One of India’s most accomplished and influential female actresses of all time, Madhuri Dixit, released her second single titled “Tu Hai Mera,” this past weekend on her birthday May 15th.
A pop song at its core, “Tu Hai Mera” is a love letter to her fans thanking them for all their encouragement over the years. “My fans are a huge part of my journey and their support means everything to me. They are my biggest strength” Madhuri says.
Co-written by Madhuri, “Tu Hai Mera” brings together years of artistry while seamlessly creating an amalgamation of different cultures: English, Hindi and Punjabi. A song dedicated to her loyal fans, with lyrics assuring them they’ll always be together, “Tu Hai Mera” opens up with a sampling from the Punjabi Folk song “Laung Gawacha.” While Madhuri sings the song predominately in English, she still stays true to her roots by starting each chorus with “Tu Hai Mera,” which in Hindi means “you and me, you are mine.”
Today, acclaimed musician Doe Paoro (born Sonia Kreitzer) shares “Phases” the newest offering from her upcoming EP, Divine Surrendering, out June 10.
Paoro expands, “‘Phases’ was born from a poem I wrote years ago with the line, ‘Tiny moon, show me how to be graceful with my phases.’ I am a bit obsessed with the moon and always have been. This tender grandmother in the sky that has felt like a friend throughout some of my loneliest moments. This song specifically, and really the whole EP, is me trying to embrace impermanence.”
Today, adored Eora/Sydney-based musician, visual artist and designer Annie Hamilton unveils her long-awaited debut album, the future is here but it feels kinda like the past, available on digital and vinyl formats through PIAS. The release is accompanied by visualisers for each of the album tracks.
Obsessed with memory, dream worlds, fantasies and parallel realities, the future is here but it feels kinda like the past is a transportive, mystical journey that traces the contours of a balmy, high summer night, from the muggy, red-dirt afternoons that give way to electric blue twilights, through the navy-black nights sporadically, breath-takingly lit up by the whip of treacherous forked lightning, dissolving into warm, fuzzy mornings that sit perched on the window-sill of reality, another day. Sonically and thematically, the future is here but it feels kinda like the past lives in these listless hours of liminal consciousness, a self-contained, through-the-looking-glass universe where time becomes elastic, memories blur imperceptibly into one another and seeds of deep emotional truth come to you in surreal, warped imagery.
Synthetic yet raw, polished yet organic, digital yet gritty, Annie Hamilton’s debut studio full-length hangs suspended in time, cast between a past that is irrecoverable and a future that is seemingly never arriving. Maybe this promised future will never arrive, but, then again, maybe we don’t want it to anyway – maybe we want something else. Maybe, as so many did throughout the pandemic, we would rather turn backwards towards nostalgia, elsewhere towards escapism.
“It’s about the passing of time,” explains Hamilton, “how sometimes it flies by and sometimes it drags on forever and we’re always looking ahead wanting something more or wallowing in nostalgia, stuck in a past that probably wasn’t as good at the time as we remember it… the sense that the grass is always greener. The sense that there is never enough time to do everything that we want to do, or the feeling that we should have done more with the time that has already passed.”
Working on her own, in collaboration with co-producers Pete Covington and Jake Webb (Methyl Ethel), and featuring contributions from Jenny McCullagh and Rosie Fitzgerald (I Know Leopard), Matt Mason (DMA’s) and Luke Davison (The Preatures), the future is here but it feels kinda like the past collects little moments of emotionality, snapshots now perfectly preserved in time forever.
Larkin Poe – the GRAMMY® Award-nominated duo of Georgia-bred, Nashville-based multi-instrumentalist sisters Rebecca and Megan Lovell – is back with the ferocious new single, “Bad Spell.” An official music video premieres today via YouTube.
“Bad Spell” marks the first single from Larkin Poe’s highly anticipated sixth studio album, Blood Harmony, due via their own Tricki-Woo Records on Friday, November 11.
“Ever since I heard ‘I Put a Spell on You’ by Screamin’ Jay Hawkins for the first time I’ve wanted to write a female response to it,” says Rebecca Lovell. “I’d had the title ‘Bad Spell’ in my journal for years, and it was so fun to create a song where the riffs and guitar tones have that singular purpose of nastiness and swagger.”
