to the past. The Bobby Charles‘ song “Tennessee Blues” perfectly speaks to Walker moving from Nashville into the mountains of Asheville as he tried to “figure out what just happened, post break up.” Van Morrison‘s “Warm Love” is the perfect respite and breather. Bob Dylan‘s “Buckets of Rain” came spontaneously like a dream; Seth woke up one morning with the song in his head and quickly captured this rendition.

The follow up to Walker’s 2019 album, Are You Open?—which debuted at No. 2 on the Billboard Blues Album Chart—I Hope I Know is a distinct statement from the previous ten recordings in Walker’s discography. In its totality, the songs create a deep, but relatable journey, offering a beacon of light and ultimately safe haven, centered around the most precious of all gifts—Hope.

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[Thanks to Kevin at Royal Potato Family.]

P.E. discuss capitalism on “Contradiction of Wants.”

On March 25th P.E. will release their latest LP The Leather Lemon on Wharf Cat Records (Water From Your Eyes, Palberta, Lily Konigsberg). The follow up to 2021’s The Reason For My Love EP, which earned praise from outlets like Stereogum, BrooklynVegan, Bandcamp, The Guardian (who had the EP’s title track on their 2021 Best Songs You Haven’t Heard list) and Pitchfork (who had the EP on their list of Great Records From 2021 You May Have Missed), the album has seen the release of two singles so far, lead single “Blue Nude (Reclined)“, and “Tears In The Rain“, a track that features Parquet Courts‘ A. Savage, and was described by Rolling Stone as “the perfect soundtrack for a neo-noir, with just a bit of tongue-in-cheek.” Today, P.E. are back with a final preview of their new LP, a track called “Contradiction of Wants”.

LISTEN:
to P.E. – “Contradiction of Wants” on
YouTube

“This song is about the heartache and burden that is capitalism,” singer Veronica Torres explains. “Simultaneously experiencing disgust over consumerism and exploitation while singing along to the theme song. The Levi’s jeans commercial telling us to buy their product to waste less. Pink dolphins crying into the earth’s rivers. Climate change is real. Vegan’s snorting cocaine.”

To celebrate the album’s release the band will be playing a Brooklyn release show that will take place at Union Pool on March 23rd and will also feature A. Savage as a DJ and support from Pop 1280. Tickets are available to purchase here.

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[Thanks to Tom at Hive Mind PR.]

Rewind Review: Frankie and the Witch Fingers – Levitation Sessions (2020)

Released in the middle of the pandemic and when everyone needed to just crank some psych-garage rock and let out a bunch of pent-up energy in their living room, Frankie and the Witch Fingers‘ Levitation Sessions is a great slice of the band’s always-solid live sets and bursts with energy for its entire length.

“Activate” is perfectly named and played to start off the set with beats that get your feet tapping right away and riffs to knock you back on your heels. “Reaper” is always a standout with its dreamy build-up to crushing power. “Sweet Freak” has this cool, looping groove to it that evolves into wild, frenetic, psychedelic guitar solos that are like a crow calling from a high tree when you walk by.

“Where’s Your Reality?” is another FATWF that absolutely cooks live or otherwise. Something is wrong with you if it doesn’t get you jumping and / or crowd surfing. The song melts into “Michaeldose,” a trippy and funky instrumental. The driving, hammering beats and bass of “Realization” are likely to induce you to bounce around your living room so hard you’ll be knocking over lamps and freaking out your pets.

The drums on “Dracula Drug” are especially sharp. All respect to Caster Black, who recorded and mixed the whole session. Another good example of the mixing is how well “Can You Hear Me Now?” eases into the rocking “Simulator” – another cut that always floors any audience. Likewise, “Cavehead” blends perfectly into the peppy, trippy “MEPEM…” – which is over eight minutes of thumping, bumping garage-psych.

Levitation Sessions is a great taste of a live FATWF show – a taste that leaves you wanting to dive face-first into their psychedelic buffet.

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Review: Sisters of Your Sunshine Vapor – Good Goddamn

Appropriate of its title, Sisters of Your Sunshine Vapor‘s new album, Good Goddamn, is sometimes loud, bold, and a bit unhinged.

It starts off with a bit of deception on “She Makes a Great Parade.” The song sounds like a record that was left on a windowsill in late June and used as a sleeping mat for a cat. I mean that in the best possible way, because I don’t know how else SOYSV get the trippy, warped sound on it. Both Eric Oppitz‘s bass and keyboards are floating in space, Sean Morrow‘s guitar goes from rocket thrusters to spaghetti westerns, and Rick Sawoscinski‘s drums are a mix of chaos and order like they’re played by Harvey Dent.

