Monthly Archives: March 2010

SXSW Photo Roll Part 2

Day 3 & 4 (photos by Phillip Nguyen)

Holiday Shores playing with sunshine

Lovejoy's Decor

Matt goofing with lead singer of Beach Fossils

Majestic Warpaint

Lighting up with The Ruby Suns

Toro Y Moi on the keys

Making that money on the main drag

Babalu's Cigar & Coffee, best late night (maybe anytime) cup of joe

Outside Broken Bells

Surfer Blood guitarist sticking it

Imagination time with Malachai

You can't beat free

Foxy Class Actress

French Horn Rebellion had a man down, but the show went on

Le Castle Vania, before his moment was stolen

DJ Spooky teaching class


SXSW Photo Roll

Day 1 & Day 2 (photos by Phillip Nguyen)

Matt pondering with members of Morningbell

Morningbell shooting lightning

Drink Up Buttercup going mad

Battlehooch throwing down with Wii visuals

Matt trespassing with members of Battlehooch

Wild Yaks stampeding the Palm Door

Born Ruffians emerging from the shadows

Danielson creeping out Lottie

Rafter playing that funky music

Putting Diamond Rings on it

Catching Yellow Fever

Dum Dum Girl pretty in black

The XX captivating

The Morning Benders making a name

Two Turntables and a String Quartet: Culture Fusion

My apologies—this is not a review. But it will orbit around a performance at the Brooklyn Museum I was fortunate enough to attend a few weeks ago.

Elan Vytal

The Sound of Brooklyn, put on by the Brooklyn Philharmonic, presents a weekly series of performances titled “Music Off The Walls” on Sunday afternoons. Their weekly intention: Display new sounds meant to push the limits of what we as listeners are used to hearing. Their latest installment has been a compilation performance composed by Brooklyn Philharmonic composer Elan Vytal (aka “DJ Scientific”) titled Always Was & Will Be. For approximately two hours, Vytal spins turntables and slides mixers alongside the Brooklyn Philharmonic string quartet. The result is a strange fusion that at times left me in awe, and at others left me feeling all was a bit too contrived, and as a result, flat. Regardless of my own personal opinion of the music, the marrying of “Double H-G” decks and “Classical” strings evoked joy and thoughtful consideration. I left the museum pondering the possibility that perhaps we are extremely close to existing in a century where the borders of color, class, and culture are becoming more similar to lines drawn in the sand on a tidal beach than lines chiseled into bedrock.

One final remark in review-form before I move to the nucleus of how this relates to my Music in Culture theme: Without question, the highlight of the afternoon was an arrangement done by Matthew Szemela (another BP composer) of Vivaldi’s The Four Seasons, Concerto No. 3 in F Major, “L’Autumno.“ It was incredible, and I mean ‘hair standing up on the back of my neck’ incredible. And I wasn’t the only one to think so—the audience roared upon completion of this post-postmodern version of Vivaldi performed alongside beatboxing, looping, sliding, and outstanding soloing.

Elan Vytal (aka “DJ Scientific”)

What is it about classical music being the champagne and caviar of music? I often wonder if this is a stereotype we should be nobly defending, or defiantly protesting. Without doubt, there is profound brilliance in much of the classical music that has survived the centuries. In considering how this music came to represent elitism, I offer the following theory: Historically, it was the King’s court that could afford the full-time funding of eccentric composers and large orchestras; the architecture, engineering, and construction of grand opera houses; and the organizing of elaborate masquerades and balls put on to the live music of the day’s top society-musicians and grandiloquent symphonies. In turn, these performances were put on for royalty. We think of “classical,” we think of Madame Bovary and Vanity Fair; we think of Vienna and Paris; we think of Beethoven and Bach; we think of elegant fashions, velvet curtains, and crystal chandeliers. We associate these cultures with classical music because they existed in a time when composed music was reserved for the haute couture of civilizations and where social distinctions were less blurred and more defined. The violin was performed for the Queen; the fiddle was played for the serf.

It is the chicken and the egg paradox. The image associated with classical music could be a function of the much greater economic disparities that existed centuries ago but are less concrete now. What I am suggesting here is that the elite status we now associate with classical music could be a mere derivative of memory and history, and not actually because the music is more complex, sophisticated, or brilliant. This is not to say that any of the music that has come to be categorized as “classical” is anything short of brilliance or complexity. In fact, I would like to defend that in fact both classical composer and performer exist in a realm of extraordinary talent and musical excellence. Yet musical score aside, what I am contending is that the culture that surrounds classical music may be a victim of tradition that modern invention, specifically recording technology, has been unable to breach.