LARKIN POE WORLD TOUR 2022
21 – Vienna, Austria – Simm City
22 – Kraków, Poland – Square Students Club
23 – Warsaw, Poland – Proxima
25 – Berlin, Germany – Huxleys Neue Welt
26 – Prague, Czech Republic – Lucerna Music Bar
27 – München, Germany – Muffathalle
28 – Cologne, Germany – Live Music Hall
30 – Aarhus, Denmark – Fonden Voxhall
31 – København, Denmark – Vega
1 – Göteborg, Sweden – Restaurang Trädgårn
3 – Oslo, Norway – Rockefeller Music Hall
4 – Stockholm, Sweden – Berns
6 – Hamburg, Germany – Markthalle
7 – Groningen, Netherlands – De Oosterpoort
8 – Amsterdam, Netherlands – Paradiso
9 – Luxembourg City, Luxembourg – Den Atelier
10 – Sierre, Switzerland – Sierre Blues Festival *
25 – Winter Park, CO – Blues From The Top 2022 *
1 – Belfort, France – Les Eurockéennes *
2 – Arras, France – Main Square Festival *
6 – Jarnac, France – Cognac Blues Passions *
9 – Les Estivales de l’Alzette – Villerupt, France
10 – Weert, Netherlands – Bospop Festival 2022 *
13 – Stuttgart, Germany – Jazzopen 2022
14 – Zürich, Switzerland – Samsung Hall †
15 – Frankfurt Am Main, Germany – Jahrhunderthalle †
16 – Ostrava, Czech Republic – Colours of Ostrava *
18 – Castello di San Giusto – Trieste, Italy
20 – Open Air Blues Festival – Brezoi, Romania
22 – Southwold, United Kingdom – Latitude Festival *
29 – Cuyahoga Falls, OH – Blossom Music Center #
30 – Cincinnati, OH – Riverbend Music Center #
31 – Burgettstown, PA – The Pavilion at Star Lake #
20 – Hamilton, OH – Whimmydiddle *
25-28 – Las Vegas, NV – Big Blues Bender *
8/30-9/5 – Playa Mujeres, Mexico – Etheridge Island *
4 – George, WA – The Gorge ^
9 – Alpharetta, GA – Ameris Bank Amphitheatre #
10 – Charlotte, NC – PNC Music Pavilion #
11 – Virginia Beach, VA – Veterans United Home Loans Amphitheater #
070 Shake shares the new song “Body” featuring Christine and the Queens, produced by David Andrew Sitek and Mike Dean, who also mixed and mastered the track from her highly-anticipated sophomore album YOU CAN’T KILL ME, due June 3rd via G.O.O.D. Music/Def Jam Recordings.
070 Shake is currently on her headline North American tour, which launched earlier this month in Detroit, with many dates already sold out or low on tickets. The 20-date run sees stops in Chicago, New York City, Toronto, Houston, and Phoenix with support from Jonah Lenox as support at select dates. The tour will wrap with four shows in Los Angeles this June, two of which are sold out.
Upcoming Live Dates
5/20 – Boston, MA @ Big Night Live
5/21 – Boston, MA @ Paradise Rock Club [SOLD OUT]
5/25 – Dallas, TX @ House of Blues
5/26 – Houston, TX @ House of Blues
5/28 – Denver, CO @ Ogden Theatre
5/29 – Colorado Springs, CO @ The Black Sheep
6/1 – Santa Fe, NM @ Meow Wolf
6/2 – Phoenix, AZ @ Crescent Ballroom Lounge [SOLD OUT]
6/4 – Sacramento, CA @ Ace of Spades
6/7 – Los Angeles, CA @ El Rey Theatre
6/8 – Los Angeles, CA @ El Rey Theatre
6/9 – Los Angeles, CA @ El Rey Theatre [SOLD OUT]
6/10 – Los Angeles, CA @ El Rey Theatre [SOLD OUT]
Today, subversive pop trailblazer UPSAHL unveils her latest single “Monica Lewinsky” via Arista. The brazen bop arrives with a provocative accompanying music video.
Of her newest single, UPSAHL shared, “On first listen, Monica Lewinsky feels like a playful song about people who have made a massive impact on pop culture, and it is that type of song, but writing this song was much more than that for me. In the 90’s and the early 2000’s, women like Monica, Britney Spears, Lindsay Lohan, and Miley Cyrus were all dragged down by the media under a microscopic spotlight and the court of public opinion simply for living their lives. One of the main reasons I get to feel free existing in a creative industry is because of the bullsh*t that they had to deal with early on in their careers. ‘Monica Lewinsky’ is my ode to them. Thank you for making history.”
UPCOMING UPSAHL TOUR DATES:
9/29: Santa Ana, CA – Constellation Room !!
9/30: San Diego, CA – House of Blues (Voodoo Room) !!
