Oh My God is simply one of the greatest live shows that has ever existed. I have been following these guys since about 2003, from Duffy’s Tavern to the Double Door and now to Pianos in Manhattan. It has been nearly eight years since I fist got a glimpse of the insanity that emanates from the stage – I was once fortunate enough to open for them. Anyways, I’ve told my stories about one of my all time favorite bands in prior posts (here and here), but here they are again, beginning their fall tour with us in NYC. If you know what is good for you, you’ll go to Pianos tonight a see it for yourself.
Below are a few videos from their new material. Also, visit their website oand myspace.
Color Radio
Be Safe, Be Aware
September 2nd 2009
Unsigned
Not to contradict the legions of intelligent and insightful music critics who have commented on the worth and wonder of Color Radio’s newest EP Be Safe, Be Aware, but the best you can do is compare these kids to Coldplay, Arctic Monkeys, Doves, Travis, and Radiohead?! Let me set the record straight, if they must be compared to something or someone, let’s talk about Matt Johnson, Morrissey, and Tim Kasher smoking reefer in an alternate universe where 1984 and 2009 collapse into an eternal nightclub in Manchester. In this sense I can see why some might compare them to Doves, but not necessarily because they sound alike, but because Doves actually used to hang out at The Haçienda in Manchester in 1984. Some may say Tim Kasher, really? And I say yes, he is there, at least for a moment or two. But that would only be if I wanted to compare them to anyone at all.
Color Radio’s music is modern-it is heart felt-it is a topographic tour of dreamscape melody. Jonathan Ifergan and Tohm Ifergan, are an excellent guitar drum duo charmed by the familial fact that they are indeed brothers. The two are only increased in beauty by Matthew Thomas and Joel Chasco who in infuse the intense ambiance with their respective contributions of keys and bass. I would be excited to have this group meet and pair up for a couple of nights in New York City with another great Midwestern band Eagle Seagull. Color Radio are what their band name says they are. They pulse with color, attitude, and passion. Better yet, they are having a three date stint next week in New York, so December calls people, let’s go…
Other Music
Newest News- 2009
Feeling Like You Used To EP- 2008
Tour
December 11th 9PM Skully’s w/ Loyal Divide Columbus, Ohio
December 12th 8PM TBA Pittsburgh, Pennsylvania
December 14th 8PM Arlene’s Grocery New York, New York
December 15th 8PM Midway Cafe Boston, Massachusetts
December 16th 8PM Glasslands Gallery Brooklyn, New York
December 17th 9PM Lulu’s Village Pub Port Jefferson, New York
December 18th 9PM Cranky’s Manatee Pub Cleveland, Ohio
December 19th 8PM TBA Fort Wayne, Indiana
Wilco
Wilco (The Album)
June 30th 2009
Nonesuch Records
The danger of writing an unabashedly and deliberate self-referential album is immense. It is often the kind of indulgence that eternally condemns and confines many records of its kind to Best Buy bargain bins. Of course there are the great cannon makers who will always be remembered for their eponymous contributions, Led ZeppelinI,II, III, & IV; The Who Sell Out; The Beatles (commonly referred to as The White Album); etc. Wilco goes beyond imprinting their name on a record or a song (in this case both). Blaring their self awareness, they have titled their newest record Wilco (the Album), and the first song on the release Wilco (The Song). But with all this narcissism, the album’s contents are not Xeroxed copies and remakes. The songs are fresh.
The band has moved effortlessly from their post Uncle Tupelo reformations, A.M and Being There, through the nascence of Summerteeth to their seminal Nonesuch release Yankee Hotel Foxtrot and then on to the whammy crazed, Nels Cline addledA Ghost is Born, which won a basket full of awards—partly based on merit and partly based on the cachet accumulated by the release of I Am Trying to Break Your Heart: A Film About Wilco—arguably the greatest music DVD ever released. The film documents the production of Yankee Hotel Foxtrot, cementing their status as industry underdog, giving even more attention to their follow up. From there they released a live CD documenting their 2005 show at The Vic in Chicago and later in 2007, Sky Blue Sky—a masterful retreat into neighborhood nostalgia and hometown reflection. With such a varied spectrum of song typology, where was Wilco to go? Their answer was a satirical celebration of themselves. The answer was Wilco (The Album).
