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Mid-Atlantic Regional Report
Edited by Anthony Coloneri - ester8@mindspring.com
Wetlands Power Jam
Wetlands, NYC 3/28/99By AJ Abrams
The culmination of Wetlands' 10th anniversary in February was an all star, all night, jam session aptly titled the "Wetlands Power Jam." That incredible night of music was so much fun that another Power Jam was scheduled exactly one month later. I couldn't think of a better way to kick off Wetlands' 11th year.
The outstanding list of musicians performing at this show was: Melvin Sparks (legendary jazz/funk guitarist), Aaron Comess (drums - Spin Doctors), Col. Bruce Hampton (vocals, guitar - Aquarium Rescue Unit, Hampton Grease Band, Fiji Mariners). Bernie Worrell (keys - PFunk, Woo Warriors), Jimmy Herring (guitar - ARU, Jazz Is Dead), Jeff "Apt. Q258" Sipe (drums - ARU, Leftover Salmon), Oteil Burbridge (bass - Allman Brothers, ARU), Dean Bowman (vocals - Screaming Headless Torsos, Soul Trilogy), Allan Woody (bass - Allman Brothers, Gov't Mule), Seth Feinberg (14 year-old blues guitar prodigy), Benjy Carr (bass - Deep Banana Blackout) and Eric Lawrence (saxophone).
The evening was basically six hours of nonstop music. All set breaks and band change overs were quick and painless. And the music at this show certainly did emphasize the word jam in Power Jam. Some groups of performers barely even attempted anything resembling a song. They just jammed their collective asses off. And when there were actual songs played, there were long jams in the beginning, middle and end of every tune. All set breaks and band change overs were quick and painless.
The first set featured Bernie Worrell, Melvin Sparks, Aaron Comess and Benjy Carr. The highlight of this set was Melvin. He is one of the most underrated and under appreciated guitarists in the Wetlands scene. Melvin, a jazz/funk legend in his 50s or 60s, can make one guitar sound like a full band. He has many cover songs in his repertoire and he does many of them as instrumentals, having his guitar "sing" all the lyrics. In the past I've seen him do wonderful versions of the Temptations "My Girl" and George Benson's "On Broadway" in this style.
For this show Melvin and his guitar performed an instrumental version of Sam Cooke's "You Send Me" while the rest of the band backed him up. This was quite an appropriate selection because Melvin and his guitar always sends me into a good mood. While this song is indeed a pop classic, the original version can be a boring, simple, 50s ballad. But Melvin's mesmerizing guitar serenaded the crowd with beautiful, heartwarming sounds. You could distinctly hear Melvin play every delicate, soulful note. Bernie eventually chimed in to sing the last verse or two of “You Send Me.” Other tunes this group played were “Shaky Ground,” and Melvin’s funky instrumental “Texas Twister.”
Their set ended as Dean Bowman came out to sing George Clinton’s “Can You Get To That” and Stevie Wonder’s “Boogie On Reggae Woman.” Dean’s voice sounded soulful on this tune. It was a refreshing to hear him sing serious vocals for a change. Dean usually specializes in interesting and weird vocal effects. He hoots and hollers, scats, does bird calls and assorted whistles. He eventually did some of these vocal acrobatics during jams later in the night.
Next up was a sick one hour jam session featuring Jimmy Herring, Bernie Worrell, Jeff Sipe and Benjy Carr. Words can’t really describe the far out jamming this unit was doing. They were playing what I called “power fusion” in my notes. There were lots of odd time signatures and at times the music sounded humorous and goofy. It was great to watch Jimmy and Bernie just get “out there” and jam for the sake of jamming.
The long awaited reunion of Aquarium Rescue Unit was the highlight of the night for the many ARU fans in attendance at this show. For this set ARU consisted of Col. Bruce Hampton, Jimmy Herring and Jeff Sipe. Bernie Worrell, the MVP of the evening, held down the keyboard duties. They opened up with “Compared to What” and also played “Fixin’ to Die,” “Time is Free,” “Basically Frightened” and “Cheese Frog.” At one point in the middle of a great jam the entire band played with their instruments behind their backs and heads.
