(Some listeners may have been disappointed when they discovered that there wasn’t actually anyone named Margot in the band, but that’s neither here nor there.)

Chamber pop is a subjective genre, at best, but with their latest release, Rot Gut, Domestic, this unusually large rock ensemble (at last count, eight… if all else fails, they could find a friend and start a baseball team) manages to offer up a pleasing 42-minute respite from the real world. What is striking about this latest effort, aside from the llama-centric (is that a llama?) album art, is how grounded and even heavy many of the songs are. While the Margot crowd has been compared to Radiohead before, their current sound is closer to Built to Spill and other early 90s darlings; they’ve left most of the acoustic strumming in the dust, with the exception of “A Journalist Falls in Love”, the charming story of a reporter who falls for a serial killer she’s covering. It’s just the right amount of quirky and disconcerting, bridging the old and the new.

While it’s unlikely that you’ll ask for your money back, Rot Gut, Domestic doesn’t really push the envelope; it’s heavier, yes, but ultimately not that different in terms of woeful content. Tunes such as “Coonskin Cap” can pleasantly score your next make out session, and tracks like “Arvydas Sabonis” will undoubtedly be great for playing air drums to in the car. Overall, this is a very accessible album, but it might not be enough to push anyone from one camp into the other. Haters gonna hate, and die-hard fans will eat it up.

Essential Tracks: “Prozac Rock”, “Coonskin Cap”, and “Arvydas Sabonis”

Among the tickets on sale Friday include !!!, Blonde Redhead, Brandon Flowers, Broken Bells, Pennywise, Rodrigo Y Gabriela, The Dandy Warhols, The Gaslight Anthem, and Thirty Seconds to Mars. American Carnage tickets are also available to the general public.

Editors Note: Ticketmaster efficiently killed its Affiliate Program this week, putting a halt on all commissions from concert tickets sold within the first 24 hours of their on-sale date. (90 – 95% of all commissions made come during this window.) As a result, this is the last week you can support CoS by purchasing tickets, so please buy while you can!

!!!:

What: North American tour

When: September – November

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

30 Seconds to Mars:

What: North American tour

When: September – October

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

American Carnage:

What: North American Tour featuring Anthrax, Megadeth, and Slayer

When: September – October

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

Blonde Redhead:

What: North American tour

When: September – December

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

Brandon Flowers (of The Killers):

What: North American warm-up tour

When: August

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

Broken Bells:

What: Tour dates for Los Angeles and New York City

When: October 6th and 11th, respectively

Tixs: $27.50 – $32.50

Buy: Ticketmaster at 12:00 PM Local Time

The Dandy Warhols:

What: North American tour

When: November

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

The Gaslight Anthem:

What: North American tour

When: September

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

Margot & the Nuclear So & So’s:

What: North American tour

When: September – November

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

Pennywise:

What: North American tour

When: September

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

Rodrigo Y Gabriela:

What: North American tour

When: August – October

Tixs: Price varies depending on location

Buy: Ticketmaster at 10:00 AM Local Time

Are we missing anything? Let us know below! Also, if you’re looking for shows for an already sold-out show, try our partner site Seatgeek.com.

For one, the Indianapolis based outfit will drop their third studio album, Buzzard, this September. Fear not though, music fans. They’re avoiding the logjam that is September 14th and releasing the album a week later, on September 21st. The record will come out via the band’s own label Mariel Recordings, with Redeye handling distribution.

Buzzard promises a “distinct evolution” from the previous double release, Animal/Not Animal. The new album began forming when singer/guitarist Richard Edwards left his hometown of Indianapolis behind after 24 years and headed to the Windy City. He took up residence in his new home, an abandoned cinema, where he began writing the new album. A few months later fellow Margot… members Tyler Watkins and Erik Kang, along with engineer Neil Strauch and producer/drummer Brian Deck, helped Edwards set up a makeshift studio and the recording began.

The recording itself took place exclusively at night, between 10 p.m. and 5 a.m. Several broken bones later and the album was done. We can judge for ourselves whether the rather unusual recording environment and schedule has finally captured the band’s ”powerful, captivating live show and defiantly Midwestern sound.”

