In a career arc that spans over three full decades, Richmond, Virginia’s Erik Larson has contributed to a range of acts from Avail to Axehandle, Alabama Thunderpussy to Backwoods Payback, Birds of Prey, Hail!Hornet, The Mighty Nimbus, on and on. Currently found in Omen Stones, Roy Batty and Thunderchief — at least two of whom have new material in progress, if not all three — he is a multi-instrumentalist, vocalist and songwriter, entirely capable of serving as frontman or propulsive drummer, and in the case of his solo work, he often functions as a one-man band.

His best known solo outings are probably 2003’s The Resounding and 2005’s Faith, Love, Hope, both of which were released through Small Stone, and in 2013 and 2016, he followed with the Garrett Morris (Windhand)-produced A Dedication and Haura, prior to joining Backwoods Payback for a pair of LPs and numerous tours. On Sept. 17, he released two new full-lengths and an EP, playing entirely solo on Favorite Iron (some guest horns aside) and Siste Latter and bringing in two drummers for two tracks each on the four-song Measwe. Each offering was produced earlier this year in a different studio, and each follows its own path forward.

In whatever incarnation a given outing might have him working, it is the work that is defining. Larson‘s voice, sometimes clear, sometimes guttural, is distinct even among throatier deliveries, and much of the Southern metal that comes through in his style derives from aesthetic he helped shape. There is little mistaking his presence generally, and his own material is very much that.

—

Erik Larson, Favorite Iron

Co-produced by Larson, with recording and mixing at Minimum Wage by Lance Koehler in Richmond, the 10-song/45-minute Favorite Iron offers surprises from the moment the horn-quartet kicks in on opener “Backpage,” a stated homage to front-of-house manage/recording engineer John Hopkins (Sleep, Bongzilla, Melvins, etc.). Whether it’s the acoustic “In the Threes” and “OVFNI,” the latter digging into moody grunge melody, the Southern-style heft of clean-sung second cut “Darker Blue,” the hooky “Off With That,” “Starting Who?” and the especially hard-hitting closer “The Heavies” — a fitting bookend to “Backpage” sound-wise — or a punk rocker like “Middle Age,” the album works in sets of three songs each the establish a flow across its entirety. “Backpage,” “Darker Blue” and “The Dr. is In” provide the surge at the beginning with “In the Threes” as the 1:45 outlier, then “Middle Age,” “Off With That” and “OVFNI” move between hardcore and friendlier punks before “S.O.T.S.O.G.” — a cover of UK heavy rockers Blackrock from their 2002 EP, Clutching at Straws — shifts into the final duo “Starting Who?” and “The Heavies” to rage, crash and ultimately feedback out. The opener is the longest track (immediate points), and the closer slams meanest, but in between, Favorite Iron‘s songs are a journey to be undertaken, united by songwriting and production even while careening, elbows flying outward, through deceptively encompassing breadth.

Erik Larson, Favorite Iron (2021)

—

Erik Larson, Siste Latter

Shorter on runtime, but big on grit, Siste Latter was tracked in Asbury Park, NJ, with Pete Steinkopf (Bouncing Souls) co-helming at Little Eden Studio. The title is Norwegian and translates to ‘Last Laughter,’ so fair enough. “Wanted as We Were” builds in intensely, but is more about swing than pummel in its groove, and the exclamatory “It’s a Caper!” — which is about as close as Larson comes on any of these releases to sounding like Backwoods Payback — actually isn’t the most exclamatory song on the outing, as following the acoustic interlude “Happy Accidents,” “Little Boogie” emerges as willful in its good time. Opening chug gives way soon to a bouncing riff and churning chorus, out of which come a series of “woo!” and other shouts, even a “c’mon!” included, though as he’s the only player on the outing, Larson‘s essentially talking to himself, rather than a band behind him. One way or the other, the track is a blast, and easy to imagine it coming from a stage. It finishes even short of its 3:48, and tape hiss stops as a transition to the acoustic-led “Pull the Brake,” — “Pull the brake/Let me off/I ain’t quittin’, I just stopped,” the standout lyric — which weaves electric guitar in with its strum and cymbals, the vocals forward and natural-feeling. The finale, “Zelig Aspirations,” splits its six and a half minutes between driving dirt rock and foreboding acoustic guitar with effects-laced cymbals behind, gradually incorporating electric distortion which ultimately caps, feedbacking into a quick fade. Debate EP/LP if you want, the bruises are there just the same.

