Consequence of Sound » Jack’s Mannequin http://consequenceofsound.net Think Fast, Listen Slowly Thu, 31 May 2012 16:05:06 +0000 hourly 1 http://wordpress.org/?v=3.4-RC1-20950 Album Review: Various Artists – Chimes of Freedom: The Songs of Bob Dylan http://consequenceofsound.net/2012/02/album-review-various-artists-chimes-of-freedom-the-songs-of-bob-dylan/ http://consequenceofsound.net/2012/02/album-review-various-artists-chimes-of-freedom-the-songs-of-bob-dylan/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2011/11/dylan-chimes-of-freedom.jpg Wed, 01 Feb 2012 13:00:50 +0000 Mike Madden http://consequenceofsound.net/?p=188216 For nearly as long as there have been Bob Dylan songs, there have been Bob Dylan covers. The first notable example came in 1963, when folk trio Peter, Paul, and Mary took to the top of the pops with their harmonized rendition of “Blowin’ in the Wind”. Then came The Byrds’ electric “Mr. Tambourine Man”, another number-one hit, which replaced Dylan‘s simple strumming with jangling 12-string riffs. Since then, so many artists have covered Dylan songs that the act itself has become a serious undertaking and art form.

The Amnesty International-benefiting Chimes of Freedom: The Songs of Bob Dylan (of no relation to Bruce Springsteen’s similarly titled 1988 live EP, also released in conjunction with Amnesty) comes on the heels of Dylan tribute comps like The 30th Anniversary Concert Celebration and the I’m Not There OST, but this one’s far and away more comprehensive than both of those combined. The cause? Its mammoth size: four CDS, 75 songs (one per artist), five hours. The effect? It covers the entirety of Dylan’s half-century-plus career fairly evenly. And with its all-star lineup – featuring everyone from baby-boomers Patti Smith and Jackson Browne to twenty-somethings Adele and Ke$ha – it’s a project in which few people won’t find something appealing.

That said, it’s no surprise that there are a few real gems here. First and foremost might be Mark Knopfler’s hushed “Restless Farewell”, which expands Dylan‘s 1964 original via lush arrangements while Knopfler delivers the melody with the sincerity it deserves. My Morning Jacket’s bare “You’re a Big Girl Now” finds a softly soaring Jim James vocal bringing an intimacy that even Dylan didn’t quite muster when he released the song on 1975’s Blood on the Tracks. On her “Property of Jesus”, lifelong Roman Catholic Sinéad O’Connor hands one of Dylan’s few Christian-period treats a lively, gorgeous fleshing out. And while, in theory, Miley Cyrus’s “You’re Gonna Make Me Lonesome When You Go” should have flopped, its tenderly finger-picked guitar and on-the-screws singing make the track surprisingly cozy. (Sign of the apocalypse?) These tracks bring to mind the best Dylan covers ever– Jimi Hendrix’s “All Along the Watchtower”, The Byrds’ “Mr. Tambourine Man”, and Them’s “It’s All Over Now, Baby Blue”– because the classics all sound like natural extensions of their progenitors, as does each of the other aforementioned renderings. (Also worthy of shout-outs: Tom Morello’s “Blind Willie McTell”, Bettye LaVette’s “Most of the Time”, and Lucinda Williams’s “Tryin‘ to Get to Heaven”.)

Still, plenty of versions here simply don‘t quite get the job done. Rise Against, as is their nature, crank it up to 11 on their “Ballad of Hollis Brown”, and while the song’s lyrics demand contempt via vocals, frontman Tim McIlrath overcooks it. (However, Bad Religion goes for a similar balls-to-the-wall approach on their “It’s All Over Now, Baby Blue”, and it goes over markedly better for them.) Cage the Elephant and Jack’s Mannequin get a little too cutesy on “The Lonesome Death of Hattie Carroll” and “Mr. Tambourine Man”, respectively, not allowing the words sufficient breathing room. Similarly, Sussan Deyhim’s “All I Really Want to Do” somehow evokes Laurie Anderson rather than Dylan, as its five minutes focus on out-there sonic groundwork instead of the playful delivery of the original song. At the end of the day, though, these versions aren’t disappointing because they tweak things too much – Dylan himself tends to not play his songs the same way twice – but because they lack the indescribable yet absolutely there particulars the best Dylan songs all have.