Margot… will also take the album out on a fairly hectic US headlining tour, kicking off in Minneapolis (Sept. 17th) and winding up in Omaha (Nov. 23rd), with stops in just about every town and hamlet in between.

Tickets to select shows go on sale starting Friday, July 23rd via Ticketmaster.

Buzzard Tracklist:
01. Birds
02. Let’s Paint Our Teeth Green
03. New York City Hotel Blues
04. Claws Off
05. Will You Love Me Forever?
06. Tiny Vampire Robot
07. Your Lower Back
08. Freak Flight Speed
09. My Baby (Cares For The Animals)
10. Lunatic, lunatic, lunatic
11. Earth To Aliens: What Do You Want?
12. I Do

Margot & The Nuclear So & So’s 2010 Tour Dates:
09/17 – Minneapolis, MN @ 7th Street Entry
09/18 – Milwaukee, WI @ Mad Planet
09/19 – Chicago, IL @ Lincoln Hall
09/21 – Ann Arbour, MI @ Blind Pig
09/22 – Columbus, OH @ Circus
09/23 – Newport, KY @ Southgate House
09/24 – Akron, OH @ Musica
09/25 – Pittsburgh, PA @ The Brillobox
09/26 – New York, NY @ Bowery Ballroom
09/27 – Cambridge, MA @ The Middle East (Downstairs)
09/29 – Brooklyn, NY @ Music Hall of WIlliamsburg
09/30 – Philadelphia, PA @ First Unitarian Church
10/01 – Washington, DC @ Black Cat
10/02 – Asheville, NC @ Stella Blue
10/03 – Chapel Hill, NC @ Local 506
10/05 – Tallahassee, FL @ Club Downunder
10/06 – Gainesville, FL @ Common Ground
10/07 – Orlando, FL @ The Backbooth
10/08 – Tampa, FL @ Crowbar
10/09 – Atlanta, GA @ Drunken Unicorn
10/10 – Birmingahm, AL @ Bottletree
10/11 – Nashville, TN @ Exit/In
10/13 – St. Louis, MO @ The Firebird
10/14 – Bloomington, IN @ The Bishop
10/15 – Indianapolis, IN @ Broad Ripple Music Festival
11/05 – Norman, OK @ Opolis Productions
11/06 – Dallas, TX @ Kessler Theater
11/09 – Albuquerque, NM @  Launchpad
11/10 – Phoenix, AZ @ Rhythm Room
11/11 – Tucson, AZ @ Club Congress
11/12 – San Diego, CA @ The Casbah
11/13 – Costa Mesa, CA @ Detroit Bar
11/14 – Los Angeles, CA @ Echoplex
11/15 – Santa Barbara, CA @ Soho
11/18 – Portland, OR @ Doug Fir Lounge
11/19 – Seattle, WA @ The Crocodile
11/20 – Boise, ID @ Neurolux
11/21 – Salt Lake City, UT @ Urban Lounge
11/22 – Denver, CO @ Bluebird Theater
11/23 – Omaha, NE @ The Waiting Room

Truth is, Des Moines, Iowa is kicking up some dust (sorry, couldn’t help myself), as it’s home to the Des Moines Music Coalition (DMMC for short), where this year, they held the second annual 80/35 Music Festival. After last year’s monumental success with headliners The Flaming Lips and The Roots, the DMMC went the extra mile bringing big names not only as headliners but also as day shows.

Though our photographer Joni Richter, didn’t make it out on Friday (the nerve, right?), here are some great sets from Saturday’s festivities.