“Jabberwocky” is an intensely personal song that addresses vocalist Emmy Mack’s experience of being sexually assaulted while on RedHook’s first ever overseas tour.
Using the metaphor of the Jabberwocky (a fictional monster from the Alice In Wonderland mythos which, in the Irwin Allen film adaptation, Alice is ultimately able to vanquish by convincing herself it doesn’t exist), the song centres on Emmy’s coping process of denying her own trauma and the monster who inflicted it in order to effectively “go on with the show”.
Menacing guitars and frenetic synths charge beneath Mack’s powerful vocals, building into a psychotic dubstep-inspired breakdown before the vulnerable chorus lyrics take centre stage.
Emmy explains the inspiration behind the track:
“As difficult as this song was to write, I felt like it was something I had to do. One of the main ways I cope when horrible things happen in life is by listening to music. But when this happened to me, for the very first time, I couldn’t find a song that resonated with what I was going through. Isn’t it strange that we’ve heard so many stories about high-profile male predators in the heavy music space over the past few years, and yet there are so few songs in the genre that deal with sexual assault itself from a female perspective? I really wanted to help change that.”
Trailblazing pop star Hayley Kiyoko has released her bass-boosted new single “For The Girls” off her highly anticipated sophomore album, Panorama, out July 29 via Atlantic Records. Produced by German (Justin Bieber, Katy Perry) and co-written by Kiyoko, Marc Lomax (Justin Bieber, Ava Max) and Michelle Buzz (Kylie Minogue, Bebe Rexha).
“I love being a woman, and women have always been a massive influence on my life,” says Hayley. “‘For The Girls’ is an anthem celebrating that love, highlighting our strength, beauty, and vulnerability. The music video is meant to reflect that celebration with a sense of humor and an expansive take on whose romantic story gets told. It was so much fun to direct, especially since it’s a nod to one of my favorite reality shows of all time. I wanted the music video to give representation to all of us searching for love while not taking ourselves too seriously. Being surrounded by queer people of many different gender identities and making art that feels relevant to us was the greatest gift. It was a reminder of how resilient this community is and how strong and confident we feel being our authentic selves together. No matter how you identify or who you love, I hope this summer bop makes you feel sexy and empowered.”
HAYLEY KIYOKO ON TOUR 2022
4 – London, UK – Proud and Loud: Celebrating 50 Years Of Pride – Royal Albert Hall
11 – Minneapolis, MN – The Armory
12 – Chicago, IL – Byline Bank Aragon Ballroom
13 – Detroit, MI – Meadow Brook
15 – Toronto, ON – RBC Echo Beach
16 – Montreal, QC – Place Bell
17 – Boston, MA – Leader Bank Pavilion
19 – Philadelphia, PA – The Met Philadelphia
20 – Pittsburgh, PA – Stage AE
21 – Cincinnati, OH – ICON (Rockstar Energy Drink Stage at Smale Park)
23 – Columbus, OH – KEMBA Live!
25 – Washington, DC – The Anthem
26 – New York, NY – Hammerstein Ballroom
27 – New York, NY – Hammerstein Ballroom
28 – Asbury Park, NJ – Stone Pony Summer Stage
30 – Charlotte, NC – Charlotte Metro Credit Union Amphitheater
31 – Atlanta, GA – Coca-Cola Roxy
1 – Nashville, TN – Ryman Auditorium
3 – Houston, TX – 713 Music Hall
4 – Dallas, TX – Pavilion at Toyota Music Factory
6 – Denver, CO – Mission Ballroom
7 – Ogden, UT – Ogden Amphitheater
9 – Los Angeles, CA – Greek Theatre
11 – San Diego, CA – Cal Coast Credit Union Open Air Theatre
12 – Phoenix, AZ – Arizona Federal Theatre
15 – Berkeley, CA – Greek Theatre @ UC Berkeley
17 – Vancouver, BC – Doug Mitchell Thunderbird Sports Centre
If you were at Coachella 2022, and you happened to catch 88rising’s monumental “Head In The Clouds Forever” set on the main stage on Saturday evening, you undoubtedly saw one of the most incredible moments of the festival: the Thai rapper/singer MILLI, flanked by half a dozen male dancers on either side of her, spitting fiery barbs of a song called “Mango Sticky Rice” while eating spoonfuls of the iconic dish between verses. The moment was punctuated by MILLI being the first Thai solo artist to ever play at the festival.