At the end of it all is, fittingly enough, Dylan’s own “Chimes of Freedom”, one of his earliest surreal epics, which functions as the mystifying end-credits to these oft-cinematic songs. But as plenty of these versions lack firepower, the success of the album is ultimately dependent on the listener’s familiarity with the original songs. For Dylan diehards, none of these will touch the originals – it‘s as simple as that. But new fans, or fans of any of the artists here, could be hipped to Dylan’s seemingly never-ending wellspring of timeless songs through this tribute. And on those grounds, Chimes could wind up being a satisfying listen for anyone who comes across it.

Essential Tracks: Mark Knopfler‘s “Restless Farewell”, Sinéad O‘Connor‘s “Property of Jesus”, and My Morning Jacket‘s “You’re a Big Girl Now”

]]> Chimes of Freedom: The Songs of Bob Dylan (of no relation to Bruce Springsteen’s similarly titled 1988 live EP, also released in conjunction with Amnesty) comes on the heels of Dylan tribute comps like The 30th Anniversary Concert Celebration and the I’m Not There OST, but this one’s far and away more comprehensive than both of those combined. The cause? Its mammoth size: four CDS, 75 songs (one per artist), five hours. The effect? It covers the entirety of Dylan’s half-century-plus career fairly evenly. And with its all-star lineup - featuring everyone from baby-boomers Patti Smith and Jackson Browne to twenty-somethings Adele and Ke$ha - it’s a project in which few people won’t find something appealing. That said, it’s no surprise that there are a few real gems here. First and foremost might be Mark Knopfler’s hushed “Restless Farewell”, which expands Dylan‘s 1964 original via lush arrangements while Knopfler delivers the melody with the sincerity it deserves. My Morning Jacket’s bare “You’re a Big Girl Now” finds a softly soaring Jim James vocal bringing an intimacy that even Dylan didn’t quite muster when he released the song on 1975’s Blood on the Tracks. On her “Property of Jesus”, lifelong Roman Catholic Sinéad O’Connor hands one of Dylan’s few Christian-period treats a lively, gorgeous fleshing out. And while, in theory, Miley Cyrus’s “You’re Gonna Make Me Lonesome When You Go” should have flopped, its tenderly finger-picked guitar and on-the-screws singing make the track surprisingly cozy. (Sign of the apocalypse?) These tracks bring to mind the best Dylan covers ever-- Jimi Hendrix’s “All Along the Watchtower”, The Byrds’ “Mr. Tambourine Man”, and Them’s “It’s All Over Now, Baby Blue”-- because the classics all sound like natural extensions of their progenitors, as does each of the other aforementioned renderings. (Also worthy of shout-outs: Tom Morello’s “Blind Willie McTell”, Bettye LaVette’s “Most of the Time”, and Lucinda Williams’s “Tryin‘ to Get to Heaven”.) Still, plenty of versions here simply don‘t quite get the job done. Rise Against, as is their nature, crank it up to 11 on their “Ballad of Hollis Brown”, and while the song's lyrics demand contempt via vocals, frontman Tim McIlrath overcooks it. (However, Bad Religion goes for a similar balls-to-the-wall approach on their “It’s All Over Now, Baby Blue”, and it goes over markedly better for them.) Cage the Elephant and Jack’s Mannequin get a little too cutesy on “The Lonesome Death of Hattie Carroll” and “Mr. Tambourine Man”, respectively, not allowing the words sufficient breathing room. Similarly, Sussan Deyhim’s “All I Really Want to Do” somehow evokes Laurie Anderson rather than Dylan, as its five minutes focus on out-there sonic groundwork instead of the playful delivery of the original song. At the end of the day, though, these versions aren’t disappointing because they tweak things too much - Dylan himself tends to not play his songs the same way twice - but because they lack the indescribable yet absolutely there particulars the best Dylan songs all have. At the end of it all is, fittingly enough, Dylan’s own “Chimes of Freedom”, one of his earliest surreal epics, which functions as the mystifying end-credits to these oft-cinematic songs. But as plenty of these versions lack firepower, the success of the album is ultimately dependent on the listener’s familiarity with the original songs. For Dylan diehards, none of these will touch the originals - it‘s as simple as that. But new fans, or fans of any of the artists here, could be hipped to Dylan’s seemingly never-ending wellspring of timeless songs through this tribute. And on those grounds, Chimes could wind up being a satisfying listen for anyone who comes across it. Essential Tracks: Mark Knopfler‘s “Restless Farewell”, Sinéad O‘Connor‘s “Property of Jesus”, and My Morning Jacket‘s “You’re a Big Girl Now”]]> 60 http://consequenceofsound.net/2012/02/album-review-various-artists-chimes-of-freedom-the-songs-of-bob-dylan/feed/ 0 Album Review: Jack’s Mannequin – People and Things http://consequenceofsound.net/2011/10/album-review-jacks-mannequin-people-and-things/ http://consequenceofsound.net/2011/10/album-review-jacks-mannequin-people-and-things/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2011/10/people-and-things-extralarge_1311087639941.jpg Mon, 17 Oct 2011 11:57:06 +0000 Nick Freed http://consequenceofsound.net/?p=160208 Andrew McMahon has been through a lot in the last seven-plus years, between reaching the heights of stardom with Something Corporate and his first solo album as Jack’s Mannequin and then being diagnosed with acute lymphoblastic leukemia in 2005. Most artists would take some sort of break after beating a horrible disease, but instead McMahon went right back to work—releasing a new album three years later. Now, he returns again with People and Things, his latest effort that focuses on finding normalcy whilst still showing the signs of a rough brush with death.