Dig in…

Cymbals Eat Guitars – 5:15pm @ Meredith West Stage

Margot and the Nuclear So and So’s – 6:15 @ Meredith West Stage

Broken Social Scene – 7:00pm @ Wellmark Blue Cross Blue Shield Main Stage

Brother Ali – 8:00pm @ Mediacom East Stage

Ben Harper & Relentless7 – 9:00pm @ Wellmark Blue Cross Blue Shield Main Stage

]]> Cymbals Eat Guitars - 5:15pm @ Meredith West Stage Margot and the Nuclear So and So’s - 6:15 @ Meredith West Stage Broken Social Scene - 7:00pm @ Wellmark Blue Cross Blue Shield Main Stage Brother Ali - 8:00pm @ Mediacom East Stage Ben Harper & Relentless7 - 9:00pm @ Wellmark Blue Cross Blue Shield Main Stage ]]> http://consequenceofsound.net/2009/07/in-photos-8035-music-festival-2009/feed/ 0 http://consequenceofsound.net/2009/01/interview-andy-fry-of-margot-the-nuclear-so-and-sos/ http://consequenceofsound.net/2009/01/interview-andy-fry-of-margot-the-nuclear-so-and-sos/#comments Mon, 12 Jan 2009 20:30:51 +0000 Nicholas Comney http://consequenceofsound.net/?p=10803 Last year, October to be exact, writer Drew Litowitz was pretty psyched over Animal!/Not Animal!, the dual release by indie darlings, Margot & the Nuclear So and So’s. Awarding the two albums three and half and four stars respectively, he summed up his thoughts nicely writing, “the albums are both very strong, containing well-constructed somber tunes, with beautiful melodies and intricate instrumentation.” That’s why when writer Nicholas Comney recently sat down with guitarist Andy Fry, we were thrilled to run the interview as soon as possible.

Judging by Fry’s conversational tone, it’s clear he’s keen to relax. 2008 was an exhausting year for the Indiana chamber pop band, and with the new year already kicking off, one can only hope the “song remains the same.” From album complications to the history of the band name, Comney certainly had the guitarist chatting up a storm.

Consequence of Sound (CoS): There have been various stories, over the years, concerning how the group came to be. I think your pet store encounter with the band’s front man, Richard Edwards, is the most popular of these tales. Could you discuss the origins of the group?

Andy Fry (AF): I mean, we just made a record and then that was the band. I could make-up a story for you, right now, but it’d be just a story. There’s nothing particularly interesting about the way the band started.

CoS: Following this halo of ambiguity that seems to surround the group’s beginnings, the same case has been made, in regards to the band’s name – Margot & the Nuclear So and So’s. Past interviews have yielded meanings such as the relationship between man and machine, Richard’s non-existent daughter, and even Gwyneth Paltrow’s character, Margot, in Wes Anderson’s film The Royal Tenenbaums. Is there any significance to the group’s name or is it simply that – a moniker and nothing else?

AF: There’s definitely significance to it, but to me, it’s just one of those things, to where the meaning is in the name, itself. It’s sort of a comment on the absurdity of life.

CoS: Do you identify yourself with any of the members of the Tenenbaum family?

AF: I think that everyone can see themselves, a little bit, in most of those characters. If I had to pick one, I would probably choose Richie.

CoS: Yeah, it seems that Wes Anderson has this universal appeal in most of his films that allows the audience to attribute themselves to the characters in one-way or another.

AF: Yeah, they come off as very real, despite being absurdly refined.

CoS: When the band was recording your new album(s) Animal and Not Animal, what type of things were you reading and listening to, during this process, which may have carried over into the undertones of the recording(s)?

AF: For most of us, we didn’t listen to anything, except what we were doing. There was stuff that we had brought in from the past, but…I was just talking about this the other day, like, I have just now started to listen to other music, again. (Laughs) For almost that whole time we were recording, we were just referencing ourselves and building off stuff we had in our heads, if that makes any sense.

CoS: (Laughs) Yeah, a little bit.

AF: Like if we were listening to Pet Sounds (by The Beach Boys), we’d end up making something that sounded like that.

CoS: Okay. (a beat) In this process, how does the collaboration between all the members in Margot work, since there are eight of you in the band?

AF: There really isn’t one process we use for anything. We listen to the song and then if someone has a strong idea about the direction, then we’ll start there. Normally, it flows from what the song sounds like on an acoustic guitar. Sometimes, it will seem like maybe only two people should play on it – like it should be a real sparse arrangement. And then there are other times, where it feels like we should throw the kitchen sink at it. I don’t think we ever formulate.

CoS: I’m sure you get tired of talking about the unique circumstances that came about, concerning the release of Animal and Not Animal, but could you give a little 101 crash-course on the situation and how the decision was made to release two versions of the album?

AF: Yeah, sure. Animal is the record that we made. We selected all the songs. We recorded like 20-25 songs, during the sessions and that’s the record we turned into our label (who pretty much let us do our thing, while we were recording, which was pretty cool).

