Posted in Whathaveyou on May 25th, 2023 by JJ Koczan
True, a goodly portion of these dates has already been posted. With the same picture of the band, no less. In my defense, Austin heavy party doomers Rickshaw Billie’s Burger Patrol have added dates to their West Coast run in the interim, and announced that on June 4 in Austin they’ll host the inaugural Big Dumb Fest, playing alongside Eagle Claw, the always-delightful Tia Carrera and a host of others as they continue to support 2022’s Doom-Wop (review here) with steady live work. In addition, that album’s vinyl release is coming up in June, and that’s like next week, so there’s relevant info here regardless of the repeated data/photography. I sincerely doubt that, had I not mentioned it already, anyone else would. Alas.
I’ve yet to see this band live — and I’ve spoken before about how I haven’t really formed an opinion on them yet in part because of that; again, nobody cares, I know — but they’re touring with Crobot, and they play Crobot at my gym, so that would seem to hint that they’re looking to find a broader audience than one might encounter on strictly underground heavy tours, even as they step into headlining on the upcoming West Coast run. As to how that will all shake out, it’ll probably be two more album cycles before it’s determined either way, but one cannot accuse them of not putting in the work. They already came East to herald Doom-Wop and I wouldn’t be surprised if they did so again before Europe inevitably beckons with its promises of stuff like food backstage and maybe a place to sleep, unheard of as those generally are in the States.
The PR wire has it like this:
Rickshaw Billie’s Burger Patrol to tour with Crobot in July, headlining Western US tour begins June 4th
Austin trio Rickshaw Billie’s Burger Patrol just completed the first leg of their summer U.S. tour dates and today added July shows with Crobot. Before that, the band headlines the West Coast in June following the first-ever RBBP Big Dumb Fest event in their hometown on June 4th. Please see all dates below. Ticket links HERE:https://taplink.cc/rickshawbillie
Rickshaw Billie’s Big Dumb Fest features 7 bands and 4 food vendors for the ultimate meeting of the ears, eyes and taste buds! Sunday, June 4th, 2023 – at Mohawk Austin – 4pm
Rickshaw Billie’s Burger Patrol w/ Eagle Claw, Tia Carrera, Billy Glitter, Gus Baldwin & The Sketch, Buzz Electro, Pinko Eats by: Chilly’s Philly’s, Bad Larry Burger Club, Jim Jam’s Biscuits, Chef’s Kiss
With their 5th studio release, Rickshaw Billie’s Burger Patrol is putting a name to the style of fuzzed out, overdriven, melodic, groovy music they have been making since 2016. In 9 concise, no bullshit songs, RBBP demonstrates their ability to blend the merciless low end of Leo Lydon’s 8-String guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumwork. Lydon and Metzdorf’s vocal melodies cut through the high frequencies to deliver fresh layers to the hooks that RBBP fans have come to love.
As the name implies, Doom Wop is a heavy, melody-driven, party metal album. With riffs as big and dumb as ever, and lyrics that stab at the worst members of society and ourselves (while keeping tongue firmly in cheek), listeners will find all the elements that make up the soul of RBBP on this record.
Doom Wop is available on CD and download, released on September 23rd, 2022. Vinyl LP coming in June.
RBBP LIVE 2023: 06/04 Austin, TX – Mohawk Austin – BIG DUMB FEST 06/05 Marfa, TX – Bad Larry 06/06 El Paso, TX – 101 06/08 Tempe, AZ – The Beast 06/09 Los Angeles, CA – Permanent Records Roadhouse 06/10 San Francisco, CA – The Kilowatt 06/11 Sacramento, CA – Old Ironsides 06/13 Seattle, WA – Substation 06/14 Portland, OR – High Water Mark 06/15 Boise, ID – CRLB 06/16 Salt Lake City, UT – Aces High Saloon 06/17 Denver, CO – Hi-Dive 06/19 Tulsa, OK – Soundpony 07/22 Lititz, PA – Micket’s Black Box * 07/25 Greensboro, NC – Hangar 1819 * 07/26 Greenville, SC – Radio Room * 07/27 Summerville, SC – Trolly Pub * 07/28 Ft Myers, FL – Buddha Live * 07/29 Orlando, FL – Conduit * 07/30 Tampa, FL – Orpheum * 08/01 Atlanta, GA – Masquerade * 08/03 Corpus Christi, TX – Mesquite Street South * 08/04 Houston, TX – Scout Bar * * w/ Crobot
Posted in Whathaveyou on March 22nd, 2023 by JJ Koczan
Rickshaw Billie’s Burger Patrol are headed out on tour once again starting next month in their native Texas and hitting up the East and West Coasts in succession. I gotta be honest with you, I’m still not really sure how I feel about this band. They released their sophomore album, Doom-Wop (review here), this past Fall to the usual swell of social media hyperbole (that’s nothing to hold against the band or anyone else, mind you; it’s fun to be excited about music and you might say that’s why I do this), building on their 2020 debut LP, Burger Babes… From Outer Space! — likewise fortunate in riffs and unfortunate in cover art — and I dug the crap out of it.