Judging from this record, McMahon’s concept of “normalcy” is writing heartfelt, piano-driven music that rarely fails to give the listener a little rush of melancholic joy. McMahon remains one of the best in this fading genre, and tracks like “My Racing Thoughts”, “Amy, I”, and “Amelia Jane” show he’s at the top of his game. They’re sweeping and big, and best of all they move with a starry-eyed, hands-in-the-air kind of energy.

On the other side of the coin, there are inclusions like “Hey Hey Hey (We’re All Gonna Die)” with the sing-along chorus of “Hey hey hey we’re all gonna die someday.” Not the most optimistic of tunes, and the backing of a thoughtful piano and full, almost orchestral guitars add a twinge of sadness—showing a few knowing chinks in McMahon’s sunny armor.

Overall, People and Things is well-crafted but may be a bit too much of what is a dying genre. It’s what McMahon has been doing best for a while, but for longevity’s sake it may be time to add a little change to his normal routine.

Essential Tracks: “Amy, I”, “Hey Hey Hey (We’re All Gonna Die)”, and “Amelia”

]]> People and Things, his latest effort that focuses on finding normalcy whilst still showing the signs of a rough brush with death. Judging from this record, McMahon's concept of "normalcy" is writing heartfelt, piano-driven music that rarely fails to give the listener a little rush of melancholic joy. McMahon remains one of the best in this fading genre, and tracks like “My Racing Thoughts”, “Amy, I”, and “Amelia Jane” show he's at the top of his game. They're sweeping and big, and best of all they move with a starry-eyed, hands-in-the-air kind of energy. On the other side of the coin, there are inclusions like “Hey Hey Hey (We’re All Gonna Die)” with the sing-along chorus of “Hey hey hey we’re all gonna die someday.” Not the most optimistic of tunes, and the backing of a thoughtful piano and full, almost orchestral guitars add a twinge of sadness—showing a few knowing chinks in McMahon’s sunny armor. Overall, People and Things is well-crafted but may be a bit too much of what is a dying genre. It’s what McMahon has been doing best for a while, but for longevity's sake it may be time to add a little change to his normal routine. Essential Tracks: "Amy, I", "Hey Hey Hey (We're All Gonna Die)", and "Amelia"]]> 60 http://consequenceofsound.net/2011/10/album-review-jacks-mannequin-people-and-things/feed/ 1 Guilty Pleasure: Jack’s Mannequin – Everything in Transit http://consequenceofsound.net/2011/01/guilty-pleasure-jacks-mannequin-everything-in-transit/ http://consequenceofsound.net/2011/01/guilty-pleasure-jacks-mannequin-everything-in-transit/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2010/12/Jacks_Cover.jpg Sat, 01 Jan 2011 13:00:15 +0000 Lauren Guagno http://consequenceofsound.net/?p=93239 I’ve heard it all: “He sounds so whiny”, “I cannot stand his voice”, “The way he sings is annoying”.  These are just a few of the comments I’ve been told in the past regarding Jack’s Mannequin’s Andrew McMahon. These statements from friends have been following me since high school, and quite frankly, I have never found myself defending a musician as much as I have for Andrew McMahon. It isn’t merely because I personally love his music and want others to agree, and it isn’t because I happen to think he is extremely handsome. I have followed McMahon and remained a loyal fan (I admit that includes some swooning over him) since the days of Something Corporate, McMahon’s band before Jack’s Mannequin. So, needless to say, I was anxiously awaiting his next debut.