Elan Vytal with DBR aka Daniel Bernard Roumain

In a similar method—what does one think of when they hear the acronym “DJ?” A disco? A dance club? A wedding? A microphone and records? Scratching and beatboxing? While it is too generic to define only one specific image that is mentally associated to “DJ,” I think it would be safe to argue that almost no one imagines the same fashion and social environments (ahem, ‘culture’) for a performing DJ as they would for a performing string quartet. This does not necessarily mean it holds ‘less’ culture or that its culture is of less sophistication; but what it does prove is that for some reason, by misrepresented memory and image-association, most people would probably value classical music to withhold or represent a greater sense of cultural enlightenment than would “two turntables and a microphone.”

The history of the DJ is everything opposite the history of the quartet. In one, we have highly trained musicians who likely spent large sums of money on elite schools of music and their instruments, and who play to accurately represent and flawlessly imitate centuries of tradition in sound and score. A quartet practices hundreds-to-thousands of hours to play notes, tempo, rhythm, and volume exactly how it was written—exactly how it was intended to sound by its composer. In the other, we have a history of urban street kids who could not afford musical instruments themselves, so they went down to the local Radio Shack warehouse sale, picked up a couple of used turntables, mixers, and a microphone for twenty bucks. They then strolled the grand avenues of Harlem and the tiny streets of Greenwich Village for old records they could purchase at twenty-five cents a pop, and voila—a new musical style is conceived from the father of poverty and the mother of necessity to create music.

The two forms could not come from more contrasting backgrounds. One stems from periods of time now known as The Renaissance, The Enlightenment, and Baroque; the other from a generation referred to as The Double H-G (or The Hip Hop Generation). One was born in the castles of Europe, the other on the streets of Harlem. One is four hundred years old, the other thirty. One is performed for royalty, the other for gangstas. One written out to the last quarter-rest, the other has no score at all.

So what was Elan Vytal trying to accomplish be fusing the two forms? I cannot be certain without asking him. Yet regardless of his motive or articulation, I do believe there exists a degree of underlying intention to bring a perceived upward status to his craft. By fusing classical music with modern DJ technique and sound, the music becomes a vehicle for an attempted upward socio-cultural perception. As we, the audience, sit there and listen to modern-contemporary “DJ Scientific” beatboxing, sliding, and scratching in company with violinist/composer Matthew Szemela soloing his way through Schubert, Schoenberg, and Vivaldi, our associative memory begins to bridge traditional European elitism with African-American improvisation. Has the mixer left Harlem? Has the concerto left the Vienna Court? Or is it neither—and music is just music?

Link to this article:
– Kory French

Worldwide Hour

00:00 DJ Wynn
00:58  (A Warm) Global Warning – Chicago Afrobeat Project
07:17  Oro Sunukun (Deep Issue) – Baoku Moses
14:54  Rico Montuno – Various
18:49  Yiri Yiri Bon (Dancehall Mix) – Ska Cubano
23:15  Josiah King Of Kings – Majek Fashek
29:15  DJ Wynn
30:03  Bamijo – Kola Ogunkoya
35:14  Henna – Jskillz
39:26  Previsao – Bossacucanova feat. Adriana Calcanhotto
42:25  La Del Ruso (Calexico Version) – Gotan Project
49:26  No More Blood (Deadbeat Remix) – Ghislain Poirier
54:43  DJ Wynn
55:43  Cumbia Del Caribe – Fruko & Orquesta
58:59  Son De Nueva York – Luis Mangual

Chicago Afrobeat Project
Apr 9   Owsley’s Golden Road (w/ uMelt) – Denver, CO
Apr 10  Owsley’s Golden Road (w/ uMelt) – Denver, CO
Apr 11  Salt Water Beaver – Avon, CO
Apr 12  Belly Up – Aspen, CO
Apr 14  Club Underground – Reno, NV

Baoku Moses

Apr 1   Club Absinthe (w/ Boogat) – Hamilton, Ontario
Apr 3   Ritual (w/ Face-T & Boogat) – Ottawa, Ontario
Apr 8   Wrong Bar (w/ Face-T) – Toronto, Ontario
Apr 9   Belmont (w/ Face-T & Boogat) – Montreal, Quebec
Apr 10  Petit Chicago (w/ Face-T) – Gatineau, Quebec
Link to show:

Hello, My Name Is…

This week we’re hearing from three bands who just finished playing Austin’s SXSW music festival and they are not stopping there. Even though they are all still busy on the road, Seabear, The Blank Tapes and Ezra Furman & The Harpoons took some time to share their thoughts with BTR—lucky us!