While the ARU fans were delighted with the reunion of their band, some Deep Banana Blackout fans were disappointed their band didn’t materialize. All the members of DBB were in attendance at this gig. While many of them hopped on stage to jam with other musicians, DBB never played together as a group on this night. DBB fans can rest easy, however. The band is playing at Wetlands every Thursday night for the month of April.
One of Wetlands’ up and coming stars, Seth Feinberg, came on stage next to jam with the other musicians. By now it was 2:30 or so and I was getting tired. Plus I had to work the next day, so I was considering leaving. But Seth is only 14 years old. There is no way I was going to let this little kid stay out later than me. He may be a child but his guitar playing is years ahead of his age. He couldn’t even get into Wetlands to see his favorite band as a spectator, but they will sure let him in to play guitar.
He leads his own blues band here in New York City and I can’t wait to go check him out at his own gig. He is an amazing musician and destined to be a star for years to come. He immediately gained the respect of all the veteran musicians on stage. Playing this set with Seth were Oteil Burbridge, Bernie Worrell, Jimmy Herring, Aaron Comess and Eric Lawrence. Seth actually led the jam at times and he traded licks with everybody. Bernie Worrell in particular took an immediate liking to this kid. What a joy it was to watch Bernie, a Rock and Roll Hall of Famer jamming away with this boy less than half his age. Bernie continually came out from behind his keyboards, to put his arm around the youngster. At other times, he just quit playing the keyboards entirely so he could watch Seth play.
By now it was 3AM on a Sunday night and I was about to pass out from an extremely long weekend of music. I could barely stand up and my eyes kept shutting and I kept dozing off even though I was standing straight up. At some point Alan Woody came on stage and the former Allman Brothers bassist had a bass duel with Oteil, the current Allman Brothers bassist. But I was woozy, and I kept hearing what seemed like an endless version of Sun Ra’s “Space is the Place.” This song kept weaving in and out of a 30 minute jam. Sun Ra’s music is famous for being cosmic and this tune really was in fact sending me to space. But this space had nothing to do with alcohol or drugs and everything to do with lack of sleep.
As I stumbled out of the club exhausted, I could still hear Space is the Place echoing out into the street. I always pride myself on staying at shows until the final note is played. But on this night I left Wetlands a defeated man. The jam was still going strong at 3:30 and Seth, the 14 year old guitarist was still on stage. The kid outlasted me and virtually the entire audience. I wonder if his parents let him stay home from school the next day.
Blind Man's Sun
April 1, 1999 - The Haunt, Ithaca, NYby Jeff Miller
Set I: HBO ->Virtue Of Life ->How Flows the Stream -> Virtue Of Life -> Cessations -> 1…4 -> HFTS -> Cessations, Mental Affairs -> Soliloquy
Set II: Spates ->Sprockets, 1999 -> Big Blue, Fugitives, Shadows, Hamptons, 7…5 ½
Encore: Sabre Dance, Haus
April Fools day: a holiday synonymous with mayhem and madness, and loads of fun and silly pranks.
I can’t think of a better band to spend the day with than Blind Man’s Sun, whose unique mix of trained, unequaled musicianship and performance stunts is unparalleled, especially among other jambands of their ilk.
Sure, the Disco Biscuits might play a forty-five minute techno jam, but have you ever seen John Barber actually lead the audience in screaming the virtues of house music like Kevin Romanski did on the first?
Maybe Phish can bring the house down with their magnificent segues, but have you ever seen a Tweezer -> Yem -> Mikes ->Wolfman’s -> Weekapaug ->Tweezer -> Yem -> Disease in the first set of a show? Blind Man’ s Sun played their musical equivalent in the first set of their show. It’s fairly obvious to me that this is not your typical jam band.
The evening started with a set from local Ithaca boys Bottomless Salad, who got the audience grooving with their singer/songwriter/ska/funk-pop (ok, I’m a little biased—I’m in the band—but the crowd was digging it, and we played a good set.)