But when we turned it in, they thought it was too weird or they didn’t like it because they were expecting different songs to be on it that weren’t. (Laughs) So, they weren’t going to put it out. It ended up becoming a big stalemate for a couple weeks and they were pretty adamant that that they weren’t going to issue it out, at all, unless we changed it. Of course, we really wanted to have it released, so we said, “Fine, you guys can have whatever songs you want and make your own record and then we’ll release ours on vinyl.”

So, it was done like that to allow us to release the record we had made, initially. If we hadn’t done this, then nothing would have ever come out.

CoS: I know on these new recording(s), you feature material that was present on past albums such as your Daytrotter Sessions EP and previously released debut, The Dust of Retreat, but do you feel by blending the old with the new on Animal and Not Animal, there’s a disruption of sound maturation that sort of upends the line or direction, due to the mixing-in of these older tracks?

AF: I think this album is a nice bridge between the first album and our next one. The first album was a little more folksy and acoustic based, while this one strays away from that. I will say, also, I think the group and sound has evolved. We’ve all changed as people. It wasn’t so much a conscious effort to make something from our first album, but it definitely came out that way (Laughs).

CoS: Aside from being the guitarist for the band, you also do a lot producing. Did you have any producing role on the new stuff, at all?

AF: Yeah. Me and Tyler and Richard, as well as the producer we were working with, Brian Deck, sort of collaborated on all that stuff. Well, not sort of. (Laughs) Brian was definitely the overarching producer, but we had already started recording stuff at our own studio. It was like a serpentine effort.

CoS: Why’d you guys choose to go to Chicago to record the new stuff and spend the three months there, rather than somewhere else?

AF: (Laughs) The studio was totally badass. They had really nice equipment. We got to record on two-inch tape. Plus, it was Brian’s place of choice. Also, I think we wanted to get out of our hometown and really concentrate on what we were doing. (Laughs) The winter in Chicago is so cold and it’s really easy not to go outside for two to three weeks at a time.

CoS: During your recording, Richard kind of went through a period of experiencing severe panic attacks. Coming from a band standpoint, what was the initial response to these episodes? Was there fear that it all would fall apart or was this sense of fragile uncertainty more of a positive, since genius and true beauty often blooms out of such measures of disparity?

AF: I knew the record was going to come out well because I had that kind of trust in everyone and I thought the songs were great. I never worried about that. I think the panic was more of a feeling of anxiety towards the world in general and our experience in that over the past few years. It’s kind of a coming to terms with not necessarily growing up, but becoming more aware with what’s going on, outside of us. Like, whether we cause the world to end or if it’s just destined to be so.

There’s been a general, end of day’s mindset that Richard has definitely been picking up on, as of late, and there’s no way that that’s not going to ripple out onto all of us.

CoS: A lot of your work seems to have this heavy theme of fear and doom…

AF: Yeah, it’s not a very happy-go-lucky thing to want to talk about, but it just felt so palpable, with what’s happened over the past two to three years, that it seemed like the right thing to do and deal with and put on record. I’m just glad, that for the rest of my life, I’ll be able to have this diary that houses all these things that I am or was feeling, which are really hard to explain. I think it does evoke a mood, at least for me, that one would experience right before having a panic attack. I know I have definitely have had a couple of them.

CoS: Yeah, I’m pretty sure everyone has, whether they recognize it or not.

AF: I didn’t know what they were for a long time. I was kind of glad there was a name for it. (Laughs) But I got over those, after a little while, so it was easy to get back into that frame of mind when they started happening to Richard. I think we all are fairly prone to depression in the first place, so…

CoS: I’m actually glad you said that because that was my next transition. Overall, why do you think people, in general, or artists, in particular, are so consumed by gloom?

AF: I feel like in my case, I don’t want to feel that way, but it’s a lot like a canary in the coalmine. In a way, we are all a barometer of things that are happening. I don’t want to concentrate on the dark things that are happening on the planet, you know, I’m really interested in being happy. But, I think part of that process, though, is maybe sometime you have to point it out to people. It definitely makes me feel a little less crazy knowing that there are other people feeling that way.