Who doesn’t love a good band name? Even if you don’t have a musical bone in your body and will never find yourself featured on VH1, you and your friends have probably stumbled across some phrase or idea and uttered the inevitable, “Hey—that could be a good band name…”  Some fantasy projects of mine from college (okay, from last week)  include: My New Favorite Polaroid, Stalin the Kitten and Pepto Bismal Placebo. (And yes, those are up for sale—interested parties can contact me.)

Ideas are plentiful when the pressure’s off, but what happens when you’re actually making music?  Names shape identity and vice versa, so the choice becomes a defining commitment not only creatively but commercially.  This week’s bands rose to the occasion and found unique solutions to address that delicate balance.  Here are some thoughts on what really IS in a name from this year’s SXSW artists Seabear, The Blank Tapes, and Ezra Furman & The Harpoons.


Seabear began as a solo project of Icelandic songwriter/musician Sindri Már Sigfússon.  By the release of their first album, Ghost That Carried Us Away (2007), it had transformed into a seven-member indie folk band that includes Örn Ingi Ágústsson, Gu∂björg Hlín Gu∂mundsdóttir, Ingibjörg Birgisdóttir, Kjartan Bragi Bjarnason, Halldór (Dóri)  Ragnarsson, and Sóley Stefánsdóttir.  Seabear is currently touring through the U.S., Canada and Western Europe to support the March release of their beautifully melodic second album, We Built a Fire.  Seabear’s Sóley Stefánsdóttir explains the origin of their name:

“Sindri chose it long, long ago in 2001.  He found it in some sketchbook he had, so his visual art sketch stuff was his inspiration for the name. When a band becomes a band, you name it, and everything that happens after that of course has to do with the name unconsciously. Like the name Seabear. We all like it a lot and now it’s kind of our ‘trademark.’ Seabear has its own sound now. So it’s more that we have made our own style, and that is Seabear.”

They’ll only be Stateside for two more performances before heading overseas, so if you have the chance be sure to catch this multi-talented group live!

April 1 – Grog Shop – Cleveland, OH
April 2 – Schuba’s – Chicago, IL

*For European tour dates, a music video from their latest album and more info on Seabear be sure to stop by their Myspace page:

The Blank Tapes

The Blank Tapes are a solo-artist-driven project headed up by Bay Area, CA resident Matt Adams.  While he does all of his recorded work independently, Adams draws on a broad circle of other musicians to create the full sound he needs when he tours.  Currently working with him are:  Steve Winchell of Childlike Divine, Indianna Hale, Aslan Rife of Honey.moon.tree, DA Humphrey, Sleepy Todd, Josh Bruner of Magic Leaves and Will Halsey of Ash Reiter.  Adams shared some musings on The Blank Tapes moniker:

“I chose the band name back in 2003 after I had just finished recording my first official album Country Western Honky Tonk Saloon Blues (not so much country, just acoustic). It had been my first album completely recorded by myself on 8 track cassette tapes (something I continue to record on to this day) and I felt like I needed a band name rather than just using my own name, Matt Adams. When I came up with ‘The Blank Tapes,’ I was just sitting around brainstorming band names until the right one popped into my head that seemed to represent my new direction. Nowadays there seems to be about a hundred other bands with the name ‘Tape’ in it, but I swear I came up with mine before I heard any of them.

l’d had a few other band names floating around for a while before I knew they were already taken, like Magic Markers. There’s been a few others that obviously never felt right, like ‘Solfeggios’ (however it’s spelled). For some reason ‘Jack & The Beanstalk’ has always sounded appealing to me although I’d hate for people to call me Jack. My theoretical stoner/trance band is called ‘Geodesic Dome Piece’.

The relationship between my band name and music is that my music is recorded on cassette tapes and I’m limited to only 8 tracks. With that format you can’t hardly do any editing or tweaking so what you play is what you get. Although recently I went into the studio with my full nine-piece band to record a live album on some computer program, so in a way I feel a bit hypocritical calling that particular recording ‘The Blank Tapes’. I don’t want to ever feel like I must only record on cassette tapes or I’m not being true to whatever imaginary rules I’ve made for myself, but for the time being it seems to work out alright. All in all I don’t really care how anything is recorded, just as long as it sounds and feels good.”