“It’s Good to Be Alive” is a natural follow-up, as its title is referenced in the lyrics of the opening track. The song, and especially Morrow’s guitar work, slips back and forth between shoegaze fuzz and dreamy psych-rock. I also love the electronic beats that sound like something from a 1990s hip hop B-side. Trust me. It works, as do the lyrics about being brave enough to “step in the light.” The title track is as crazy as you hope it will be, with Morrow calling out motherfuckers who haven’t paid their dues. Sawoscinski sounds like he’s having a blast on it, jumping back and forth from, again, beats that would work in hip hop or house to near-metal pounding. There’s a ripping sax solo on this cut, too, elevating it to something like a Stooges proto-punk rager.

“Never Comin’ Over” reminds me a bit of some Love and Rockets cuts with its swirling guitar riffs. Oppitz’s love of synthwave comes through on “Walk of Sobriety,” as his keyboard work is perfectly suitable for a nightclub patronized by androids. Morrow sings / shouts to people who need to wake up from their illusions, and even more so from the ones projected onto them by others. His vocals are often frantic throughout the whole record, channeling his (and his pals’) rage and frustration with the world in general for the last two years.

“Taser Blue” and “A Little Sweetness” slow things down for a bit so you can settle in for a nice drift down a sunny river or chilling in your apartment with a tasty slice of leftover pizza while the cat decides to sleep on your lap instead of that record on the windowsill. Both options are valid. The closer, “Specimen Jar,” has Morrow bringing back some of the vocal hooks and lyrics that are spread throughout the record, giving the album a bit of a looping effect as Sawoscinki builds the beats into a mind-altering cadence until the song, and the album, ends with the lyric “It’s good to be alive.”

It’s a nice, hopeful send-off for everyone. It’s a reminder to stay present, even in the chaos and in suffering. It’s a hell of a record.

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Rewind Review: The Smithereens – Meet the Smithereens (2007)

A Smithereens cover album of a classic Beatles album?! Yes, please!

It’s no secret that The Beatles are one of the biggest influences on The Smithereens (along with The Who, The Kinks, and many others from the UK), so hearing this American rock band have fun with these tracks is a delight from beginning to end.

They’re a little subdued on their version of “I Want to Hold Your Hand,” and it’s an effective in touch – pushing the love in the song more than the riffs. They push the riffs harder on “I Saw Her Standing There,” rocking it for all it’s worth. “This Boy” soothes things down a bit before the rocking, underappreciated Beatles’ classic “It Won’t Be Long” – a song they load with Jim Babjak‘s killer guitar riffs.

“All I’ve Got to Do” has a blues touch to it that’s perfectly suited to Pat Dinizio‘s voice. Severo “The Thrilla” Jornacion‘s bass is all over “All My Loving.” They perfectly capture the 1960s garage rock sound on “Don’t Bother Me.”

“Little Child” flies right by you at fast beats laid down by Dennis Diken, and then “Till There Wsa You” comes in with almost a Tiki lounge comfort to it. They make playing “Beatles swing” sound easy on “Hold Me Tight.” They unleash “I Wanna Be Your Man” on you after you’re all cozy from the previous track, with Babjak taking on lead vocals and having a blast with it. The albums ends with a fade-out on “Not a Second Time,” leaving you with a smile and fond memories.

It’s a fun record, and one that led to other fun cover albums by then. You’ll dig it if you’re a fan of either band.

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Review: Mdou Moctar – Afrique Victime

Good heavens, this album is stunning.

Mdou Moctar returns to once again shred on guitar, spread the love and joy of Tuareg music, and spread the word of struggles in his Algerian homeland on Afrique Victime.

Opening track “Chismiten” bursts with so much energy that any sound system, no matter how hi-fi, can barely contain it. Moctar’s guitar swirls around you like a dust devil that eventually grows strong enough to lift you off the ground. He adds a cool echo effect to his guitar on “Taliat,” and the group vocals are immediately uplifting.

“Ya Habibti” backs the mantra-like vocals with hand claps and hand percussion while Moctar plays slightly amped acoustic / electric chords. “Tala Tannam” is downright dreamy. “Asditke Akal” is a stunner with its psychedelic riffs reaching to the heavens. Moctar and his band then switch it up on “Layla,” which (thankfully) isn’t a cover of the vastly overrated Clapton tune, but rather an acoustic, hypnotic song you might hear around a desert fire.

The title track is a powerful one about the plight of women in Algeria (as noted by the album’s cover depicting a crying woman), with some of Moctar’s most soaring guitar work that stretches its mighty wings for over seven minutes. The closing track, “Bismilahi Atagah” is beautiful in its simplicity as Moctar and his bandmates sing what sounds like a song of praise for blessings received and ones to come.

This might be Moctar’s best album yet, and that’s saying something when you consider the first two were excellent in their own right.