Really, no complaints. I’ll save you the trouble of (not) reading that review: Heavy tones, quirk, fun vibes with tight songwriting and performance to back it up. Reminded me of early-Floor/Torche in a positive way and had its own persona to reside in a post-Red Fang universe of good-time groove. Eight-string guitar and so forth. And they’re a DIY band who tour hard, put in the time, effort and cash to do the thing they believe in doing. If you can’t respect that, well then what the hell do you believe in?
So what’s the missing piece for me jumping on the bandwagon? I’ve given it actual-thought, like, in real life, and I think it’s just that I haven’t seen them live yet. I don’t know that I’ll get to rectify that on this tour — Brooklyn seems to be getting farther and farther away these days; to think I used to complain about having to drive to The Continental — but I hope at some point this year to catch them if I can and while we’re being honest, I’m fairly certain that if/when I do get the on-stage experience, all the cartoon-hamburger-ladies in the world won’t be able to stop me from singing their praises, so covering them until I eventually, hopefully, get there I guess is a way covering my bases. So after the fact I can look back on a post like this and tell myself, “see, I knew they’d be awesome.”
I’ve included the stream of Doom-Wop and the trio’s Katie McDowell-directed video for the ultra-catchy “Heel” here, in case you’d also like to dig in, and of course the dates for their newly announced tours come courtesy of the PR wire:
Rickshaw Billie’s Burger Patrol announce US headlining tour, including Shaky Knees & Thin Line Festivals
Austin trio Rickshaw Billie’s Burger Patrol announce summer U.S. tour dates, including Shaky Knees Festival in Atlanta and Thin Line Festival in Denton. Please see all dates below.
RBBP released their latest album Doom Wop in September 2022. Hear Doom Wop on your favorite streaming service HERE:https://ampl.ink/2YGEb
With their 5th studio release, Rickshaw Billie’s Burger Patrol is putting a name to the style of fuzzed out, overdriven, melodic, groovy music they have been making since 2016. In 9 concise, no bullshit songs, RBBP demonstrates their ability to blend the merciless low end of Leo Lydon’s 8-String guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumwork. Lydon and Metzdorf’s vocal melodies cut through the high frequencies to deliver fresh layers to the hooks that RBBP fans have come to love.
As the name implies, Doom Wop is a heavy, melody-driven, party metal album. With riffs as big and dumb as ever, and lyrics that stab at the worst members of society and ourselves (while keeping tongue firmly in cheek), listeners will find all the elements that make up the soul of RBBP on this record.
Doom Wop is available on CD and download, released on September 23rd, 2022. Vinyl LP coming in May 2023.
RBBP LIVE 2023: 04/21 Houston, TX – Black Magic Social Club 04/22 San Antonio, TX – Paper Tiger 04/29 Denton, TX – Thin Line Fest 05/06 Atlanta, GA – Shaky Knees Festival 05/07 Nashville, TN – The 5 Spot 05/09 Charlotte, NC – Snug Harbor 05/10 Washington, DC – Quarry House Tavern 05/11 Cambridge, MA – Middle East Upstairs 05/12 Brooklyn, NY – Saint Vitus 05/13 Philadelphia, PA: Kung Fu Necktie 05/14 Pittsburgh, PA – The Funhouse at Mr. Small’s 05/15 Chicago, IL – The Empty Bottle 05/17 Oklahoma City, OK – The Blue Note 06/09 Los Angeles, CA – Permanent Records Roadhouse 06/10 San Francisco, CA – The Kilowatt 06/13 Seattle, WA – Substation 06/14 Portland, OR – High Water Mark 06/16 Salt Lake City, UT – Aces High Saloon 06/17 Denver, CO: Hi-Dive
Posted in Reviews on January 9th, 2023 by JJ Koczan
Welcome to the second week of the Quarterly Review. Last week there were 50 records covered between Monday and Friday, and barring disaster, the same thing will happen this week too. I wish I could say I was caught up after this, but yeah, no. As always, I’m hearing stuff right and left that I wish I’d had the chance to dig into sooner, but as the platitude says, you can only be in so many places at one time. I’m doing my best. If you’ve already heard all this stuff, sorry. Maybe if you keep reading you’ll find a mistake to correct. I’m sure there’s one in there somewhere.