Erik Larson, Siste Latter (2021)

—

Erik Larson, Measwe EP

“Front of House” leads off the four-song/16-minute Measwe with echoes of “Backpage” from Favorite Iron in its John Hopkins homage — “I’ll never see you again/I’ll never hear you again/Say to me/’Do your thing'”; the last lyric also having appeared in “Backpage” — which sees Larson joined by drummer/recording engineer Jordan Faett (Paper Trail) and drummer/bassist Buddy Bryant (Dirt Merchant) for an even more complete-band feel. Faett and Bryant alternate between “Front of House,” “AsWas,” “Old Friend” and “Indipleading,” and both suit the rough edges of Larson‘s riffs well, whether that’s the rush of the noted chorus to “Front of House” or the still-hardcore-kids cap put on the ending of “Indipleading.” Between them, “AsWas” is brooding where “Old Friend” is more spit and nastier in its shove, but the bottom line with Measwe — also stylized all-lowercase: measwe — is that where Siste Latter and Favorite Iron pull back on the heavier intention, the EP simply doesn’t have time for it. The tradeoff is a more intense listening experience, and in working with other players despite still being responsible for the entirety of the songwriting, there’s an energy to the EP of its own, but if Larson is trying out bandmates, he’s got his work cut out for him. “Indipleading” finishes with a sudden few snare taps, quick hits, and leaves a heavy silence afterward, making it clear that despite the 20 songs across these three releases, this might be more beginning than end. So be it. Hopefully, anyhow.

Erik Larson, Measwe EP (2021)

Erik Larson on Bandcamp

Omen Stones on Facebook

Thunderchief on Facebook

Roy Batty on Facebook

I was kicking around the idea of not doing a year-end list for 2020. Honestly, between this episode of The Obelisk Show on Gimme Metal and the last one, that pretty much covers my picks, and who the hell cares about what order they’re in? It’s December and everyone and their brother has a list out. Do we really need another one? I’m doing a Quarterly Review right now, covering more music. To me, that seems like a more righteous cause.

Of course, I’ll probably end up doing a list anyway next week, but in the meantime, if you’re looking for a soundtrack to your in-quarantine holiday experience, the second half of the ‘Some of the Best of 2020’ spectacular should do well in getting you through the evening. I’m to understand we’ll be breaking travel protocols myself, so if I get the plague that is even as we speak ravaging my homeland, at least I will have deserved it. Firelung and whatnot.

Thanks for listening and reading. New art coming soon.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmemetal.com

Full playlist:

The Obelisk Show – 12.25.20

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Jan. 8 (subject to change). Thanks for listening if you do.

Gimme Metal website

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[Click play above to stream Howling Giant’s “Rooster” from Magnetic Eye Records’ Dirt [Redux] Alice in Chains tribute. LP/CD/DL out Sept. 18 with preorders here.]

Says Howling Giant’s Zach Wheeler:

“To be honest, getting ‘Rooster’ was a bit intimidating as it’s one of their most popular songs. We wanted to pay tribute to Alice in Chains as much as possible while giving the song that special Howling Giant sauce. We changed a few things around, but tried to reinforce the melodies that make the song so memorable in the first place.”

Says Howling Giant’s Tom Polzine:

“When I was growing up in Buffalo, Minnesota, there was a local band called Blood Root Mother made up of some dudes that were probably four or five years older than me. I remember sneaking out of my house to see them perform at this rundown venue called The Vault. The Vault was run by some 20 year olds that skipped college in order to renovate that old antique shop into a dirty DIY venue. If dirty and uncomfortable was the vibe they were going for, they nailed it. Anyway, Blood Root Mother were tight as hell and I’ll always remember their cover of ‘Rooster’ as one of the most moving performances I witnessed from a bunch of local, lovable scumbags. The energy was so raw, and the volume was overwhelming. I think that witnessing those guys performing that song in particular is the reason I started playing in rock bands in high school, and why I still play today.”