Rewinding to 2005, when Everything in Transit was finished and about to be released, something else, something devastating and unexpected was released as well: The news that McMahon had been diagnosed with leukemia. Worried and bewildered, myself and other fans digested the news. Naturally, I couldn’t help but wonder how the album release would be affected. Fortunately for us fans, the album released as planned, even as McMahon was bed-ridden and undergoing chemotherapy.

I went out to the store and bought the album as soon as I could. I couldn’t even wait to open it, so I unwrapped it eagerly and put it in the CD player of my car. What struck me the moment his voice came through my speakers was the fact that the first lyric of the entire album is: “She thinks I’m much too thin/She asks me if I’m sick.” It still strikes me as eerie to this day when I listen to Everything in Transit. Throughout the album, McMahon’s lyrics revolve around being sick, being in hospitals, and committing to medication. It’s as if the album he was writing predetermined his sickness before the doctors ever could. For example, in the song “La La Lie”, one of my personal favorites, McMahon sings “I’m far too unstable to settle/I doubt that the doctors are wrong.” Then, in “Rescued”, he sings, “I’m finally numb, so please don’t get me rescued…/And it’s unclear, but I think this may be my last song.” Finally, in the album’s last song, “Made for Each Other/You Can Breathe”, he shouts, “Someone get this man to a hospital.” One of the reasons this album is so precious to me is because in a way it made me feel like I was along for the ride, experiencing what McMahon was going through. Like the album’s opener, “Holiday From Real”, I was curious about his sickness and, similar to “Rescued”, I wondered if he would pull through and get, well, rescued. In fact, McMahon did get rescued. In late August of 2005, he received a stem cell transplant from his sister, Katie McMahon, which seemingly inserted life back into him.

On June 3, 2006 I saw Jack’s Mannequin in concert in Ft. Lauderdale. I remember it being one of the most anticipated days of my life. Aside from the album being so closely related to his ordeal that it was frightening, Everything in Transit also wound up being one of the most enjoyable albums I had ever listened to. Songs like “Holiday From Real”, “Bruised”, and “La La Lie” wound up being my anthems for having fun. I find few things as liberating as screaming my favorite lyrics from “Holiday From Real”, which are “Oh, it’s a picture of perfection. Ah, and the postcard’s gonna read ‘F**k yeah we can live like this.’” The show he put on in 2006 blew me away. McMahon had more energy than anybody I had ever seen on stage. Who else have I ever seen stand on his piano and play with his feet? Nobody. There was not the least bit of evidence showing his past year of battling for his life. The album takes me back to the days in high school where I spent every weekend at the beach with my friends. It reminds me that, as McMahon writes, “I’ve got friends who will help me pull through.” After that show, I stuck around the venue until about one in the morning to meet him. When he finally came out, I got what I wanted. I got to tell him that he was my hero.

So, back to the present and enough cheesiness, I defend Andrew McMahon for an array of reasons, but the main one being that he is a model of perseverance and strength for me. It astounds me that somebody who has been through such a difficult struggle still manages to be the one who wrote an album that reminds me of good times and perseverance more than any other in my collection. Sure, I’m not 15 anymore. Sure, I don’t frequently listen to Jack’s Mannequin. Yet, although Everything in Transit might collect some dust from time to time, it is the one album I reach for when I want a guaranteed smile on my face. Even though I’ve gotten older and more mature, as I would like to think, I still get ecstatic at the chance to see Jack’s Mannequin in concert (it’s been five times now). I still make sure I can get all the way up to the stage and I still scream and single along just as loudly as I used to.