Adams’ upcoming album Home Away From Home was just released in March through White Noise and features ten new songs recorded on 8 tracks in his Oakland, CA bedroom.  For a limited time, the White Noise website is offering the whole album to download for free, so hurry on over and take advantage of some amazing new music! Adams and his crew will be hitting the West Coast through May so you can hear these new creations come to life.

The Blank Tapes
April 1 – Amnesia – San Fransisco, CA
April 2 – Ghost Town Gallery – Oakland, CA
April 3 – Blue Six – San Fransisco, CA
April 4 – Moe’s Alley – Santa Cruz, CA
April 10 – Home Heart House – Marin Headlands, CA
April 14 – Milk Bar – San Fransisco, CA


Ezra Furman and the Harpoons

Ezra Furman & The Harpoons officially debuted at Tufts University in 2006.  Despite being a young band, they’ve gained rapid popularity thanks to frontman Ezra Furman’s frenetically strong songwriting and lead vocals, backed by a troupe of talented collaborators including Job Mukkada (bass, backing vocals), Adam Abrutyn (drums) and Andrew Langer (guitar, backing vocals). Furman had a few things to share about playing with “Harpoons”:

“Well, we consulted about it for a really long time and we made no decisions, and finally somebody was like, ‘Listen, there’s a show, you need to give a name.’  So I just didn’t consult anyone and chose ‘The Harpoons’ because I wanted to be able to think of what we were doing as a big adventure.  I was reading Moby Dick and I was thinking about adventure. It’s good because it’s got an adventurous connotation, it’s got a little violence.  It’s like something you aim at—I don’t know, it reminds me of aiming at something big and majestic and lofty, like a whale.  I think it is a good thing to arm yourself with if you’re going on a kind of lonely traveling adventure, you know?

We all talked about it and we all kind of liked it.  It was just ‘The Harpoons’ at first.  It got my name tacked onto the beginning because, well, the band was worried I guess about—they had already been a previous band together and it was kind of like, who’s the leader of the band?  So the band decided to avoid that and just place me at the helm.  Kind of institutionalized it…  it’s got a nice old-fashioned ring.  I also wanted to be, you know, piercing. Who knows, you know—my subconscious brought me to harpoons and that, I think, is one of the main whales I’ve been trying to slay, swimming under the sea of this messy music career…

We don’t want to make sea shanties or anything like that.  Kind of violent and adventurous—there’s a poetic quality to it, like a lonely sailor on an adventure.”

After keeping busy with a winter European tour, Ezra Furman & The Harpoons returned to the U.S. in February to start another small round of performances, this time alongside Alec Ounsworth of Clap Your Hands Say Yeah. SXSW welcomed them back with open arms for the third year in a row, and they’ll be hitting the road again in the next couple months.  Dates and locations are TBA, so be sure to check their website and Myspace for specifics:,

Last, but certainly not least, all record buffs/nostalgia addicts take note:  they’ve just released their 2008 Inside the Human Body on vinyl—definitely one worth adding to the collection.

Link to this article:

– Britt Sondreal

BTR Live Studio: The Bright Room

Today we’re featuring an in studio performance from THE BRIGHT ROOM!
00:00 The Bright Room
00:47 Mass Games
04:27 Interview
08:13 Nomad Killers
13:16 Like You Give a Damn
17:24  Interview
19:50 Get Out Your Cheers
24:45 Furry Babies
27:58 Interview
32:48 Opaque Ages
36:01 Paper
38:48 Red Ants
42:22 Interview
43:16 Overpass

Link to show:

mr. Gnome

This week’s featured artists are Cleveland natives Nicole Barille and Sam Meister, better known as the indie band mr. Gnome. Since 2005 they’ve gained a solid fan base through intensive tours and a steady stream of albums. They began with two self-released EP’s, Echoes On the Ground (2005) and mr. Gnome (2006), and then joined forces with El Marko Records in 2008 for the release of their first full length album, Deliver This Creature. Heave Yer Skeleton was released just last year and brought the band a new level of media attention and garnered praise from a variety of industry sources, including a spot on Paste Magazine’s “Eight Criminally Underrated Albums of ’09.” With a sound that’s been fed on influences from early psychedelia like Jefferson Airplane to the more contemporary complexities of Bjork and Portishead, the only appropriate descriptor for mr. Gnome is innovative—both in what they attempt and how they achieve it.