—

Released in September 1992, Alice in Chains‘ second full-length, Dirt, is a generational landmark. It remains one of a select few records of its era — along with Nirvana‘s Nevermind, Pearl Jam‘s Ten, Soundgarden‘s Badmotorfinger, and maybe one or two others — that helped define the “grunge” sound for which Seattle, Washington, would become almost inextricably known. With an underlying-and-at-times-right-up-front theme of drug addiction and ensuing personal fallout, Dirt was grimmer and could be more aggressive than most of its still-commercially-viable major label contemporaries, and as a result always had some more appeal to metal fans than, say, Pearl Jam, who were strictly a hard rock band at the time. Guitarist Jerry Cantrell‘s now-classic riffs and vocals, Sean Kinney‘s inventive drums, the fluid bass work of Mike Starr and Layne Staley‘s voice that would prove inimitable despite the attempts of three decades’ worth of singers — these essential elements came together around a group of particularly memorable songs, some radio hits, some B sides, and of course, “Iron Gland” for good measure, and served as the proverbial lightning in the bottle and the standard by which the band’s output ever since has been judged.

In continuing its tribute series of full album releases by embarking on a Dirt [Redux], Magnetic Eye Records takes on a no less crucial album than when the label put together compilation tributes to Pink Floyd or Jimi Hendrix. There are some recognizable acts from the Magnetic Eye stable as well as others clearly given to celebrating the work itself, and those who remain loyal to the original versions of the songs while other groups prefer to bring their appointed track into their own sonic context. Like the original Dirt, Dirt [Redux] of course boasts 13 tracks — it’s a whole-album tribute; it wouldn’t do to leave something out — though its runtime is longer than the original, at 63 minutes as opposed to 57. The tracklisting reads as follows:

1. Thou – Them Bones
2. Low Flying Hawks – Dam That River
3. High Priest – Rain When I Die
4. Khemmis – Down in a Hole
5. These Beasts – Sickman
6. Howling Giant – Rooster
7. Forming the Void – Junkhead
8. Somnuri – Dirt
9. Backwoods Payback – God Smack
10. Black Electric – Iron Gland
11. -(16)- – Hate to Feel
12. Vokonis – Angry Chair
13. The Otolith – Would?

Their take on “Would?” — tracked by Alice in Chains first for an appearance on the soundtrack of the film Singles then reused on the album — marks the debut recording from post-SubRosa outfit The Otolith, and arrives with no shortage of anticipation. Bookending with “Them Bones” as interpreted by New Orleans art-sludgers Thou, the atmospheric breadth brought to the finale is a standout on the release and, at that point, one more instance of a band making the track their own. Thou‘s blend of harsh and cleaner vocals notwithstanding, they largely keep to the original tempo and arrangement of the leadoff track, whereas Low Flying Hawks take the subsequent “Dam That River” — a hooky follow-up to the opener — and turn it into an ambient drone only vaguely related to the original.

And why not? There’s no rule that says a band has to do an impression rather than an interpretation, and as Dirt [Redux] plays out, the likes of Khemmis, These Beasts, Howling Giant, Forming the Void, -(16)- and Vokonis bring their own spin. Khemmis could hardly be a better fit for the emotive doom of “Down in a Hole,” and the crunch These Beasts deliver on “Sickman” is an intense precursor to what L.A.’s -(16)- do with “Hate to Feel” later on. Feeling very much like the vanguard of an up and coming generation of progressive heavy rock, Howling Giant, Forming the Void and Vokonis boldly tackle their respective cuts, with “Rooster” getting a bolstered melody (no easy feat), “Junkhead” receiving a newfound nodder groove, and “Angry Chair” highlighting a rhythmic complexity that is both a late surprise and oh, oh, oh so very Swedish.

To complement these forays, Somnuri find a glorious and elusive middle-ground on the album’s title-track, the Brooklynite trio not giving “Dirt” a total makeover so much as an organic-feeling performance that captures the subtle spaciousness that was so much a part of Dirt‘s lonely feel in the first place — all those sometimes empty reaches of its mix. Earlier, Chicago’s High Priest offer perhaps the most impressive vocal included on the redux with “Rain When I Die,” with the as-yet-underrated, very-much-need-to-put-an-album-out group play to their own Alice in Chains influence. Ditto that Backwoods Payback, who bleed their love of the original through their raw interpretation of “God Smack,” finding a space somewhere between punk, post-hardcore and heavy rock that is theirs alone on this release and in the wider underground sphere. These cuts serve the vital function of bringing Dirt [Redux] its sense of homage, making the tribute a tribute, and giving a listener who might not be familiar with all the bands on the Magnetic Eye roster a chance to reorient before, say, These Beasts unfurl their pummeling rendition of “Sickman” or Low Flying Hawks taffy-pull “Dam That River” to suit their own whims.