]]> Everything in Transit was finished and about to be released, something else, something devastating and unexpected was released as well: The news that McMahon had been diagnosed with leukemia. Worried and bewildered, myself and other fans digested the news. Naturally, I couldn’t help but wonder how the album release would be affected. Fortunately for us fans, the album released as planned, even as McMahon was bed-ridden and undergoing chemotherapy. I went out to the store and bought the album as soon as I could. I couldn’t even wait to open it, so I unwrapped it eagerly and put it in the CD player of my car. What struck me the moment his voice came through my speakers was the fact that the first lyric of the entire album is: “She thinks I’m much too thin/She asks me if I’m sick.” It still strikes me as eerie to this day when I listen to Everything in Transit. Throughout the album, McMahon’s lyrics revolve around being sick, being in hospitals, and committing to medication. It’s as if the album he was writing predetermined his sickness before the doctors ever could. For example, in the song “La La Lie”, one of my personal favorites, McMahon sings “I’m far too unstable to settle/I doubt that the doctors are wrong.” Then, in “Rescued”, he sings, “I'm finally numb, so please don't get me rescued.../And it’s unclear, but I think this may be my last song.” Finally, in the album’s last song, “Made for Each Other/You Can Breathe”, he shouts, “Someone get this man to a hospital.” One of the reasons this album is so precious to me is because in a way it made me feel like I was along for the ride, experiencing what McMahon was going through. Like the album’s opener, “Holiday From Real”, I was curious about his sickness and, similar to “Rescued”, I wondered if he would pull through and get, well, rescued. In fact, McMahon did get rescued. In late August of 2005, he received a stem cell transplant from his sister, Katie McMahon, which seemingly inserted life back into him. On June 3, 2006 I saw Jack’s Mannequin in concert in Ft. Lauderdale. I remember it being one of the most anticipated days of my life. Aside from the album being so closely related to his ordeal that it was frightening, Everything in Transit also wound up being one of the most enjoyable albums I had ever listened to. Songs like “Holiday From Real”, “Bruised”, and “La La Lie” wound up being my anthems for having fun. I find few things as liberating as screaming my favorite lyrics from “Holiday From Real”, which are “Oh, it's a picture of perfection. Ah, and the postcard’s gonna read ‘F**k yeah we can live like this.’” The show he put on in 2006 blew me away. McMahon had more energy than anybody I had ever seen on stage. Who else have I ever seen stand on his piano and play with his feet? Nobody. There was not the least bit of evidence showing his past year of battling for his life. The album takes me back to the days in high school where I spent every weekend at the beach with my friends. It reminds me that, as McMahon writes, “I’ve got friends who will help me pull through.” After that show, I stuck around the venue until about one in the morning to meet him. When he finally came out, I got what I wanted. I got to tell him that he was my hero. So, back to the present and enough cheesiness, I defend Andrew McMahon for an array of reasons, but the main one being that he is a model of perseverance and strength for me. It astounds me that somebody who has been through such a difficult struggle still manages to be the one who wrote an album that reminds me of good times and perseverance more than any other in my collection. Sure, I’m not 15 anymore. Sure, I don't frequently listen to Jack’s Mannequin. Yet, although Everything in Transit might collect some dust from time to time, it is the one album I reach for when I want a guaranteed smile on my face. Even though I’ve gotten older and more mature, as I would like to think, I still get ecstatic at the chance to see Jack’s Mannequin in concert (it’s been five times now). I still make sure I can get all the way up to the stage and I still scream and single along just as loudly as I used to.]]> http://consequenceofsound.net/2011/01/guilty-pleasure-jacks-mannequin-everything-in-transit/feed/ 2 On Sale: November 7, 2009 http://consequenceofsound.net/2009/11/on-sale-november-7-2009/ http://consequenceofsound.net/2009/11/on-sale-november-7-2009/#comments Fri, 06 Nov 2009 22:30:26 +0000 Alex Young http://consequenceofsound.net/?p=21474 The following tickets are on sale beginning Saturday, November 7, 2009:

Bad Religion:

What: Tour dates for Las Vegas, NV

When: March 26th & 27th

Tixs: $22.50

Buy: Ticketmaster.com at 10:00 AM PST

Jack’s Mannequin:

What: Tour dates for North American tour

When: February – March

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

Lady Gaga (w/ Kid Cudi):

What: “The Monster Ball” tour dates for Las Vegas, NV & Detroit, MI

When: December – January

Tixs: $35.00 – $125.00

Buy: Ticketmaster.com at 10:00 AM EST

Not So Silent Night:

What: One day concert in Oakland, CA featuring Muse, Vampire Weekend, 30 Seconds to Mars, and AFI

When: December 11th

Tixs: $47.25 – $56.75

Buy: Ticketmaster.com at 10:00 AM PST

Passion Pit:

What: Tour dates for Boston, MA & Pomona, CA

When: December – January

Tixs: $23.00 – $25.00

Buy: Ticketmaster.com at 10:00 AM EST

Tim McGraw:

What: Tour dates for North American tour

When: February – March

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EDT

Weezer (w/ Jack’s Mannequin & Motion City Soundtrack):