Despite being busy with preparations for a jam-packed two month tour that kicked off on Friday (3/26), Nicole Barille took some time out to answer questions and talk about the band.

BTR: So how and when did the band form?
Barille: We’ve known each other ever since high school, but we didn’t really start playing as mr. Gnome until we both graduated from college. It was kinda like that last year where you’re trying to figure out what you’re gonna do, and we had the first opportunity to really start experimenting with music and have that free time ‘cause college was ending and everything. We actually started out as a different band, where Sam was writing all the songs and we had a couple more members, and I was just doing back-up vocals and playing lead guitar under him. Everyone else was just kind of a lot more busy and wrapped up in other stuff, and the two of us were always left alone to work on stuff. So we started playing songs that I’d been writing and I started singing a lot more and Sam started playing drums. It kind of happened just more through experimentation.

BTR: It seems like a lot of people are really struck by the way you guys interweave delicate and raucous sounds and moments into the structure of your songs. Is that something you found organically or something you consciously wanted to challenge your listeners with?
Barille: I think it really all developed naturally. I think we were very influenced by everything, and we were never the kind of music lovers to just be into one thing or the other. We always listened to heavier music, we always listened to classic rock and we always listened to indie rock, and then would go all the way back to Otis Redding and Billie Holliday. I think our love for music really spans a very large… it’s definitely not based on a certain genre or anything, so I think that started weaving into the music and the way we were writing. We never limited where a song could go. And then, not having a bass player or other musicians, I started doing more of this soft/loud dynamic just to kind of fill in those parts. I think it was just kind of a combination of the music that we love and how we started playing naturally together.

BTR: That actually ties into another question—you’ve just mentioned some of the artists that have influenced mr. Gnome. What did you grow up listening to?
Barille: When I first started getting into music, I was almost becoming a teenager and the grunge scene began. So I think that was definitely influential—when I first picked up a guitar at twelve, I was all into Nirvana and like, ‘Yeah!!,’ you know… (laughing) And that’s kind of cool, being a young kid, ‘cause when you’re listening to that kind of music it’s only based on a couple of chords so it’s definitely easy to figure out. So I think that’s what first peaked my interest, and then I kind of started getting into hard stoney stuff. When I met Sam he introduced me to the whole psychedelic side of things. His dad was a huge, huge classic rock fan and I hadn’t even listened to much Pink Floyd, so Sam got me into him and Otis Redding, and that whole side of it. And then (he) introduced me to Massive Attack and Portishead, and more female artists like Bjork that I hadn’t even really discovered yet. It was cool, just how you can be influenced by meeting someone else and being open-minded about what you’re listening to. Sam has always been more into the classic rock/indie side and I’ve always gravitated more towards the heavier stuff.

BTR: Well, you guys have found a good balance.
Barille: Thanks, it’s definitely schizophrenic! (laughs)

BTR: This might be a harder question, but how do you think your relationship to your music, to each other or to your audience has been shaped by living in Cleveland? Do you feel like there was a connection between the music scene there and what you guys were doing?
Barille: I think more than the music scene here, I would say the weather patterns. It’s almost like the people in Cleveland tend to hibernate more just because of how bad the weather gets during the wintertime and I know that we do a lot of writing. So you can have this somber feel, versus living in L.A. or San Diego or somewhere that’s 85 degrees everyday, where you might end up writing more pop-y stuff. I don’t know, I definitely attribute that to how we tap into more somber moods at times.

BTR: What do you find is unique about working as and in a duo?
Barille: I think there’s a lot of advantages and disadvantages. Like, we’ve had Sam’s little brother, he’s eighteen years old and he’s a really, really great guitar player and he played with us at our last show we did around here. He just played a couple of songs with us and I was laughing at how it’s so much easier to play with someone else! (laughs) ‘Cause when you’re playing as a two-piece, if you screw up it’s gonna be extremely noticeable. As a two-piece, you’re front and center in all your glory and in all your mistakes as well, so there’s definitely that challenging side of it. But it’s also cool because traveling around with two people, I think it’s a lot less stressful than being in a van with like six people or something, you know. And then there’s the writing advantage, I think we’re both very open with each other if we like an idea or if we don’t like an idea. I think that can kinda creep up between bands with five people, where someone may not speak up and may not like the song as much but those things just don’t get said. But with us we always say what’s on our minds, and I think the songs grow a lot quicker in that way too, because we’re never really holding back.