“Mango Sticky Rice” is more than just a sweet confection for the ears – like many of the 19 year old’s songs, “Mango Sticky Rice” challenges stereotypes- it’s potent, and punk as hell. The song is a minute and a half of pure fire, bursting at the seams with video game-esque keyboard chaos and MILLI’s incendiary verses. For audiences outside of Thailand, “Mango Sticky Rice” is an amazing introduction to an artist well on her way to making an international name for herself.
Today comes the second single off LAND TRUST: Benefit for NEFOC featuring Sonic Youth’s Kin Gordon.
“You’re not welcome. To the gated community,” Gordon speaks as the song begins. “We bought the block. But you gotta have cash.”
Gordon says the song’s lyrics were inspired by what housing activists have called the “financialization” of housing – the trend in recent years of enormous private equity investors buying up a huge share of the entire world’s affordable housing stock in order to trade bulk real estate as a speculative asset in the global financial markets. Investors typically buy up large areas in up and coming neighborhoods, becoming absentee landlords who ignore tenants’ needs while driving up rents and displacing long settled communities.
“I’m a bit obsessed” says Gordon, “with what’s happening with these big financial corporations like Blackrock and Blackstone buying up houses, becoming landlords. They pay far beyond a house’s value, putting home ownership even out of the range of the middle class – much less working class.”
In March of 2020, with Bikini Kill’s anticipated reunion tour canceled, the band’s touring guitarist Erica Dawn Lyle and drum tech Vice Cooler were wondering how to be useful. A long time participant in DIY punk communities, Lyle—also an arts critic, author, filmmaker, organizer, and free improvising experimental guitarist—was quarantined at her home in upstate New York as an early-pandemic spirit of mutual aid amplified throughout the culture.
“People were trying to figure out how to help each other,” Lyle said. “I thought: All the musicians are home right now. It would probably be easy for us to do something quickly—because everybody, everywhere, is trying to find a way to help.”
Cooler, a photographer and video director who is also a producer for acts like Peaches and Ladytron and the drummer of The Raincoats, was locked down in L.A.—conveniently, at his own home-recording studio. “Like everyone, I was extremely confused about how I could use my limited skill set and resources—which mostly exist in the music and video worlds—to help others from this place of isolation,” he remembers.
Lyle reached out to Cooler with the spark of an idea for a digital album to generate funds. The duo soon devised a remote process of recording: Cooler sent Lyle the drum parts, to which Lyle improvised guitar riffs. When they had about a dozen near-complete songs as a guitar-drum duo, they began reaching out to an array of guest vocalists in their extended community to contribute original lyrics and to sing. “Working on these songs everyday with Vice—and the hope that others would work with us—was like an anchor for me during that really difficult era,” Lyle said.
What resulted is not a traditional benefit compilation at all, but rather a uniquely collaborative album of original material. LAND TRUST: Benefit for NEFOC is a staggering survey of contemporary feminist punk spanning generations, including legends from the dawn of punk as well as newly emergent voices. A mix of industrial, art-rock, post-punk, and beyond, it finds germinal punk icons like The Raincoats, Kim Gordon, and Alice Bag alongside younger artists who they’ve inspired over several decades. All profits will benefit the Indigenous-led grassroots organization Northeast Farmers of Color Land Trust (NEFOC), which acquires farmland in order to return it to Indigenous nations and to reconnect POC farmers to land stewardship and control.
Across sixteen blazing, high-octane tracks bolstered by Cooler’s expert pop production, the music of LAND TRUST is guided by a spirit of improvisation and ingenuity, an energetic antidote to the era of restless ennui that spawned it. “This is the very, very rare benefit album where no one just sent in some crappy B-side,” said Kathleen Hanna, who features on the record’s first single, “Mirrorball.” “All the songs are fucking great and the performers really put their hearts into it. It’s a testament to Erica and Vice doing a phenomenal job bringing people together.”
That includes the garage-pop daydreaming of acclaimed author and artist Brontez Purnell, the signature spiky poise of D.C.’s Christina Billotte (Slant 6, Casual Dots), and new wave anthems from the likes of Glasgow’s Rachel Aggs (Trash Kit, Shopping), former Priests vocalist-turned-avant pop firebrand Katie Alice Greer, and Control Top’s Ali Carter. Sometimes the record’s cross-generational conversation happens within a single track—like on “Lost in Thought,” the ripper featuring vocals from ascendant teen quartet The Linda Lindas plus bass by Bikini Kill’s Kathi Wilcox, or on “Hearing Myself Again,” where Lyle and Cooler are joined by New York experimental punk trio Palberta in collaboration with Raincoats violinist Anne Wood. Other contributors include Deerhoof’s Satomi Matsuzaki, the Breeders’ Kelley Deal, and Cooler’s neighbor in L.A., Phoebe Bridgers bassist Emily Retsas, who served as a third core member of the recording process. Lyle said, “It became this all-ages show for feminist rockers.”