What: Tour date for Camden, NJ

When: December 10th

Tixs: Price not listed

Buy: Livenation.com at 10:00 AM EDT

]]> What: Tour dates for Las Vegas, NV When: March 26th & 27th Tixs: $22.50 Buy: Ticketmaster.com at 10:00 AM PST Jack's Mannequin: What: Tour dates for North American tour When: February - March Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST Lady Gaga (w/ Kid Cudi): What: "The Monster Ball" tour dates for Las Vegas, NV & Detroit, MI When: December - January Tixs: $35.00 - $125.00 Buy: Ticketmaster.com at 10:00 AM EST Not So Silent Night: What: One day concert in Oakland, CA featuring Muse, Vampire Weekend, 30 Seconds to Mars, and AFI When: December 11th Tixs: $47.25 - $56.75 Buy: Ticketmaster.com at 10:00 AM PST Passion Pit: What: Tour dates for Boston, MA & Pomona, CA When: December - January Tixs: $23.00 - $25.00 Buy: Ticketmaster.com at 10:00 AM EST Tim McGraw: What: Tour dates for North American tour When: February - March Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EDT Weezer (w/ Jack's Mannequin & Motion City Soundtrack): What: Tour date for Camden, NJ When: December 10th Tixs: Price not listed Buy: Livenation.com at 10:00 AM EDT]]> http://consequenceofsound.net/2009/11/on-sale-november-7-2009/feed/ 0 Low vs Diamond continues road trip http://consequenceofsound.net/2009/04/low-vs-diamond-continues-road-trip/ http://consequenceofsound.net/2009/04/low-vs-diamond-continues-road-trip/#comments Sun, 05 Apr 2009 15:45:47 +0000 Alex Young http://consequenceofsound.net/?p=13596 A lot of bands spent a lot of time on the road, but it’s pretty hard to argue that anyone rakes up the millage as much as the rockers of Low Vs Diamond. Since the release of its self-titled debut last April, the Los Angeles outfit has basically been touring nonstop, splitting time between festivals, late night talk shows, and engagements with Nickle Eye. So, perhaps it should come as little surprise that Low Vs Diamond has announced plans to spend the rest of 2009 on the road, kicking off this week with a couple headlining gigs before joining forces with Jack’s Mannequin and Ben Lee for two national tours.

The dates coincide with the release of the band’s latest single, “Don’t Forget Sister”, which you can check out right here.

Low Vs Diamond 2009 Tour Dates:
04/05 – Costa Mesa, CA @ Detroit Bar
04/07 – San Francisco, CA @ The Warfield *
04/09 – Idaho Falls, CA @ Idaho Falls Civic Auditorium *
04/10 – Denver, CO @ The Fillmore *
04/11 – Omaha, NE @ Sokol Auditorium *
04/13 – Grand Rapids, MI @ Orbit Room *
04/14 – Columbus, OH @ LC Pavilion *
04/22 – New York, NY @ Irving Plaza *
05/04 – Portland, OR @ Berbatis Pan ^
05/05 – Vancouver, BC @ Richard’s On Richard’s ^
05/06 – Seattle, WA @ Nectar ^
05/09 – Colorado Springs, CO @ Black Sheep ^
05/12 – Minneapolis, MN @ Varsity Theater ^
05/13 – Chicago, IL @ Bottom Lounge ^
05/15 – Columbus, OH @ The Basement ^
05/16 – Pittsburgh, PA @ Club Cafe ^
05/17 – Washington, DC @ Rock and Roll Hotel ^
05/18 – Boston, MA @ Paradise Rock Club ^
05/19 – Philadelphia, PA @ World Cafe Live ^
05/20 – Baltimore, MD @ The Quarter ^
05/22 – New York, NY @ Bowery Ballroom ^