Winter 2023 Quarterly Review #51-60:
Rickshaw Billie’s Burger Patrol, Doom Wop
Powered by eight-string-guitar and bass chug, Austin heavy party rockers Rickshaw Billie’s Burger Patrol offer markedly heavy, Steve Brooks-style weight on “Doom Wop,” the title-track of their second album, and prove themselves catchy through a swath of hooks, be it opener “Heel,” “Chew” or “I’m the Fucking Man,” which, if the finale “Jesus Was an Alien” — perhaps the best, also the only, ‘Jesus doing stuff’ song I’ve heard since Ministry‘s “Jesus Built My Hotrod”; extra kudos to the band for making it about screwing — didn’t let you know the band didn’t take themselves too seriously, and their moniker didn’t even before you hit play, then there you go. Comprised of guitarist Leo Lydon, bassist Aaron Metzdorf and drummer Sean St. Germain, they’re able to tap into that extra-dense tone at will, but their songs build momentum and keep it, not really even being slowed by their own massive feel, as heard on “Chew” or “The Bog” once it kicks in, and the vocals remind a bit of South Africa’s Ruff Majik without quite going that far over the top; I’d also believe it’s pop-punk influence. Since making their debut in 2020 with Burger Babes… From Outer Space!, they’ve stripped down their songwriting approach somewhat, and that tightness works well in emphasizing the ’90s alt rock vibe of “The Room” or the chug-fuzzer “Fly Super Glide.” They had a good amount of hype leading up to the Sept. 2022 release. I’m not without questions, but I can’t argue on the level of craft or the energy of their delivery.
French heavy rock traditionalists DoctoR DooM return following a seven-year drought with A Shadow Called Danger, their late 2022/early 2023 follow-up to 2015’s debut, This Seed We Have Sown (review here). After unveiling the single “What They Are Trying to Sell” (premiered here) as proof-of-life in 2021, the three-piece ’70s-swing their way through eight tracks and 45 minutes of vintage-mindset stylizations, touching on moody Graveyardian blues in “Ride On” and the more uptempo rocker “The Rich and the Poor” while going more directly proto-metallic on galloping opener “Come Back to Yourself and the later “Connected by the Worst.” Organ enhances the sway of the penultimate “In This Town” as part of a side B expansion that starts with tense rhythmic underlayer before the stride of “Hollow” and, because obviously, an epilogue take on Händel‘s “Sarabande” that closes. That’ll happen? In any case, DoctoR DooM — guitarist/vocalist Jean-Laurent Pasquet, guitarist Bertrand Legrand, bassist Sébastien Boutin Blomfield and drummer Michel Marcq — don’t stray too far from their central purpose, even there, and their ability to guide the listener through winding progressions is bolstered by the warmth of their tones and Pasquet‘s sometimes gruff but still melodic vocals, allowing some of the longer tracks like “Come Back to Yourself,” “Hollow” and “In This Town” to explore that entirely imaginary border where ’70s-style heavy rock and classic metal meet and intertwine.