One would be remiss not to point out that the 43-second interlude “Iron Gland” is here covered by Black Electric, which features Magnetic Eye Records‘ own Mike Vitali (also ex-Ironweed and Greatdayforup) on guitar. Their version is almost eerily reminiscent of the original, on which Slayer‘s Tom Araya sat in for vocals, and gives way to -(16)-‘s roughed-up “Hate to Feel” with a similar flow to the progression between the two tracks on Dirt proper. If you come out of this Dirt [Redux] with a hankering to listen to Alice in Chains, don’t be surprised. I’ll admit to having an attachment to the album that borders on the familial, and whatever they do with it arrangement-wise, I have nothing but respect for anyone brave enough to cover songs that have so much specific heart and style behind them. Inevitably a listener’s experience with Dirt [Redux] will depend on their own context with the original record as well as with the bands involved, but when all is said and done, it is a more than worthy inclusion in Magnetic Eye‘s [Redux] series — Black Sabbath would seem to be next — and it points to just how broadly Alice in Chains‘ influence has spread over the last three decades. You can’t really go wrong.

Various Artists, Dirt [Redux] (2020)

Magnetic Eye Records on Thee Facebooks

Magnetic Eye Records on Instagram

Magnetic Eye Records on Bandcamp

Magnetic Eye Records website

Yeah, I know, Maryland Doom Fest 2019 was like a month ago. Quit livin’ in the past and all that. Well, this show was supposed to air July 5, so whatever. It got pushed back because apparently July 4 is some kind of holiday now — what.ever. — and it was kicked down the line to two weeks later with re-runs on in the interim. Did anyone notice? Did anyone care? I did. But I’m glad to have had the chance to pay homage to MDDF one way or the other, since it was such a killer time and boasted a lineup of so many good bands.

Of course I had to lead off with Beelzefuzz and Foghound, two staples of the Frederick diet, and the show unfolds from there with new stuff from Zed and Lo-Pan and Kings Destroy amid the likes of Devil to Pay and Earthride and Backwoods Payback and Greenbeard. I made sure to put Solace and Freedom Hawk and Horehound and Toke and Witchkiss in here because their sets were particularly righteous — not to mention Year of the Cobra! — and in addition to representing the headliners in Conan, Mothership and Earthride, I had to include WarHorse since their reunion set was something so particularly special and such a huge part of the festival.

For those who didn’t hear the show, Gimme Radio runs the ‘Gimme Brigade’ which you can sign up for. I think it’s $5 a month or something like that, but you get access to their full archive and help them with hosting costs, etc., so fair enough. If you got to hear this one, thanks. If not, the basic point of the thing was that Maryland Doom Fest 2019 kicked ass, which I sincerely hope also came across in the reviews.

Here’s the full playlist:

The Obelisk Show – 07.19.19

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Aug. 2. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

Easiest conversation I had last week went like this, “Hey man, we’re doing some shows with Cavern, you wanna present the tour?” “Yes. Duh.”

That’s not quite verbatim, but it’s enough to give you the gist anyhow, and when it’s Backwoods Payback doing the asking, the answer’s just about always going to be yes. Even if I hadn’t seen the Pennsylvania/Virginia three-piece last month at Maryland Doom Fest 2019 (review here) and been so thoroughly blown away, they’re reliable the way people think of sunrise as being reliable, and I’m too busy indulging delusions of relevance any time they ask for anything to say no. “Well, if Backwoods think it’s cool, I must be on to something,” and so on.

But lo! There’s intrigue here too, as the Marylanders Cavern will be heading out in their newfangled trio incarnation, having welcomed bassist Rose Heater to the lineup with guitarist/synthesist Zach Harkins and drummer Stephen Schrock and, for the first time, turning not just from a two-piece to a three-piece, but from an instrumental to a vocal-topped outfit as well. In order to “demonstrate their style” — as Madball once put it — Cavern put up the post-rocky, prog-tinged single “Fade Before the Flood” in April. You can hear it streaming down at the bottom of this post. Indeed, it sounds like something I’d want to check out live.

And because any excuse to put it on and I’m happy, I’ve included Backwoods Payback‘s 2018 album, Future Slum (review here), as well. I know you’ve heard me say it a ton of times by now, but if you haven’t given that record its due, the time is now. Quick, before they put out another one!