* = w/ Jack’s Mannequin
^ = w/ Ben Lee

]]> Low Vs Diamond 2009 Tour Dates: 04/05 - Costa Mesa, CA @ Detroit Bar 04/07 - San Francisco, CA @ The Warfield * 04/09 - Idaho Falls, CA @ Idaho Falls Civic Auditorium * 04/10 - Denver, CO @ The Fillmore * 04/11 - Omaha, NE @ Sokol Auditorium * 04/13 - Grand Rapids, MI @ Orbit Room * 04/14 - Columbus, OH @ LC Pavilion * 04/22 - New York, NY @ Irving Plaza * 05/04 - Portland, OR @ Berbatis Pan ^ 05/05 - Vancouver, BC @ Richard's On Richard's ^ 05/06 - Seattle, WA @ Nectar ^ 05/09 - Colorado Springs, CO @ Black Sheep ^ 05/12 - Minneapolis, MN @ Varsity Theater ^ 05/13 - Chicago, IL @ Bottom Lounge ^ 05/15 - Columbus, OH @ The Basement ^ 05/16 - Pittsburgh, PA @ Club Cafe ^ 05/17 - Washington, DC @ Rock and Roll Hotel ^ 05/18 - Boston, MA @ Paradise Rock Club ^ 05/19 - Philadelphia, PA @ World Cafe Live ^ 05/20 - Baltimore, MD @ The Quarter ^ 05/22 - New York, NY @ Bowery Ballroom ^ * = w/ Jack's Mannequin ^ = w/ Ben Lee]]> http://consequenceofsound.net/2009/04/low-vs-diamond-continues-road-trip/feed/ 0 The Fray shares summer plans, covers Kanye http://consequenceofsound.net/2009/03/the-fray-shares-summer-plans-covers-kanye/ http://consequenceofsound.net/2009/03/the-fray-shares-summer-plans-covers-kanye/#comments Wed, 04 Mar 2009 15:05:17 +0000 Alex Young http://consequenceofsound.net/?p=12575 Considering a snow storm did just dump a ginormous amount of wintery stuff on most of the east coast, it’s hard to fathom summer. But then you get things like The Fray‘s newly announced summer tour, and realize the fun in the sun ain’t all too far away.

In support of their recently released self-titled sophomore studio album, the Denver based outfit has announced plans for an extensive North American tour. Following stops in Australia and the U.K., The Fray will take to the states beginning in mid-June for a two-month endeavor with fellow Top-40 rockers Jack’s Mannequin. The amphitheatre-heavy tour currently consists of 35 dates, but with an appearance at the band’s hometown Mile High Music Festival is also heavily rumored, it’s safe to say a few more engagements will likely be added in the coming

Pre-sale tickets will go on sale beginning Friday, March 6th. Fans who are currently on the email list as well as those who sign up to the email list before March 5th will be emailed a unique code at 5:00pm ET on Thursday, March 5th which will allow them to buy tickets before they are available to the general public.

And while your waiting for said tickets to go on sale, why not kill the time by checking out this recently unveiled cover of Kanye West’s “Heartless”. Let me repeat. The Fray has covered Kanye West. Uh huh.

The Fray 2009 Tour Dates:
03/17 – Perth, AU @ Metro City
03/20 – Melbourne, AU @ The Palace Theatre
03/21 – Brisbane, AU @ The Tivoli
03/24 – Sydney, AU @ The Hordern Pavilion
03/26 – Auckland, NZ @ The Powerstation
04/13 – Montreal, QC @ The Metropolis
04/27 – Belfast, IE @ Ulster Hall
04/28 – Dublin, IE @ Olympia
04/30 – Glasgow, UK @ Academy
05/01 – Birmingham, UK @ Academy
05/02 – Manchester, UK @ Academy
05/03 – Leeds, UK @ Academy
05/05 – London, UK @ Roundhouse
05/06 – London, UK @ Roundhouse
06/12 – Atlanta, GA @ Chastain Park Amphitheatre *
06/13 – Charlotte, NC @ Verizon Wireless Amphitheatre *
06/14 – Virgina Beach, VA @ Verizon Wireless Virginia Beach Amphitheater *
06/16 – Washington, DC @ Merriweather Post Pavilion *
06/17 – Darien Lake, NY @ Darien Lake Performing Arts Center *
06/19 – Holmdel, NJ @ PNC Bank Arts Center *
06/20 – Hartford, CT @ The Meadows Music Theatre *
06/21 – Boston, MA @ Comcast Center *
06/23 – Toronto, ON @ Molson Amphitheatre *
06/24 – Philadelphia, PA @ Susquehanna Bank Center *
06/25 – Wantagh, NY @ Jones Beach Theater *
06/27 – Detroit, MI @ DTE Energy Music Theatre *
06/28 – Chicago, IL @ First Midwest Bank Amphitheatre *
06/29 – Cincinnati, OH @ Riverbend Music Center *
07/01 – Cleveland, OH @ Blossom Music Center *
07/02 – Indianapolis, IN @ Verizon Wireless Music Center *
07/03 – St. Louis, MO @ Verizon Wireless Amphitheater *
07/14 – Phoenix, AZ @ Dodge Theatre *
07/16 – Albuquerque, NM @ Journal Pavilion *
07/17 – Las Vegas, NV @ The Pearl *
07/18 – Salt Lake City, UT @ USANA Amphitheatre *
07/21 – Minneapolis, MN @ Target Center *
07/22 – Kansas City, MO @ Starlight Theatre *
07/24 – Dallas, TX @ Superpages.com Center *
07/25 – Houson, TX @ Cynthia Woods Mitchell Pavilion *
07/28 – San Diego, CA @ Cricket Wireless Amphitheatre *
07/29 – Los Angeles, CA @ Verizon Wireless Amphitheater *
07/31 – Sacramento, CA @ Sleep Train Amphitheatre *
08/01 – San Francisco, CA @ Shoreline Amphitheatre at Mountain View *
08/04 – Portland, OR @ Rose Garden Arena *
08/05 – Vancouver, BC @ UBC Thunderbird Arena *
08/06 – Seattle, WA @ White River Amphitheatre *
08/07 – Spokane, WA @ Spokane Arena *