Clearly when you start out with a direct invocation of epic tales like “Gilgamesh (…and Enkidu’s Demise),” you’re going big. Portugal’s Stones of Babylon answer 2019’s Hanging Gardens (review here) with Ishtar Gate, still staying in Babylon as “Annunaki,” “Pazuzu,” the title-track, “The Fall of Ur,” and “Tigris and Euphrates” roll out instrumental embodiment of these historical places, ideas, and myths. There is some Middle Eastern flourish in quieter stretches of guitar in “Anunnaki,” “Pazuzu,” “The Fall of Ur,” etc., but it’s the general largesse of tone, the big riffs that the trio of guitarist Alexandre Mendes, bassist João Medeiros and drummer Pedro Branco foster and roll out one after the other, that give the sense of scale coinciding with their apparent themes. And loud or quiet, big and rolling or softer and more winding, they touch on some of My Sleeping Karma‘s meditative aspects without giving up a harder-hitting edge, so that when Ur falls, the ground seems to be given a due shake, and “Tigris and Euphrates,” as one of the cradles of civilization, caps the record with a fervency that seems reserved specifically for that crescendo. A few samples, including one at the very end, add to the atmosphere, but the band’s heart is in the heavy and that comes through regardless of a given moment’s volume.
Released on Halloween 2022, Alconaut‘s “Slugs” is a six-minute roller single following-up their 2019 debut album, Sand Turns to Tide, and it finds the Corsican trio fuzz-grooving their way through a moderate tempo, easy-to-dig procession that’s not nearly as slime-trail-leaving as its title implies. A stretch building up the start-stop central riff has a subtle edge of funk, but then the pedal clicks on and a fuller tone is revealed, drums still holding the same snare punctuation behind. They ride that stretch out for a reasonably unreasonable amount of measures before shifting toward the verse shortly before two minutes in — classic stoner rock — backing the first vocals with either organ or guitar effects that sound like one (nobody is credited for keys; accept the mystery) and a quick flash of angularity between lines of the chorus are likewise bolstered. They make their way back through the verse and then shift into tense chugging that’s more straight-ahead push than swinging, but still friendly in terms of pace, and after five minutes in, they stop, the guitar pans channels in re-establishing the riff, and they finish it big before just a flash of feedback cuts to silence. Way more rock and way less sludge than either their moniker or the song’s title implies, their style nonetheless hints toward emergent dynamic in its tonal changes even as the guitar sets forth its own hooks.
Instrumental save for the liberally distributed samples from Planet of the Apes, including Charlton Heston’s naming of Nova in “Nova” presented as a kind of semi-organic alt-techno with winding psychedelic guitar over a programmed beat, Maybe Human‘s Ape Law is the second long-player from the Los Angeles-based probably-solo outfit, and it arrives as part of a glut of releases — singles, EPs, one prior album — issued over the last two years or so. The 47-minute 10-songer makes its point in the opening title-track, and uses dialogue from the Apes franchise — nothing from the reboots, and fair enough — to fill out pieces that vary in their overarching impression from the heavy prog of “Bright Eyes” and the closing “The Killer Ape Theory” to the experimentalist psych of “Heresy.” If you’re looking to be damned to hell by the aforementioned Heston, check out “The Forbidden Zone,” but Ape Law seems to be on its most solid footing — not always where it wants to be, mind you — in a more metal-leaning guitar-led stretch like that in the second half of “Infinite Regression” where the guitar solo takes the forward role over a bed that seems to have been made just for it. The intent here is more to explore and the sound is rawer than Maybe Human‘s self-applied post-rock or pop tags might necessarily imply, but the deeper you go there more there is to hear. Unless you hate those movies, in which case you might want to try something else.
Beginning with its longest track (immediate points) in the nine-minute “Rust and Rot,” the third full-length from Vancouver’s Heron, Empires of Ash, offers significant abrasive sludge heft from its lurching outset, and continues to sound slow even in the comparatively furious “Hungry Ghosts,” vocalist/noisemaker Jamie having a rasp to his screams that calls to mind Yatra over the dense-if-spacious riffing of Ross and Scott and Bina‘s fluid drumming. Ambient sections and buildups like that in centerpiece “Hauntology” allow some measure of respite from all the gnashing elsewhere, assuring there’s more to the four-piece than apparently-sans-bass-but-still-plenty-heavy caustic sludge metal, but in their nastiest moments they readily veer into territory commonly considered extreme, and the pairing of screams and backing growls over the brooding but mellower progression on closer “With Dead Eyes” is almost post-hardcore in its melding aggression with atmosphere. Still, it is inevitably the bite that defines it, and Heron‘s collective teeth are razor-sharp whether put to speedier or more methodical use, and the contrast in their sound, the either/or nature, is blurred somewhat by their willingness to do more than slaughter. This being their third album and my first exposure to them, I’m late to the party, but fine. Empires of Ash is perfectly willing to brutalize newcomers too, and the only barrier to entry is your own threshold for pain.