Unquestionably the most polished and produced record of Wilco’s catalogue, this newest venture sees the band marinade amongst themselves. They are like an old married couple, the husband and wife begin to look alike. Cline and Tweedy alternate and converge through scales of distortion and wild free form feedback. Pat Sansone plays it straight with his standard roots rock licks that occasionally serve to anchor an otherwise frenetic guitar section. The album is eclectic in itself at times characterized by experimental loops and other times by subdued pop melodies. Leslie Feist duets with Tweedy on the song You and I. The song is soft and easy. It is a perfect midpoint between the pop orchestration the erupts in the beginning, Wilco (The Song), and the record’s conclusion, Everlasting, a song with subtle experimentation and a beautiful outro of wisping loops of Wilco’s signature guitar medley of Tweedy and Cline.
Wilco’s performance at Keyspan Park in Coney Island was worth the $55. I broke my own ethics in buying the tickets. No show should cost this much. When bands price themselves that high, it is a “fuck you” heard loud and clear. But I bought the tickets anyway and solemnly swallowed my convictions knowing that I’d get to see Yo La Tengo open. The predication of Ira Kaplan’s distorted wall of noise to the Tweedy/Cline symposium was phenomenal. It was like seeing my two favorite two cousins. The show lasted three sets. This confused me because I was pretty sure Tweedy was a little put off by the audience. It was tough to tell whether he was mocking the thousands of fans, many of whom were middle aged khaki wearing stiffs with pink ball caps or fraternity brothers sucking down fifths of Southern Comfort and screaming “wooo hooo” like Homer Simpson. At one point he stood in disbelief, shoulders ashrug when the crowd continued to sing Take Me Out to the Ball Game when he jokingly suggested it was his next tune. This underscores Tweedy’s dickishness but it doesn’t explain why he gave us everything that night. No matter the reason, it was a brilliant and a great show. Wilco is/are absolutely classic in every sense.
UPDATE: A reader points out that Nels Cline did not in fact play on A Ghost is Born. This is a misperception on my part stemming from the fact that I saw the group tour for A Ghost is Born and Nels was aboard. Thank you very much John-Paul for the correction. Somehow it is indeed more satisfying that Tweedy plays those solos himself. Though Nels is incredible.
Other Records
A.M.-1995
Being There-1996
Summerteeth-1999
Yankee Hotel Foxtrot-2002
A Ghost Is Born-2004
Kicking Television: Live in Chicago-2005
Sky Blue Sky-2007
01 “Wilco (The Song)”
02 “I Am Trying to Break Your Heart”
03 “Shot in the Arm”
04 “At Least That’s What You Said”
05 “Bull Black Nova”
06 “You Are My Face”
07 “One Wing”
08 “Handshake Drugs”
09 “Deeper Down”
10 “Impossible Germany”
11 “Jesus Etc.”
12 “Sonny Feeling”
13 “I’m Always in Love”
14 “Can’t Stand It”
15 “Hate it Here”
16 “Walken”
17 “I’m the Man Who Loves You”
18 “Hummingbird”
Set 2
19 “Heavy Metal Drummer”
20 “You And I”@
21 “California Stars”*
22 “You Never Know”*
23 “Misunderstood”
24 “Spiders (Kidsmoke)”#
Set 3
25 “The Late Greats”
26 “Hoodoo Voodoo”*
@ w/ Feist on vocals
* w/ Feist and Ed Droste of Grizzly Bear on backup vocals and percussion
# w/ Yo La Tengo
Andrew Bird
Noble Beast
Fat Possum
January 20th 2009
I first saw Andrew Bird perform as I watched back stage at 2005’s inaugural Intonation Festival in Chicago’s Union Park. He performed with a lone drummer and a loop machine, displaying his truly awe-inducing proficiency at layering himself over and over until the fullest, deepest chorus emitted from the stage stacks. It was this first encounter that attached me to his third solo record The Mysterious Production of Eggs. It was a record that defined the summer of 2005 along with the other monster releases of that year. While I cannot say that Noble Beast is a return to his earlier work—he has after all an extraordinarily lengthy and impressive repertoire, the vast majority of which sounds nothing like the music of recent years—it is worth noting that Mr. Bird has walked back a bit the more refined direction he pursued with his fourth solo release Armchair Apocrypha, returning instead to slightly more grainy rhythmic loops and eloquently worded lyrics.