* = w/ Jack’s Mannequin

]]> The Fray 2009 Tour Dates: 03/17 - Perth, AU @ Metro City 03/20 - Melbourne, AU @ The Palace Theatre 03/21 - Brisbane, AU @ The Tivoli 03/24 - Sydney, AU @ The Hordern Pavilion 03/26 - Auckland, NZ @ The Powerstation 04/13 - Montreal, QC @ The Metropolis 04/27 - Belfast, IE @ Ulster Hall 04/28 - Dublin, IE @ Olympia 04/30 - Glasgow, UK @ Academy 05/01 - Birmingham, UK @ Academy 05/02 - Manchester, UK @ Academy 05/03 - Leeds, UK @ Academy 05/05 - London, UK @ Roundhouse 05/06 - London, UK @ Roundhouse 06/12 - Atlanta, GA @ Chastain Park Amphitheatre * 06/13 - Charlotte, NC @ Verizon Wireless Amphitheatre * 06/14 - Virgina Beach, VA @ Verizon Wireless Virginia Beach Amphitheater * 06/16 - Washington, DC @ Merriweather Post Pavilion * 06/17 - Darien Lake, NY @ Darien Lake Performing Arts Center * 06/19 - Holmdel, NJ @ PNC Bank Arts Center * 06/20 - Hartford, CT @ The Meadows Music Theatre * 06/21 - Boston, MA @ Comcast Center * 06/23 - Toronto, ON @ Molson Amphitheatre * 06/24 - Philadelphia, PA @ Susquehanna Bank Center * 06/25 - Wantagh, NY @ Jones Beach Theater * 06/27 - Detroit, MI @ DTE Energy Music Theatre * 06/28 - Chicago, IL @ First Midwest Bank Amphitheatre * 06/29 - Cincinnati, OH @ Riverbend Music Center * 07/01 - Cleveland, OH @ Blossom Music Center * 07/02 - Indianapolis, IN @ Verizon Wireless Music Center * 07/03 - St. Louis, MO @ Verizon Wireless Amphitheater * 07/14 - Phoenix, AZ @ Dodge Theatre * 07/16 - Albuquerque, NM @ Journal Pavilion * 07/17 - Las Vegas, NV @ The Pearl * 07/18 - Salt Lake City, UT @ USANA Amphitheatre * 07/21 - Minneapolis, MN @ Target Center * 07/22 - Kansas City, MO @ Starlight Theatre * 07/24 - Dallas, TX @ Superpages.com Center * 07/25 - Houson, TX @ Cynthia Woods Mitchell Pavilion * 07/28 - San Diego, CA @ Cricket Wireless Amphitheatre * 07/29 - Los Angeles, CA @ Verizon Wireless Amphitheater * 07/31 - Sacramento, CA @ Sleep Train Amphitheatre * 08/01 - San Francisco, CA @ Shoreline Amphitheatre at Mountain View * 08/04 - Portland, OR @ Rose Garden Arena * 08/05 - Vancouver, BC @ UBC Thunderbird Arena * 08/06 - Seattle, WA @ White River Amphitheatre * 08/07 - Spokane, WA @ Spokane Arena * * = w/ Jack's Mannequin]]> http://consequenceofsound.net/2009/03/the-fray-shares-summer-plans-covers-kanye/feed/ 0