But definitely the live show, the live show can be intense if you’re not prepared as a two-piece, you kinda have to have your shit together.

BTR: How long do you feel like it took you to kind of find your “sealegs” as a duo performing live?
Barille: I’d say like our first, probably, year-and-a-half, it was definitely a struggle just trying to figure out how to do it, how to make it sound as full as you can between two people. When we first started out I was just playing one guitar out of a tiny amp and now I have two amps—one I use for clean, the other I use for dirty—I have a couple guitars that have a hollow body and then I have a Gibson as well… I have a couple loop pedals that I introduced the last tour, and so I started looping different vocal parts and throwing guitar parts on top of it. So it’s been really fun, it’s cool to see what you can do within two people.

BTR: With that, how do you feel like your sound has progressed since you first started? And is there another kind of sound or direction that you want to go with in the future?
Barille: I think since we’ve started, I’d like to say that we’ve evolved a whole lot. I think you always want to hope that you’re evolving, but the songs have become a lot more complete and a lot less schizophrenic. I’ll listen to our first two EP’s and it’s almost at the point where I’ll forget where we’re gonna take it ‘cause it’s so schizophrenic, you know? (laughing) You could hear us still trying to become musicians and trying to figure out what the hell we’re doing the whole time. And I think at this point, the better that you get at playing your instrument the more you can experiment and you’re not really limiting yourself to where you can take it anymore just because you’re limited on your instrument.

We have had the last couple of months off before we go on tour and we’ve been writing a whole bunch of new songs. The stuff we’ve been writing almost has a ‘60’s vibe to it, kind of tapping into that ‘60’s psychedelia, and then there’s other songs that are straightforward, like what we did on the last record. So I think it will be kind of like a combo of our last two records.

BTR: As you’re writing new material, do you intentionally listen to other music or do you try to kind of creatively hibernate?
Barille: We’re just huge music lovers so I don’t think we could just stop listening to music. I just got a record player, too, so I’m slowly becoming obsessed with vinyl. I’ve been picking up a whole bunch of records. I’ve never been one to shy away from listening to music while you’re writing—I definitely think it helps. I think that’s one of the coolest things about music, it’s just this immediate art form. A guitar only has so many frets, but to always be impressed by what someone else can do with it… just like music in general, how people keep being so innovative within one art form. So I think we’re always being inspired, especially when we’re out on the road—we always find a couple of bands that we really dig and it’s cool to be able to sit and see music every night. Especially all across the country; I think we always try to take advantage of that and really enjoy it.

BTR: Yeah, that must be really fun. I took a look at your schedule and you guys are hitting a lot of places!
Barille: Yeah, it turned into a beast outta nowhere. I think we had some days off and then all of a sudden, they kept getting filled in but we’re happy. When we’re out on the road we like to try to play almost every night.

BTR: Looks like there’s some amazing places that you’ll be—is there anywhere you’re especially excited about?
Barille: We really love the Pacific Northwest region, we’ve made a lot of friends there and it’s so beautiful. I’d never really been there until we started touring—I think we really fell in love with the Portland/Seattle area, it’s pretty unbelievable. We really dig the Southwest a lot, we like Chicago, New York, Nashville. It’s cool ‘cause the more you tour you make a lot of friends all over the country, so it’s almost like you get to visit your friends every tour you go on.

BTR: Cheers to that, Nicole, and thanks for sharing with BTR!

We’ll all keep an eye on the horizon for that next album from mr. Gnome, and in the meantime be sure to stay tuned this week as BTR plays tribute to the band. Hopefully, you can also catch our new friends on their current tour!

mr. Gnome LIVE!!!

March 29 – North Star Bar – Philadelphia, PA
March 30 – The Garage – Winston-Salem, NC
March 31 – The Evening Muse – Charlotte, NC
April 01 – New Brookland Tavern – West Columbia, SC
April 03 – The Drunken Unicorn – Atlanta, GA
April 04 – Backbooth – Orlando, FL
April 05 – The Handlebar – Pensacola, FL
April 06 – Magic City Wholesale – Birmingham, AL
April 07 – The Saint – New Orleans, LA

– Britt Sondreal