While Lyle describes the roster of collaborators as a kind of dream team of all-time great players, Cooler points out that the artists invited to participate were also people with whom the duo had standing relationships and affinity. “In a lot of ways this record reflects the family we have each built with each other through a lifetime of art and music making,” Cooler said, underscoring the number of artists involved who he’s known since his teen years, or has built deep artistic collaborations with (like Ah Mer Ah Su and Louisahhh). “We all help each other out and collaborate, even outside of music.” Describing her lifelong musical partnership with Ivy Jeanne, who features alongside Mike Watt on “Never Was,” Lyle adds, “We have been making music and doing activism together since we were kids living in squats.”
LAND TRUST feels like a fitting outgrowth of that paused 2020 Bikini Kill tour. Those shows were themselves inspired testaments to community across time, space, and a common purpose of empowerment through art. Lyle notes Bikini Kill’s origins as the instigator of a widespread movement of grassroots self-organizing among women. “That’s something I really relate to about them. Besides being in punk rock, my background is in political organizing, so I saw this from the start as an organizing project,” she said of the album.
Punk icon Alice Bag, who in 2019 opened the first Bikini Kill show in over two decades, wrote about NEFOC’s ethos on her song “Soul Fire Farm.” “I feel really lucky to have been invited to participate in this benefit record,” Bag said. “I was moved by [NEFOC’s] respect for the land and the ways in which they turn the process of farming into an empowering experience that nourishes both mind and body.” (It was through Soul Fire Farm in Petersburg, N.Y. that Lyle and Cooler were connected with NEFOC.)
Among the surge of mutual aid projects in June 2020, Lyle was particularly inspired by G.L.I.T.S. Inc’s crowdfunded purchase of two buildings as housing for trans people of color in New York City. “I thought, this is permanent, this is really going to last,” Lyle reflected. “People of color, poor people, queers, radicals – we’ve lost so much access to living and cultural space through gentrification and displacement in the time I’ve been involved in subculture and activism. In this ongoing climate of dispossession, NEFOC is trying to return land that was stolen from Indigenous people centuries ago.”
“It’s become so difficult to organize or make change when everybody’s so far flung throughout cities and living so precariously in fear of eviction. But on a farm you have the collective work to produce healthy food, you have meeting and gathering space for visitors from the city to heal and decompress from their work in social movements and the pace of urban life, you have potential employment. And all this without fear of eviction. The ownership of land makes all of these things possible,” Lyle said. “The land that NEFOC acquires for farmers becomes collectively owned. Farms run by African Americans make up less than 2 percent of all of the nation’s farms. NEFOC is working to change that.”
This sense of imagining new horizons manifested in the creation of the music itself—a hopefulness that Lyle ironically feels was uniquely possible inside the very darkness of the beginning of lockdown. “In those early first days of covid, when everyone was responding more in unity to the crisis of pandemic and the ways capitalism was accentuating it, it felt suddenly easy to imagine that you could really just call up all your favorite musicians and ask them to make a record with you and that they would be really glad to help out,” Lyle said. “It felt like, ‘Well, the world’s cracked in half now, so anything is possible.’”
As winter slowly fades to spring, Alysia Kraft reminds listeners of those glistening moments of warmth and connection under the summer sun. Detailing that whimsical and freeing moment when love finds you, Kraft’s “Hamilton Pool” is a candid indie-pop reflection of the unexpected beauty of life.
Kraft explains that the track is “about meeting Staci Foster, my partner for nine years and my musical collaborator in Whippoorwill.” Back in 2012, a friend recruited Foster to take Kraft out of the chaos of SXSW in order to explore the lesser-known parts of the city for a little while. “She picked me up and took me to the magic limestone grotto outside Austin that is Hamilton Pool,” she says. Arriving just 10 minutes before the natural area closed, the two decided to stake out their claim and hide while everyone else cleared out. “We had a magical 30 minutes or so of skinny dipping and basically falling in love until they found Staci’s truck in the parking lot and ultimately chased us out,” she explains.