A reissue of their 2020 second LP, My Octopus Mind‘s Faulty at Source (Bonus Edition) adds two tracks — “Here My Rawr,” also released as a single, and “No Way Outta Here Alive” — for a CD release. Whichever edition one chooses to take on, the range of the Bristol-based psych trio of guitarist/vocalist/pianist Liam O’Connell, bassist Isaac Ellis and drummer Oliver Cocup (the latter two also credited with “rawrs,” which one assumes means backing vocals) is presented with all due absurdity but a strongly progressive presence, so that while “The Greatest Escape” works in its violin and viola guest appearances from Rebecca Shelley and Rowan Elliot as one of several tracks to do the same, the feeling isn’t superfluous where it otherwise might be. Traditional notions of aural heft come and go — the riffier and delightfully bass-fuzzed “No Way Outta Here Alive” has plenty — while “Buy My Book” and the later “Hindenburg” envision psychedelic noise rock and “Wandering Eye” (with Shelley on duet vocals as well) adds mathy quirk to the proceedings, making them that march harder to classify, that much more on-point as regards the apparent mission of the band, and that much more satisfying a listen. If you’re willing to get weird, My Octopus Mind are already there. For at least over two years now, it would seem.
Having become a duo since their debut, 2019’s Lux in Morte (review here), was released, Et Mors are no less dirgey or misery-laden across Lifeless Grey for halving their lineup. Wretched, sometimes melodic and almost universally deathly doom gruels out across the three extended originals following the shorter intro “Drastic Side Effects” — that’s the near-goth plod of “The Coffin of Regrets” (9:45), “Tritsch” (16:13), which surprises by growing into an atmosludge take on The Doors at their most minimalist and spacious before its own consumption resumes, and “Old Wizard of Odd” (10:29), which revels in extremity before its noisy finish and is the ‘heaviest’ inclusion for that — and a concluding cover of Bonnie “Prince” Billy‘s “I See a Darkness,” the title embodied in the open space within the sound of the song itself while showcasing a soulful clean vocal style that feels like an emerging distinguishing factor in the band’s sound. That is, a point of growth that will continue to grow and make them a stronger, more diverse band as it already does in their material here. I’d be interested to hear guitarist/vocalist Zakir Suleri and drummer/vocalist Albert Alisaug with an expansive production able to lean more into the emotive aspects of their songwriting, but as it is on Lifeless Grey, their sound is contrastingly vital despite the mostly crawling tempos and the unifying rawness of the aural setting in which these songs take place.
Future Mirror is The Atomic Bomb Audition‘s first release since 2014 and their first studio album since 2011’s Roots into the See (review here), the returning Oakland-based four-piece of guitarist/vocalist Alee Karin, bassist/vocalist Jason Hoopes, drummer Brian Gleeson and synthesist/engineer The Norman Conquest reigniting their take on pop-informed heavy, sometimes leaning toward post-rock float, sometimes offering a driving hook like in “Night Vision,” sometimes alternating between spacious and crushing as on “Haunted Houses,” which is as much Type O Negative and Katatonia darkness as the opener “Render” was blinding with its sweet falsetto melodies and crashing grandeur. Two interludes, “WNGTIROTSCHDB” and “…Spells” surround “Golden States, Pt. 1” — note there is no second part here — a brief-at-three-minutes-but-multi-movement instrumental, and the linear effect in hearing the album as whole is to create an ambient space between the three earlier shorter tracks and the two longer ones at the finish, and where “Dream Flood” might otherwise be a bridge between the two, the listening experience is only enhanced for the flourish. Future Mirror won’t be for everybody, as its nuance makes it harder to categorize and they wouldn’t be the first to suffer perils of the ‘band in-between,’ but by the time they get the payoff of closer “More Light,” tying the heft and melody together, The Atomic Bomb Audition have provided enough context to make their own kind of sense. Thus, a win.