The new terrain Andrew Bird chooses to explore with Noble Beast is something of a somber excursion narrated by songs written with epic cadences and animistic themes. The two most rewarding deviances from his prior works are Not a Robot, But a Ghost and Anonanimal, the later of which contains Bird’s finest song writing. Some might accuse him of dipping his toes into full fledged post-rock mockery, Tortoise meets Explosion in the Sky, but the sheer quality of the track quickly wins over and grumblings. Andrew Bird still has his obsessions with medical terminology and molecular compounds, with calcium revisiting his lyric book yet again. This record is punctuated with quaint interludes belying his fascinations with Irish folk and bluegrass. In fact the personal sentiment drawn from Nobel Beast is a result of looking back at the foundational elements of individual style, of looking inward and returning to a sense of self; while at the same time launching forward again, looking at new prospects and new tones of expression without releasing that which make him so great. Nobel Beast is simply said his best record yet.
As Bowl of Fire
Thrills (1998)
Oh! The Grandeur (1999)
The Swimming Hour (2001)
As Andrew Bird
Music of Hair (1996)
The Ballad of the Red Shoes EP (2002)
Fingerlings (2002)
Weather Systems (2003)
Fingerlings 2 (2004)
The Mysterious Production of Eggs (2005)
Fingerlings 3 (2006)
Armchair Apocrypha (2007)
Live In Montreal (2008)
Fitz and the Dizzy Spells EP (2009)
Noble Beast (2009)
Tour
Jun-8 Merriweather Post Pavilion Columbia , MD
Jun-14 Bonnaroo Manchester, TN
Jun-15 Cobb Energy PAC Atlanta, GA
Jun-18 Radio City Music Hall New York, NY
Jun-19 Bank of America Pavilion Boston, MA
Jul-10 Greek Theatre Los Angeles, CA
Jul-11 Greek Theatre Berkeley, CA
Jul-13 Red Butte Garden Salt Lake City, UT
Jul-14 Red Rocks Amphitheatre Morrison, CO
Jul-16 Britt Pavilion Jacksonville, OR
Jul-17 Marymoor Amphitheatre Redmond, WA
Jul-18 McMenamins Edgefield Amphitheater Troutdale, OR
Jul-19 McMenamins Edgefield Amphitheater Troutdale, OR
Jul-26 Squaw Velley Ski Resort Olympic Valley, CA
Aug-06 Eastnor Castle Ledbury, UK
Aug-07 Lollapalooza – Grant Park Chicago, IL
Aug-07 Eastnor Castle Ledbury, UK
Aug-08 Eastnor Castle Ledbury, UK
Aug-08 Lollapalooza – Grant Park Chicago, IL
Aug-09 Eastnor Castle Ledbury, UK
Aug-14 Haldern Pop Festival Haldern, DE
Aug-15 Haldern Pop Festival Haldern, DE
Aug-21 Glanusk Park Powys, UK
Aug-22 Glanusk Park Powys, UK
Aug-23 Glanusk Park Powys, UK
Oct-02 Austin City Limits Festival Austin, TX
Our friends from Head of FemurMatt Focht and Eathan Janney are on the road this month with Connor Oberst. I suppose this means their stint together in Nebraska yielded good chemistry. Focht and Janney will be traveling with a few new folks under the moniker The Matt Focht Band. Unfortunately they seem only to be touring Minnesota, Wisconsin, Michigan and of course Illinois. What I wouldn’t give to see this lineup at the Vic Theater. Lucky bastards. If there is a chance they might continue together eastward, I’ll get the word out. Can’t we get Focht to Terminal 5 in November?
The Matt Focht Band and Conor Oberst Tour Together October 29th 2008 8pm @ FIRST AVE. Minneapolis, Minnesota October 30th 2008 8pm @ TURNER HALL Milwaukee, Wisconsin October 31st 2008 7pm @ VIC THEATRE Chicago, Illinois November 1st 2008 7pm @ VIC THEATRE Chicago, Illinois November 2nd 2008 8pm @ ROYAL OAK MUSIC THEATRE Royal Oak, Michigan
Where will you be on the 1st of October? Well, you best be at Pianos! Give these cats a welcome they won’t soon forget. Come celebrate the new record, Fools Want Noise, and Oh My God‘s brilliant recovery from the bitter clutches of death! It will be fun I promise…
Below is their video Fools Want Noise off their upcoming record.