Having amassed devoted regional followings for projects Whippoorwill and The Patti Fiasco as a celebrated songwriter and incomparably magnetic frontwoman, Kraft has sold out most of Colorado’s big stages and directly supported icons Bon Jovi, Blondie, Nathanial Rateliff and Bonnie Raitt on significantly bigger ones. Embracing the complexities of growing up queer on a cattle ranch in small-town Wyoming and choosing to love within a landscape that didn’t always love back, First Light is a triumphant homecoming and a defining solo debut. Smart, retro-influenced indie pop and lush, bioluminescent folk will find crossover appeal with fans of HAIM, Sheryl Crow, Sharon Van Etten, and Waxahatchee. Enlisting close collaborator J. Tom Hnatow & Grammy-nominated Justin Craig to produce and mix and acclaimed engineer, Sarah Register to master, First Light is open-hearted and thoughtfully hook-adorned– with soundscapes as dimensional as Kraft’s western upbringing and the liberated narratives contained therein.
ALEX THE ASTRONAUT released her new single “Haircut” today from How to Grow A Sunflower Underwater, her upcoming album and follow up to acclaimed debut album The Theory of Absolutely Nothing (2020), out July 22 via Nettwerk. The track was inspired by a dramatic haircut in 2020 when the artist cut off all her hair for charity.
“When Australia opened up for a brief month or two last year my friends and I went to the blue mountains for a few days,” noted Alex on the moment with her friends that informed the genesis of “Haircut.” “We went swimming in this very cold waterfall that gave me and my friend Taz a headache because it was so cold. This song is about then, that even though the world is a scary and sometimes mean and dangerous place to be in if you’re different, if you have a group of people that love you it can help you be okay. (And, if you listen closely Dan [Hanson, from Ball Park Music] pretends to be a seagull in the second verse.)”
Australian-born, LA-based musician Hazel English returns with another gorgeous song and just in time for the weather to brighten up. English’s trademark shimmering vocals are balanced by co-producer Jackson Phillips’ (Day Wave) floating vocals. The video that was filmed by Jackson Phillips and Hazel English and edited by Hazel English. “All Dressed Up” is the third single from Hazel English’s highly anticipated upcoming EP Summer Nights (June 17th).
Angel Olsen will release her new album, Big Time, on June 3rd via Jagjaguwar. Ahead of its release, she’s presented gorgeous singles, “All The Good Times” and the album’s title track, and today unveils the album’s centerpiece “Through The Fires.”
“‘Through The Fires’ is the centerpiece statement of this record. It’s a song I wrote to remind myself that this life is temporary, the past is not something to dwell on, that it’s important to keep moving, keep searching for the people that are also searching, and to notice the moments that are lighter and bigger than whatever trouble I’ve encountered.”
– Angel Olsen on “Through The Fires”
ngel Olsen Tour Dates
Tue. May 17 – London, UK @ Screen On The Green (Film Screening and Solo Performance) – SOLD OUT
Wed. Jun. 1 – Los Angeles, Ca @ GRAMMY ® Museum (Film Screening and Solo Performance)
Thu. Jun. 2 – Los Angeles, Ca @ Brain Dead Studios (Film Screening and Solo Performance) – SOLD OUT
Thu. Jul. 21 – Vienna, VA @ Wolf Trap Center For the Performing Arts *
Fri. Jul. 22 – Asheville, NC @ Rabbit Rabbit *
Sat. Jul. 23 – Nashville, TN @ Ryman Auditorium *
Mon. Jul. 25 – Austin, TX @ Moody Amphitheater *
Thu. Jul. 28 – Los Angeles, CA @ Greek Theatre *
Fri. Jul. 29 – Los Angeles, CA @ Greek Theatre *
Sat. Jul 30 – Berkeley, Ca @ Greek Theatre *
Tu. Aug. 2 – Troutdale, OR @ McMenamins Edgefield Amphitheater *
Wed. Aug. 3 – Redmond, WA @ Marymoor Amphitheater *
Fri. Aug. 5 – Boise, ID @ Idaho Botanical Garden *
Sat. Aug. 6 – Salt Lake City, UT @ Twilight Concert Series *
Sun. Aug. 7 – Denver, CO @ Sculpture Park *
Tue. Aug. 9 – Minneapolis, MN @ Surly Brewing Festival Field *
Wed. Aug 10 – Chicago, IL @ The Salt Shed *
Thu. Aug. 11 – Kalamazoo, MI @ Kalamazoo State Theatre * – SOLD OUT