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Carmen Villain releases two versions of “Subtle Bodies” from her new album out now.

US-born, Norwegian-Mexican artist and producer Carmen Villain (aka Carmen Hillestad) shares a new single, “Subtle Bodies,” from her forthcoming album, Only Love From Now On (out now on Smalltown Supersound), and in addition, presents a second version of the song by Huerco S. Only Love From Now On showcases Villain’s aesthetic blossoming into something unexpected, benevolent in its composure and altogether luxuriant in its sensuality. In turn, “Subtle Bodies” begins with minimalistic instrumentation, blooming with finely rich layers. Just like how lead single, “Gestures,” refers to Hannah Wilke’s video piece of the same name, “Subtle Bodies” pays tribute to the performance/sculpture of Ana Mendieta, who Hillestad responded deeply to in that artist’s rage, protest, and love for nature in connection to the female body.

“I found Ana Mendieta’s work deeply moving in many ways, in an emotional sense but also in the way she fully immersed herself into her art, connecting her humanity, strength, rage and vulnerability with nature,” says Villain. “It’s a deeply layered immersion. I had her, and especially her ‘Silueta’ series, in mind when I made ‘Subtle Bodies.’ Making music is for me about a complete immersion into sound, a continuous conversation between an idea and what comes back to me from what develops sonically. While I certainly consider Mendieta’s work and what she was communicating was far more important than what I do, she continues to be a big inspiration in many ways.”

Of the Huerco S version, Villain elaborates: “I have been a big fan of Brian’s work for a good while. He’s got an impeccable approach to sound and texture and communicates a lot with his music I think. So I was very happy he was into doing a version for me when I asked him. I asked him to choose whichever track he wanted from the album, and he went for Subtle Bodies. The result is deep and fizzy, I love it.”

Listen to Carmen Villain’s “Subtle Bodies” and “Subtle Bodies” (Huerco S. version)

Only Love From Now On is fueled by the sense of scale in feeling small in the face of things so large, the contemplation of how the biggest impact we can have is in the people close to us, the attempt to make sure that impact is a positive one, and the choice to try to focus on love instead of fear.

Listening to Only Love From Now On is simultaneously comforting and alluringly strange, with Hillestad engaging themes both philosophical and occasionally abstract. Hillestad describes it as “wishing to maintain a sense of careful optimism for the future, while on the cusp of something unknown.” Employing a panoply of instrumentation – such as woodwinds – field recordings, the studio, jam, and careful composition, Hillestad invokes a conversation with sound that occurs in her deliberate attempts to experiment with new methods, like granular synthesis, for her music-making. The emotional tenor of her music is clear and purposeful. It makes sense that her key musical touchstones are dub, ambient, and cosmic jazz – flexible vehicles for tranquil wonder.

Listen to “Gestures” (with Arve Henriksen)

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[Thanks to Sam at Pitch Perfect PR.]

Chelsea Jade’s sexy new single exudes “Good Taste.”

Chelsea Jade unveils the new single/video, “Good Taste,” from her new album, Soft Spot, out April 29th on Carpark Records. Premiering via FLOOD, “Good Taste” follows lead single “Optimist,” a calibration of Jade’s skills in passing pop through an R’n’B tinged lens, and is presented alongside a video illustrated by Frances Haszard. “It’s like a miracle // Feeling your charisma getting physical,” Jade begins atop svelte production courtesy of herself and Bradley Hale (Now, Now). “And yeah, I’m miserable // But oh it’s such a mood getting sad, getting sexual.” “Good Taste” features additional vocal engineering and production by Luna Shadows, and sees MUNA’s Naomi McPherson and Josette Maskin lending their guitar prowess.

Of the track, Jade says: “I met someone at a party while I was living in a hotel for a briefly opulent moment in time. The next night they met me in the lobby and eventually we made our way up to my room. It’s an implicitly sexy situation but we parted without touch. As soon as they left I asked if they wanted to come back and when the elevator opened on the ground floor, they got in and ignited the most cinematic make out plus I’ve ever had. This song is about that encounter. I imagine the first half to be an internal fantasy until the real first touch when the production explodes into maximalism.”

On the video, Haszard remarks, “The world already existed- black and white, linear and basey with augmented senses and ripples of distortion. These things translated easily into my frame by frame animation with my awkward impressions of 3D and motion. I’m self taught and a bad teacher so my style suits working with artists who enjoy imperfections and have a sense of humour about what unfolds.”

Watch Chelsea Jade’s “Good Taste” Video

Jade brings her “good taste” to Colorado’s Red Rocks Amphitheater where she’ll perform with Jai Wolf on June 8th. Tickets are available here. A New York City headline show to celebrate the release of Soft Spot will also be announced soon!

Keep your mind open.

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[Thanks to Yuri at Pitch Perfect PR.]