CoS: It’s like you acknowledge that the presence is there, but don’t necessarily dwell on it forever. It’s more of a tool to grow and mature with, even though you don’t know what’s going on.

AF: Yeah, after a while, it can become sort of dogmatic.

Check Out:

“I Am a Lightning Rod”

“As Tall As Cliffs”

Following a hilarious interview with Short, the nine member So & So’s took to the stage in support of their recent and lovely release, Animal/Not Animal!, performing a flawless rendition of “Tales as Tall as Cliffs”, the release’s standout track.For a band that is characterized by some as “chamber pop,” they certainly bring a lot of truth to the label. With more instruments than one could put a name to (there was even a toy piano attached to a guitarist’s back), the group’s performance was a pleasure for both eyes and ears alike.

Watch it here, and seriously, try to name all the instruments:

Margot & the Nuclear So & So’s 2008 Tour Dates:
11/21 – Pontiac, MI @ The Pike Room
11/22 – Chicago, IL @ Bottom Lounge
12/11 – Cleveland, OH @ Beachland Ballroom
12/13 – Newport, KY @ The Southgate House

Most of these records fail to click with casual listeners; when listening to an album becomes more arduous than it is entertaining, it no longer serves its purpose. Most people are so overwhelmed with the amount of music, that they just avoid the whole thing altogether. It almost goes against the idea that an album should be listenable, in its entirety, in one sitting. For Margot and the Nuclear So and So’s, however, the band felt it necessary to release two versions of its latest effort, Animal! and Not Animal!. Despite the band’s relatively low recognition, the Indianapolis octet has chosen its own version of the double album for the group’s sophomore effort, but not for the reasons you might think.

Signing with Epic Records has proved to be problematic for the So and So’s thus far, and is cause for this mess. Animal! is said to be the twelve track LP that contains the songs the band themselves selected and will only be available online or on vinyl. Whereas, the twelve track, full-length Not Animal! is the collection of label-selected songs, and thus is the “officia”l record. The band’s MySpace explains a bit, but still leaves much unanswered: “Remember, ‘Animal!‘ is our second album, while not animal is a label compiled collection of songs. We HIGHLY recommend listening to ‘Animal!’ first.” Many of the songs are found on both albums, so it seems that the song selection was not the only disagreement that the band had with its label.

Basically, releasing the albums this way is an obscure method of releasing the album Not Animal!, along with its B-sides, as the ideal album in the eyes of the band members. Publicity stunt or the real deal? Who knows? All we know is that by releasing both, they have semi-ventured into a place where very few bands have come out on top. Though not a true double album, both are still being released simultaneously. And while one album is only available online or on vinyl, most people these days (especially the ones listening to Margot & The Nuclear So and So’s) get their music online anyhow. If anything, it is just downright confusing. But, I digress…

As far as the music is concerned, both albums could potentially stand alone as individual bodies of work. I have to say, however, that I lean more towards the views of the label, and find Not Animal! to be the stronger of the two, yet musically and thematically, they differ very slightly. It is Not Animal! which seems to flow smoother, with a more appropriate balance of loud and soft songs. Though, both albums are filled with the usual Margot onslaught of meticulous instrumentation, an army of layered but near perfected noise, all accompanied by the smooth and beautiful vocals of front man and songwriter Richard Edwards.

The tracks develop smoothly, sometimes starting off slowly, but progressing into orchestral chaos (“Shivers (I’ve Got ‘Em)” and “Pages Written On A Wall”), and at other times stay relatively low-key (“Real Naked Girls” and “Holy Cow!”). Still, every single song includes dozens of instruments, which for a band with eight steady members, is not really a shocker. The cinematic orchestration is consistent with the band’s name, which originates from the character of Margot Tenenbaum in the Wes Anderson filmThe Royal Tenenbaums. Alongside the orchestral pop music, the lyrical themes consistently depress: talk of metaphoric bombs, guns, car accidents, poison, unrequited love, broken hearts, and lame parties are all sung by Edwards’ calm and bittersweet, soothing voice. Additionally, the songs’ somewhat cryptic nature make them rather difficult to understand at a glance, but are interesting and inventive enough to try to decipher.