Maharaja‘s new EP, Aviarium (on Seeing Red), might be post-metal if one were to distill that microgenre away from its ultra-cerebral self-indulgence and keep only the parts of it most crushing. The downer perspective of the Ohio trio — guitarist Angus Burkhart, bassist Eric Bluebaum, drummer Zack Mangold, all of whom add vocals, as demonstrated in the shouty-then-noisy-then-both second track — is confirmed in the use of the suffix ‘-less’ in each of the four songs on the 24-minute outing, from opener “Hopeless” through “Soulless,” into the shorter, faster and more percussively intense “Lifeless” and at last arriving in the open with the engrossing roll of 10-minute finisher “Ballad of the Flightless Bird,” which makes a home for itself in more stoner-metal riffing and cleaner vocals but maintains the poise of execution that even the many and righteous drum fills of “Hopeless” couldn’t shake loose. It is not an easy or a smooth listen, but neither is it meant to be, and the ambience that comes out of the raw weight of Maharaja‘s tones as well as their subtle variation in style should be enough to bring on board those who’d dare take it on in the first place. Can be mean, but isn’t universally one thing or the other, and as a sampler of Maharaja‘s work it’s got me wanting to dig back to their 2017 Kali Yuga and find out what I missed.
Posted in Whathaveyou on August 30th, 2022 by JJ Koczan
I can’t quite make up my mind on this band. Their name is kicked around a lot on the socials, people’s jaws being duly dropped by what seem to be righteous live performances — hype generated the hard way — and their studio output. They groove, they move, all that stuff. Fine. On the other hand, they’re called Rickshaw Billie’s Burger Patrol, their logo is a hamburger with boobs, and their new album is called Doom Wop, which I feel like kind of skirts a line between cute and cheeky and just dumb. Also, who’s Rickshaw Billie?
Well established by now that I’m no fun — even less fun as time goes on, and I already started out not fun — so I’m not going to take away from the buzz the Austin, Texas, trio have built, or the legit hard work they’re about to put in on tour, or the fact that they’re obviously looking to push their band to that next level. Six years after they got started, they by no means need me on board, but I do kind of feel like I’m not yet convinced. But they’re out there breaking their collective ass, so posting the tour dates and the single doesn’t seem like too far to go.
Accordingly, from the PR wire:
Rickshaw Billie’s Burger Patrol share first single from forthcoming Doom Wop album
Austin trio touring with King Buffalo in Sept, headlining in October
Austin trio Rickshaw Billie’s Burger Patrol share the first single from their forthcoming album Doom Wop. Hear and share “Shoo In” HERE. (Direct Bandcamp.)
RBBP kick off tour dates supporting King Buffalo in late September, followed by headlining shows across the US in October. Please see current dates below.
With their 5th studio release, Rickshaw Billie’s Burger Patrol is putting a name to the style of fuzzed out, overdriven, melodic, groovy music they have been making since 2016. In 9 concise, no bullshit songs, RBBP demonstrates their ability to blend the merciless low end of Leo Lydon’s 8-String guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumwork. Lydon and Metzdorf’s vocal melodies cut through the high frequencies to deliver fresh layers to the hooks that RBBP fans have come to love.
As the name implies, “Doom Wop” is a heavy, melody-driven, party metal album. With riffs as big and dumb as ever, and lyrics that stab at the worst members of society and ourselves (while keeping tongue firmly in cheek), listeners will find all the elements that make up the soul of RBBP on this record. “Doom Wop” will be available everywhere September 23rd.
Doom Wop will be available on CD and download on September 23rd, 2022. Vinyl LP release date TBD. Pre-orders are available HERE: https://rickshawbilliesburgerpatrol.bandcamp.com/album/doom-wop
RBBP LIVE 2022: 09/22 Dallas, TX – Club Dada* 09/23 Austin, TX – Antone’s* 09/24 Houston, TX – White Oak* 09/25 New Orleans, LA – Gasa Gasa* 09/26 Mobile, AL – Alabama Music Hall 09/27 Atlanta, GA – Masquerafe* 09/28 Athens, GA – The Lab @ Cine 09/29 Charlotte, NC – Tommy’s 09/30 Raleigh, NC – TBA 10/01 Washington, DC – Slash Run 10/02 Philadelphia, PA – Ortlieb’s 10/03 Saratoga Springs, NY – Desperate Annie’s 10/04 New York, NY – Our Wicked Lady 10/06 Providence, RI – AS22 10/07 Boston, MA – Zuzu 10/09 Pittsburgh, PA – Squirrel Hill 10/12 Nashville, TN – The 5 Spot 10/13 Little Rock, AR – Vino’s 10/14 Dallas, TX – 3 Links 10/15 Austin, TX – Valhalla * w/ King Buffalo