If you aren’t in New York, check out these dates at a city near you…
Tour
Sept 25, 2008 Midpoint Music Cincinnati, OH
Sept 26, 2008 (Scene) Metrospace Lansing, MI
Sept 26, 2008 Mac’s Bar Lansing, MI
Sept 27, 2008 Beauty & the Beat Flint, MI
Sept 28, 2008 Allegheny College Meadville, PA
Sept 29, 2008 Smog @ Bard Annondale On Hudson, NY
Sept 30, 2008 Daniel Street Club Milford, CT
Oct 01, 2008 Pianos York, NY
Oct 02, 2008 Mohawk Place Buffalo, NY
Oct 03, 2008 Casa Cantina Athens, OH
Oct 04, 2008 Howard’s Club H Bowling Green, OH
Oct 10, 2008 Doug’s Rockhouse Aurora, IL
Oct 11, 2008 Subterranean Chicago, IL
Oct 16, 2008 The House Dekalb, IL
Oct 17, 2008 Triple Rock Minneapolis, MN
Oct 18, 2008 Cactus Club Milwaukee, WI
Oct 23, 2008 Cowboy Monkey Champaign, IL
Oct 24, 2008 Bluebird St. Louis, MO
Oct 25, 2008 Record Bar Kansas City, MO
Oct 26, 2008 Duffy’s Lincoln, NE
Oct 27, TBA Pittsburg, KS
Oct 28, 2008 Hailey’s Denton, TX
Oct 29, 2008 Beerland Austin, TX
Oct 30, 2008 TBA Paso, TX
Oct 31, 2008 Hotel Congress Tucson, AZ
Nov 01, 2008 Modified Arts Phoenix, AZ
Nov 02, 2008 The Mint Los Angeles, CA
Nov 03, 2008 Bottom of the Hill San Francisco, CA
Nov 05, 2008 TBA Rapid City, SD
Nov 06, 2008 Nutty’s North Sioux Falls, SD
Nov 07, 2008 Maya Jane’s Vermillion, SD
Nov 08, 2008 Maintenance Shop Ames, IA
Oh My God
Fools Want Noise
October 14th 2008
Split Red Records
Oh My God- Facewash
Oh My God- Houston
While I have loved many bands over the years, there have only been few that I really give a shit about. Would you believe it, Chicago’s Oh My God is one of them. I first met Bish, Ig, and Billy many, many years ago when they played Duffy’s Tavern back in Nebraska. I had seen them a few times prior and was very impressed with their performance. My sister also happened to be in town from Chicago and I wanted to take her to a great show at my favorite dingy bar. They did not disappoint.
Rumors circulated that there would be an afterhours party with the band. Memory from that night being hazy, I can’t exactly remember how I scored the address, but I later found myself with my sister and a friend parked in a gravel lot outside a big house in the country. There didn’t seem to be anyone around and our first instinct was to scram, but the van was there and I was determined to meet these freakishly performative people. I don’t remember much about the night save the phrase “flying fish farm”, a bottle of Makers Mark, absolutely delicious vegan lasagna, Ig’s massive hair, and the extremely kind company of Ig and Billy as we sat around a living room table discussing who knows what. My sister, my friend, and I were thrilled to have imposed on their late night festivity.
Later, when booking a show at a venue in Lincoln named Knickerbockers, I learned that Oh My God was on tour again and that my band was to open for them. This had my gut in knots. There was certainly no way we were going to compare. But we suffered through it, knowing what was to take place on the same stage only moments after our breakdown. It was a blissful evening, regardless of the sad circumstance of less than capacity attendance. Eventually I moved to Chicago where I saw them at the Double Door for their tour’s homecoming. This time I brought my cousin and a few friends. They were equally impressed with the band’s visceral performance.
Oh My God is aggressively eccentric. You haven’t ever seen a scissor kick until you’ve seen Billy fling his body around the stage. To give you any idea of their antics, Billy often begins shows dressed as a clown or plays the show in a kimono, or a clown in a kimono. As the show progresses he loses an article of clothing here and there, until he ends up in his skivvies, sweat run makeup, and a white tee-shirt that has some handwritten social critique such as “legalize prostitution” printed across the chest.