The main difference between the two albums is probably Not Animal!‘s exclusion of the two duets found on Animal!: “Mariel’s Brazen Overture” and “There’s Talk of Mine Shafts.” On Animal!, these songs play back to back, and present a connecting story of two conflicted lovers, the male and female vocals singing the story together in perfect harmony. These tracks are certainly powerful, and deserve a spot on the official record. Further differentiation can be noted in the albums’ opening tracks, Animal!‘s beautiful “At the Carnival” is nowhere to be found on Not Animal!. Though tracks are left out, many of the highlights from Animal! do rightfully appear on the label cut, and the ones that don’t, have pretty strong musical counterparts that do.  Additionally, Not Animal! is noticeably louder than Animal. Though very well balanced, a few more chaotic and noisy tracks are included in the label’s collection. Not to say Animal! is not loud enough, as both albums are filled with so many different instruments, it is hard to keep track of them all, as Mexican horns, xylophone, harmonica, acoustic guitars, electric guitars, flutes, cinematic percussions (chains, washboards, etc.), and string sections all make numerous appearances on each disc.

Taking all this into account, the highlight on both albums is the poignant “As Tall As Cliffs.” Both the folkiest and most upbeat song on either record ends Animal! , but comes right at the climax of its counterpart.  In what seems like a loving gesture, Edwards admits, “I tell tales as tall as cliffs/ I’ve been telling lies all the time/ but I’ll tell you the truth.” Here we get the best taste for Edwards’s songwriting, which usually includes some sarcastic self-deprecation in the form of a generally cynical, but loving direct address to an unknown individual.

It is difficult to say what caused such a disparity in the decisions of the label and the band members, when ultimately, the albums differ so little musically and thematically. It is even harder to understand why the band thought so highly of Animal!, when the little things that make the albums different prove Not Animal! to be the stronger of the two anyways. Maybe it is a publicity stunt; the albums certainly cannot be discussed without its back-story. Regardless, the group’s dual sophomoric effort contain many similar overwhelmingly beautiful sounds that made The Dust of Retreat so great, but lack some of its predecessor’s subtler achievements. Still, the albums are both very strong, containing well-constructed somber tunes, with beautiful melodies and intricate instrumentation. Yet maybe in this case, less would have been a bit more.

Animal!

Not Animal!

Check Out:
“Tall As Clifs”
“A Children’s Crusade on Acid”

Margot formed in Indianapolis in 2005 and since then have been slowly making major waves. They released their first album, The Dusk of Retreat (4 stars from allmusic.com) in 2006 and by 2008 the Richard Edwards led outfit found intself as one of busier acts around. Not only have they been touring all summer, including a spot on the Lollapalooza main stage, but Margot has also put out an EP and plan to two full-length albums come this fall. The two album situation results from an ongoing conflict with Epic Records on what exactly should be on the next album album, so Animal! (double vinyl and digital download) will feature the songs the band likes, whereas Not Animal (digital download and CD) will show off the songs Epic Records loved.

While The Dusk of Retreat is great in its own right, the band also makes a compelling case on the live front. Named Marquee Magazine’s “Number One Show of 2005,” the band certainly brings an energy and sound to a live show that is hard to beat.

With that said, go check these guys out when they come to a town near you and remember to pick up Animal and/or Not Animal when they hit stores and the internet.

Check Out:
“Barfight Revolution, Power Violence” (Live)
Daytrotter Sessions

Margot & the Nuclear So & So’s Tour Dates
09/04 – E. Lansing, MI @ MSU Auditorium
09/06 – Allentown, PA @ Crocodile Rock
09/07 – New Orleans, LA  @ House of Blues
09/08 – Towson, MD @ Recher Theater
09/10 – Asheville, NC @ The Orange Peel
09/11 – Charleston, SC @ The Music Farm
09/12 – Athens, GA @ 40 Watt Club
09/15 – New Orleans, LA @House of Blues
09/17 – Urbana, IL @ The Canopy Club
09/18 – Columbia, MO @ Blue Note
09/19 – Lawrence, KS @ Liberty Hall
09/30 – Salt Lake City, UT @ Kilby Court
10/05 – San Francisco, CA @ The Independent
10/07 – Los Angeles, CA @ Troubadour