Fri. Aug. 12 – Toronto, ON @ Massey Hall *
Sat. Aug. 13 – Toronto, ON @ Massey Hall *
Mon. Aug. 15 – Shelburne, VT @ The Green at Shelburne Museum *
Tue. Aug. 16 – LaFayette, NY @ Beak & Skiff Apple Orchards *
Thu. Aug. 18 – Boston, MA @ Leader Bank Pavilion *
Fri. Aug. 19 – Philadelphia, PA @ Skyline Stage at The Mann *
Sat. Aug. 20 – New York, NY @ Central Park Summerstage * – SOLD OUT
Sun. Aug. 21 – New York, NY @ Central Park Summerstage *
Sun. Sept. 4 – Nelsonville, OH @ Nelsonville Music Festival
Sat. Sept. 10 – Abiquiu, NM @ Ladder To The Moon Festival
Mon. Sept. 26 – Lisbon, PT @ Capitólio ^
Tue. Sept. 27 – Lisbon, PT @Capitólio ^
Thu. Sept. 29 – Madrid, ES @ La Riviera ^
Fri. Sep t. 30 – Barcelona, ES @ Sala Apolo ^
Sat. Oct. 1 – Lyon, FR @ L’ Epicerie Moderne ^
Sun. Oct. 2 – Zurich, CH @ Kaufleuten ^
Tue. Oct. 4 – Munich, DE @ Freiheitshalle ^
Wed. Oct. 5 – Vienna, AT @ WUK ^
Thu. Oct. 6 – Warsaw, PL @ Palladium ^
Fri. Oct. 7 – Berlin, DE @ Huxleys ^
Sun. Oct. 9 – Stockholm, SE @ Berns ^
Mon. Oct. 10 – Oslo, NO @ Rockefeller ^
Tue. Oct. 11 – Copenhagen, DK @ VEGA ^
Thu. Oct. 13 – Cologne, DE @ Gloria ^
Fri. Oct 14 – Paris, FR @ Bataclan ^
Sat. Oct 15 – Leuven, BE @ Het Depot ^
Sun Oct 16 – Amsterdam, NL @ Paradiso ^
Tue. Oct. 18 – London, UK @ O2 Academy Brixton ^
Wed. Oct. 19 – Bath, UK @ The Forum ^
Thu. Oct. 20 – Edinburgh, UK @ Usher Hall ^
Fri. Oct. 21 – Manchester , UK @ Albert Hall ^
Mon. Oct 24 – Dublin, IE @ Vicar Street ^
* = The Wild Hearts Tour co-headline with Sharon Van Etten, & Julien Baker
Today, Moxyblossom, the songwriting duo of Evelyn Cormier and Jacob Snider, have released their second single for Dangerbird Records Microdose Series, “Tin Can on a String”.
On the single, Snider explains – “Tin Can On A String might be our most intimate song. The melody and piano are like a music box, inviting and strange. The song is about metamorphosis, and the haunting feeling of not being able to recognize yourself. We took inspiration from a car accident Jacob was in, and in the aftermath someone’s voice on the phone sounded incredibly far away, like a tin can on a string. It’s a metaphor that we both resonated with, and built the rest of the song around it.”
Today New Orleans-based singer-songwriter Julie Odell has announced her signing to the venerable Frenchkiss Records, and shared her first single for the label. “Caterpillar” serves as a great example of her unique attention to detail and the way her songs beautifully morph, with varying tempos, vocal deliveries, and noise levels, and keyboard flourishes and guitar strums that twinkle so artfully and subtly that they feel like brushstrokes.
On the single, Odell says “Caterpillar is about the transformative courage it takes to step into the unknown. It’s about life’s inevitable change and the change that we choose. It’s all a free fall of hoping and trusting that there will be something to grab onto before you land on your face. Navigating the emotional path of worry, doubt, fear, excitement, discovery, joy, peace and all the adrenaline in between.”
Of the new signing, Syd Butler of the label explains – “Julie is a rare find in the music world. Her unique voice, inspirational approach to writing and creative vision transport you to an intimate world ripe with what is possible.”
Next month Soccer Mommy will release her new full-length album, Sometimes, Forever, produced by Daniel Lopatin of Oneohtrix Point Never, and today she shares another single off of the forthcoming record. Following lead single “Shotgun” and the spellbinding “Unholy Affliction” is the heart-bursting album opener “Bones.”
Originally written for a rom com, “Bones” is a track that Sophie Allison loved so much she decided not to submit it to the film and keep it for this album instead, and it’s clear why. “Bones” is quintessential Soccer Mommy, featuring sparkling production that highlights the strength of the band as they tear through a dynamic breakdown that nods to the 90s. “Bones is a song about struggling with the parts of yourself that you don’t like in a relationship,” Allison explains. “It’s about wanting to become better for someone and feeling like you’re standing in your own way.”