I always liked Oh My God’s combination of instruments. Their songs are structured around the drums, bass, and organ. The drums are often schizophrenic, the bass is distorted and fuzzed to excess, and the organ is tweaked beyond recognition. Since those days in Chicago and Nebraska, they have added guitar to the amalgamation. Tragically, while on the road in Ohio during a recent tour in 2007, a car collided with their van head on. Every member received terrible injuries. Billy shattered a kneecap, cracked a few vertebrae, and broke three ribs. Bish broke his left wrist and Ig broke his right. Matt, playing guitar on tour, broke his tibia, nose, and thumb. To be honest, I thought the band was through. It is extremely difficult to tour year in and out, record after record, only to be forced to postpone an upcoming record release and take a year off for physical therapy, psychologically to start again. I can only imagine the difficulties they encountered. I wished them the best in a dire situation.
So imagine my surprise when Frederick Foxtrott received a copy of their new record for review. The triumph of this band only underscores their tenacity and energy. While I have always said that Oh My God’s live show never quite translates onto plastic, their newest effort Fools Want Noise comes closest to capturing the frenetic display on stage, although I will always have a place in my heart for Interrogations & Confessions. New to the band are drummer Dathan DeVore and guitarist Anthony Gravino. While I have not witnessed Oh My God play in their current incarnation, I assume they will have all the excess that my memory reports.
Fools Want Noise continues Oh My God’s irreverent tradition. Billy’s voice is steeped in rhythm and blues, imbuing the rugged bass lines and industrial organ with hooks and catchy phrases that snare even the most indifferent of listeners. The melodies were forged in a popcentric factory. Oh My God is a candy coated cog. Though this combination makes for an unlikely surfacing into the mainstream, make no mistake, Fools Want Noise is infectious. Oh My God is an indulgent, intense and socially seditious band.
Every track on this record attracts the listener as much as it challenges them. Billy exudes a libertine persona that shuns social standards with confrontational words. They don’t keep safe any particular agenda; they prescribe an abandonment of all extremes, all the while shanking the status quo. Even in some of their contradiction the band seeks beauty. Billy’s soliciting eyebrows and cocky form sing songs about failure, vulnerability, and tragic love. Oh My God’s words are provocative in that they judge against judgment, while at the same time projecting themselves as iconoclasts seeking to deliberately break from the cagey grip of modern expectations. This allows some of the more saccharine elements of Oh My God’s music to be enjoyed in an abnormal context instead from the inhibiting and trite perspective of the masses.
Other Music
Oh My God EP- 2000
Action!- 2002
Interrogations & Confessions- 2003
You’re Too Straight to Love Me- 2004
Tour
Sept 18, 2008 Founders Brewery Grand Rapids, MI
Sept 19, 2008 The Loading Dock Traverse City, MI
Sept 20, 2008 DIY Street Fair Ferndale, MI
Sept 20, 2008 The Belmont Hamtramck, MI
Sept 25, 2008 Midpoint Music Cincinnati, OH
Sept 26, 2008 (Scene) Metrospace Lansing, MI
Sept 26, 2008 Mac’s Bar Lansing, MI
Sept 27, 2008 Beauty & the Beat Flint, MI
Sept 28, 2008 Allegheny College Meadville, PA
Sept 29, 2008 Smog @ Bard Annondale On Hudson, NY
Sept 30, 2008 Daniel Street Club Milford, CT
Oct 01, 2008 Pianos York, NY
Oct 02, 2008 Mohawk Place Buffalo, NY
Oct 03, 2008 Casa Cantina Athens, OH
Oct 04, 2008 Howard’s Club H Bowling Green, OH
Oct 10, 2008 Doug’s Rockhouse Aurora, IL
Oct 11, 2008 Subterranean Chicago, IL
Oct 16, 2008 The House Dekalb, IL
Oct 17, 2008 Triple Rock Minneapolis, MN
Oct 18, 2008 Cactus Club Milwaukee, WI
Oct 23, 2008 Cowboy Monkey Champaign, IL
Oct 24, 2008 Bluebird St. Louis, MO
Oct 25, 2008 Record Bar Kansas City, MO
Oct 26, 2008 Duffy’s Lincoln, NE
Oct 27, TBA Pittsburg, KS
Oct 28, 2008 Hailey’s Denton, TX
Oct 29, 2008 Beerland Austin, TX
Oct 30, 2008 TBA Paso, TX
Oct 31, 2008 Hotel Congress Tucson, AZ
Nov 01, 2008 Modified Arts Phoenix, AZ
Nov 02, 2008 The Mint Los Angeles, CA
Nov 03, 2008 Bottom of the Hill San Francisco, CA
Nov 05, 2008 TBA Rapid City, SD
Nov 06, 2008 Nutty’s North Sioux Falls, SD
Nov 07, 2008 Maya Jane’s Vermillion, SD
Nov 08, 2008 Maintenance Shop Ames, IA
Tom Schraeder
Lying Through Dinner EP
September 6th 2008
En Prise Entertainment
After missing his flight out of Austin after playingSXSW music marathon, Chicago’s Tom Schraeder made a deliberate decision to approach his next project with a synergistic attention to detail. His stay in Texas was serendipitous,
“It’s clichéd, but everything really does happen for a reason; I couldn’t tell you what pulled me to stay in Austin with two changes of clothes, a guitar, and nowhere to sleep.”