Genuinely thrilled to be involved here in the small way I am. Go see these bands on this tour:

Cavern & Backwoods Payback Sept. Tour:
09/23 Cleveland OH Now That’s Class
09/24 Youngstown OH Westside Bowl
09/25 Erie PA Basement Transmissions
09/26 Buffalo NY Mohawk Place
09/27 Toronto ON Bovine Sex Club
09/28 Montreal QC Turbo Haus
09/29 Philadelphia PA Kung Fu Necktie

CAVERN:
Stephen Schrock- Drums
Zach Harkins- Guitar/Synth
Rose Heater- Bass/Vocals

BACKWOODS PAYBACK:
Jessica Baker – Bass
Mike Cummings – Guitar/vocals
Erik Larson – Drums

https://www.facebook.com/cavernmd/
https://cavernmd.bandcamp.com/

https://www.facebook.com/backwoodspayback/
https://backwoodspayback.bandcamp.com/

Cavern, “Fade Before the Flood”

Backwoods Payback, Future Slum (2018)

I’ll admit I have no experience trying to manifest psychic weaponry of any sort, let alone a knife. If I did, I think I might go with a type-two phaser set to heavy stun and just shoot myself with it so I could get a full night’s sleep. But that aside, the visual theme to coincide with Backwoods Payback‘s “Pirate Smile” makes sense when one thinks of, you know, someone smiling at you and then stabbing you. There’s a connection there. It’s psychic. You can’t see it. But it’s there.

Also pretty easy to imagine envisioning a knife as a decent mindset for playing a show.

The song itself has a vaguely socio-political stance in terms of its lyrics — resulting in, among other things, a fun punk rocker’s emphasis on the word “fucked” as it’s presented in all-caps below — and the West Chester, PA/Richmond, VA three-piece of guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson bring a likeminded uptempo kick to the track that they always seem to nail. There’s plenty of it to be heard on last year’s Future Slum (review here) and there was plenty of it when I saw the band this past weekend at Maryland Doom Fest 2019 (review here). They were a highlight of that festival, of course, as they’re a highlight pretty much of everything they do.

I don’t know if they’ve got more touring in the works this year or not — no, I didn’t ask; it’s not like I’m chasing bands around with a press card in my hat and mining for information; “Word on the street is you’re heading to Indy, can you confirm?” — but having so recently done so, I’ll reiterate that if you can see Backwoods Payback, do it. That’s pretty much all I have to say about it by now. I don’t care if you’re already a fan or not. If you can make it happen, make it happen.

Enjoy the video:

Backwoods Payback, “Pirate Smile” official video

From the 2018 Album, Future Slum

“The Initiates Guide to the Envisioning and the Initial Applications of the Knife”

www.backwoodspayback.com

a ship of sinking fools unaware of rising tides this population screwed standing in the bread or party lines in a word all they do is lie and they only work to waste all of our time in a way maybe I was blind now I’m old enough to open up my eyes you repeat the past mistakes I refuse to play in this charade a whole generation FUCKED cleaning up the messes that you’ve made in a word all you do is lie and you only work to waste all of my time ain’t no way no more I’ll be blind now I’m old enough to open up my eyes…what do you believe?

Shot by John Keefer & Chris Johnson
Edited by Chris Johnson
a 51DEEP Production

Backwoods Payback, Future Slum (2018)

Backwoods Payback on Thee Facebooks

Backwoods Payback on Instagram

Backwoods Payback on Twitter

Backwoods Payback on Bandcamp

Backwoods Payback website

The first lineup announcement from Pittsburgh-based Descendants of Crom III is a doozy. The headliners are apparently still to be announced — though would anyone complain if Solace or Valkyrie headlined a night? — but between them and the likes of Irata, Argus, Backwoods Payback and Foghound, it’s already shaping up to be a killer three-dayer this September. Awesome to see Sun Voyager on this bill and the likes of Void King and Fox 45 getting a look. Pale Grey Lore might even have their new record out by then — Solace too, for that matter — but either way, there’s a lot here to dig immediately, and of course for this kind of announcement that’s the whole point.

They’re selling early-bird tickets this month, so you know, get out that calendar and add another one to your already-absolutely-slammed festival schedule. It’s madness, but, you know, the good kind of madness. Here’s hoping the universe doesn’t collapse between now and then.