Soccer Mommy also announces a massive U.S. tour in support of Sometimes, Forever.
6/10/22 – New York, NY @ Bowery Ballroom
6/12/22 – New York, NY @ Governors Ball Festival
6/24/22 – Margate, UK @ Leisure Festival
6/27/22 – Bristol, UK @ Canons Marsh Amphitheater %
6/28/22 – Dublin, Ireland @ Trinity College *
6/30/22 – Vilanova i la Geltru, Spain @ Vida Festival
8/12/22 – Seattle, WA @ Day In Day Out Festival
8/31/22 – Nottingham, UK @ Rescue Rooms
9/01/22 – Brighton, UK @ Chalk
9/01/22-9/04/22 – Salisbury, UK @ End of the Road Festival
9/03/22 – Bristol, UK @ Trinity
9/05/22 – Köln, DE @ Bumann & Sohn
9/06/22 – Hamburg, DE @ Molotow
9/08/22 – Stockholm, SE @ Slaktkyrkan
9/09/22 – Oslo, NO @ John Dee
9/10/22 – Copenhagen, DK @ Loppen
9/12/22 – Berlin, DE @ Frannz Club
9/13/22 – Bremen, DE @ Lagerhaus
9/15/22 – Amsterdam, NL @ Bitterzoet
9/16/22 – Nijmegen, NL @ Merleyn
9/17/22 – Brussels, BE – Rotonde @ Botanique
9/18/22 – Paris, FR @ Petit Bain
9/20/22 – Manchester, UK @ O2 Ritz
9/21/22 – Cardiff, UK @ Tramshed
9/22/22 – London, UK @ O2 Forum
9/23/22 – Birmingham, UK @ The Castle & Falcon
9/24/22 – Glasgow, UK @ Queen Margaret Union
10/28/22 – Indianapolis, IN @ Hi-Fi Annex &
10/29/22 – Madison, WI @ Majestic Theatre &
10/30/22 – Minneapolis, MN @ First Avenue &
11/01/22 – Chicago, IL @ Metro &
11/04/22 – Buffalo, NY @ Town Ballroom &
11/05/22 – North Adams, MA @ Mass MOCA &
11/06/22 – Boston, MA @ House of Blues &
11/11/22 – Philadelphia, PA @ Franklin Music Hall ^
11/12/22 – Washington, DC @ 9:30 Club ^
11/14/22 – Saxapahaw, NC @ Haw River Ballroom ^
11/16/22 – Charlotte, NC @ Neighborhood Theatre ^
11/17/22 – Atlanta, GA @ Masquerade Heaven Stage ^
Ahead of the release of Zooey Deschanel (She) & M. Ward (Him)’s Melt Away: A Tribute to Brian Wilson via Fantasy Records on July 22, 2022, the duo has premiered a charming rendition of “Darlin’,” the hit single from The Beach Boys’ 1967 album Wild Honey.
She & Him’s seventh studio album is a loving, LP-length tribute to one of the greatest living American songwriters and singers, Brian Wilson. Melt Away: A Tribute to Brian Wilson finds Zooey Deschanel and M. Ward diving deep into the legendary artist’s extensive songbook, offering fascinating and delectable new spins on time-honored classics and overlooked gems alike. These fourteen covers are infused with the familiar magic that She & Him fans know and love, opening a new window into Wilson’s iconic catalog. Wilson even features on a song with Zooey and M. Ward for the album, “Do It Again.” The band have enjoyed a friendship, and mutual appreciation, with Wilson over the years and She & Him was previously a guest vocalist on his 2015 album, No Pier Pressure.
“In the spring of 2020, we started a list of our favorite Brian songs — a very long list,” the duo explains. “We chose songs without any regard to their chart performance. The obscure ones hit us just as hard as the more popular songs — and all are ripe for re-imagining, re-interpreting, and re-inventing. Brian writes songs of beauty and loneliness and vulnerability better than anyone — and by sequencing them next to popular songs of confidence and love and fun, it creates a more complete picture of life on earth.”
Brian Wilson comments on ‘Melt Away’:
“Zooey and Matt did such mind-blowing versions of our songs. The harmonies are beautiful and right on. I love this record!”
6/13 Denver, CO @ Paramount Theatre
6/14 Salt Lake City, UT @ Red Butte Garden Amphitheatre
6/16 Forest Grove, OR @ Grand Lodge Hotel and Property
6/17 Woodinville, WA @ Chateau Ste. Michelle Winery