Tom’s time absorbing his environment produced Lying Through Dinner, a collection of intimate perspectives voiced with care, projecting the short lived narratives beyond the confines of a single song. Rather, each track seeks to exist in tandem with the next, so that each song serves the greater purpose of the record. Indeed, every song is a rebuttal of vanity and narcissism.
Even though his stay was unplanned, Schraeder’s experience instilled a sense of determination that served as an effective catalyst for his renewed creativity. He slept everywhere from floors, to couches, and even a homeless shelter. Speaking of how his journey contributed to this project, Schraeder says,
“I’m not saying I’d choose to spend the night in a shelter again, but something about the vagabond nature of the experience made this project happen with ease. We went from demo to mastered record in three weeks.”
The record opens with Needle Will Bite, a short and simple track that appeals to one of the most basic of internal monologs. The point of it all, what sticks in the brain, is the line “Something’s gotta give…” This is a moment that everyone has been through, and the song’s elevated tempo is perfect for the lyrics. The song quickly identifies itself with the listener and after only a few seconds makes clear that it speaks for the audience. People sing along to songs and memorize every word so that when they sing them, it is as natural as if they had written the words themselves. Schraeder should be proud; there is a certain beauty in being the guy who wrote the song that poor slobs across America sing at karaoke bars, wasted out of their gourd.
The metaphorical theme of the album’s next track, Guadeloupe Cries, forms the song’s backbone. Guadeloupe at once represents the pre-European peoples of Mexico, but she also represents the holy virgin of Christianity. She is a hybrid of an old world and a new one. She is the liminal space that exists betwixt and between. We imagine a familiar hotel room that has become somewhat lonely. We watch it rain out the window, as if Guadeloupe’s tears lament worldly events, what has been and what is to come.
Musically the record represents tradition and heritage, but in nearly every song experimentation is present. The folk, country-boy croon is at times accented with cavernous feedback, and in the case of Sorry My Dear, the distant and mournful wail of a magnetized guitar. The juxtaposition of the saloon–tuned piano and the fluctuating noise creates a beautiful atmosphere in which words are cradled.
In contrast, Don’t Look Back seems to be Schraeder’s shot at writing a standard, complete with a horn pick-up and a key change. The song says “move on, get over it, shake it off,” The song recovers from the melancholy and depth of the first few tracks, to turn the record face forward. This is a bar song. Not in the sense of alcohol drowned sorrows, but in that it celebrates that feeling you get when you realize the meaning of present and future tense. The past becomes irrelevant. The audience then becomes surrounded with possibility. The suffocating empty room becomes thrown into the social, recognition that a wider world awaits us.
Lying Through Dinner was also made possible by a number of local Austin musicians. While the heart of the record is clearly derived from Tom Schraeder, the rich Texan heritage that was brought to the table certainly added to the already excellent song writing. The challenge for Schraeder was not only to follow up to 2007’s release The Door, the Gutter, the Grave with a record as equally honest and soul soaked, but to also to step up the presence of a defined artisanship. Tom Shraeder has succeeded in this endeavor with Lying Through Dinner.
Head of Femur head back out on the road, possibly giving their last performances of the “season.” Although, I have a feeling that come late summer there will be plenty of clamor for them to get their asses into a van and drive eastward. In fact, let that clamoring begin right now!
May 15th- Minneapolis, MN @ The Uptown *
May 16th- Chicago, IL @ Schuba’s *
May 17th- Dubuque, IA @ Busted Lift *
May 18th- Iowa City, IA @ Iowa City Yacht Club *
May 20th- Lincoln, NE @ Box Awesome *
May 21th- Omaha, NE @ The Waiting Room *
May 24th- Kansas City, MO @ The Brick
May 25th- Des Moines, IA @ Vaudeville Mews
* with The Heavenly States & Poison Control Center