Thus-far confirmations follow, as per social media:

DESCENDANTS OF CROM III – Announces 2019 Event For Sept. 20-22; Bands Incl. VALKYRIE, BACKWOODS PAYBACK + More!

– A GATHERING OF THE HEAVY UNDERGROUND –
– SEPTEMBER 20-22, 2019 –
– STEEL CITY, USA –

The third annual DESCENDANTS OF CROM will be held once again in Pittsburgh, Pennsylvania, spanning the weekend of September 20th. The PGH underground scene of heavy rock and metal is healthy and thriving and the location is perfect. Feeding great regional bands to a hungry crowd and serving up internationally legendary fan-favorites to entice music lovers in the door to experience these amazing local artists.

Descendants of Crom came out of the gates running with the first event in 2017, becoming a strong contender among other established regional music festivals. The 2019 events begin on Friday, September 20th, with a Pre-Gala evening at Howlers, followed by two full-day events on Saturday and Sunday at Cattivo.

Shy Kennedy has once again hand-picked and curated a beautiful mixture of acts for Descendants Of Crom III. While a few more updates will complete the lineup for the full schedule of events over the weekend, a most incredible roster of bands is included today. All are invited to become part of the experience at the 2019 Pre-Gala and Weekend Events!

After all, we are all DESCENDANTS OF CROM.

Remember to visit our site www.descendantsofcrom.com and to the official event pages on Facebook!

https://www.facebook.com/events/216035832675553

Lineup so far:
Solace
Valkyrie
Argus
Irata
Backwoods Payback
Enhailer
Icarus Witch
Brimstone Coven
Foghound
Kingsnake
Sun Voyager
Witchkiss
Leather Lung
Frayle
Tines
Spacelord
Pillärs
PALE GREY LORE
Lightning Born
NIGHT VAPOR
Pyrithe
Riparian
Fox 45
Void King
Official: COMA
Action Camp
White Alice
Old Dream
Motometer

https://www.facebook.com/DescendantsOfCrom/
www.instagram.com/descendantsofcrom/
https://www.facebook.com/events/216035832675553/
www.descendantsofcrom.com/Tickets.php
http://descendantsofcrom.com

Solace, Live at Descendants of Crom 2017

It will have been a couple months by the time Backwoods Payback hit the road again on their next DIY tour, this one headed west and south through a cut of the Midwest en route to SXSW in Austin, Texas, where they’ll play on March 14 before hitting Houston and leaving the Lone Star State behind with a couple more shows to wrap up. The Pennsylvania/Virginia (Pennsylginia?) three-piece will continue to support last year’s right-on-right-on Future Slum (review here), which put them ahead of the curve on any kind of grunge revival happening in the heavy underground while keeping to the punk root — and, clearly, work ethic — that’s been present in their sound all along.

To that end, don’t think the use of Raymond Pettibon art in their latest tour poster is a mistake or a coincidence, let alone the Black Flag-esque logo. They’re clearly aware of the kind of road-sloggery they’re doing, and while one doubts they’re eating dogfood — pretty sure convenience store burritos are cheaper anyway; plus they’re too friendly not to get fed — their commitment to “in the van” is admirable. Admirable enough you should get out and see them, anyhow. And maybe buy a t-shirt or an LP. You know, support and all that stuff that everyone hashtags nowadays.

Hashtag blessed, hashtag PR wire:

Backwoods Payback March Tour

Backwoods Payback
March 2019
SXSW TOUR

Heading back out and hitting the spots we have been missing.

Week never ends up right? Don’t let that dull your knife!

Backwoods Payback March 2019:
7- sprout music West Chester PA
8- now that’s class Cleveland OH
9- melody inn Indianapolis IN
10- livewire Chicago IL
11- the blue room Dubuque IA
12- bottleneck Lawrence KS
13- Witts end Dallas TX
14- spider house Austin TX
15- rudyards Houston TX
16- boom boom room Lafayette LA
17- growlers Memphis TN
18- highlands tap Louisville KY

Tour event page: https://www.facebook.com/events/386403138780580/

BACKWOODS PAYBACK:
Jessica Baker – Bass
Mike Cummings – Guitar/vocals
Erik Larson – Drums

https://www.facebook.com/backwoodspayback/
https://backwoodspayback.bandcamp.com/

Backwoods Payback, Future Slum (2018)