The haunt was at around three-quarters capacity when Blind Man’s Sun’s manager Mike Chiapetta took the stage at 11:15. “Are you guys ready for an intense and insane evening of Blind Man’s Sun rock ‘n roll,” he asked, “You are about to witness the most amazing show on earth” he then proclaimed, as Blind Man’s Sun launched into their first song, a cover of the HBO theme that is played before every movie on the cable channel.
This was the band’s first time playing the song in over two years, and despite their rustiness with the arrangement, BMS rocked the shit out of the songs usually synthetic sound. Lead guitarist Dave Chiapetta (Mike’s brother) took advantage of his new MIDI processor on this number and the second set’s version of “Shadow’s,” allowing orchestral arrangements to emanate from his solitary instrument.
“Virtue of Life,” another older tune, followed, with singer/guitarist Mark Femino enunciating every syllable like it was his last, head banging in time with Romaniski’s lyrical percussion. The song segued perfectly into the chorus of “How Flows The Stream” (from “Of the Spheres”). “HFTS” usually is played straight, with a jam that reminds me of the best “Harry Hood” jams at the end of the song, but not on April Fools day.
Instead, BMS took it back into Virtue of Life before beginning one of the group’s live staples, Chiappetta’s “Cessations.” A call and response jam between keyboardist JD Daddis and Romanski on Marimba ensued, and the band’s stop-on-a-dime arrangement skills became apparent when a pause in “Cessations” immediately became the Marimba intro to “1...4”.
“1…4” might be BMS’s best known song among their fans. The lyrics – a fable about a princess and her inadequate but lovable prince are instantly relatable and metaphoric. When Daddis sings, “Let the tears come and fall/Am I nothing at all” the pain in his voice is real; this is Daddis’s biggest strength as a singer.
The anguish of the song was all but forgotten, though, when Chiappetta took off his guitar in the middle of “1…4” and said “Forget you guys…I’m out of here.” Daddis jibed “come back here, Trey” while the other members of the stage proceeded to “quit” as well, leaving Daddis, Bassist Bob White, and Drummer Darren Gage on stage to jam on a calypso riff while the rest of the band wrestled their way back to their instruments. The April Fool was unconvincing but a great example of how silly the band can be when they want too – they feel comfortable making fun of each other without letting it go to their heads.
The set concluded with the middle section of “1…4” segueing into the end jam of “HFTS,” (a jam a friend of mine calls “music to fly to”) which became the end of “Cessations.” Most other bands would take a break at this point, but BMS continued with the super-charged romp of “Mental Affairs,” which collapsed into the operatic Italian vocal section of “Soliloquy”. The end of this song is a gospel-esque call and response audience-interactive section, and the Bottomless Salad Tabernacle Choir joined the band on stage to rejoice in the evening’s festivities.
The band headed backstage to take a breather while the audience pondered what had just transpired on stage. When BMS came out for their second set, the audience attentively watched the stage, anticipating more surprises to come.
Although the second set of the show was more musically invigorating than the first, the surprise factor was all but gone. The band began the set with Romanski’s Spates -> Sprockets, two uppity, crowd pumping numbers that, although jam free, are some of the group’s best songs. Their cover of Prince ’s “1999” segued into the new “Big Blue,” the groups only song to feature White on lead vocals. His high-pitched, nasal voice is perfect for the island-rock of the song, and Jimmy Buffett would be proud of Romanski’s restrained playing on the number.
“Fugitives” was the big jam of the night. The version played on the First easily passed the twenty minute mark, with White dominating the tone and speed of the jam and Romanski laying down a quick, impressive solo in the middle portion of the tune. “Fugitives” always gives Chiapetta a chance to shine, too, and he took advantage of his section by playing an almost percussive guitar solo.
Chiapetta’s new effects became especially dominant on “Shadows.” The expressive guitar line of the song took on new life with Chiapetta’s volume shifter, his guitar’s tone weaving in and out of the musical bed effortlessly.
The set closed with “Hamptons,” a calypso-rocker, and “7…5 ½,” a continuation of “1…4.” The audience response was overpowering, and the band walked off the stage with smiles on their faces.
Although the house lights came up and the soundman turned music on, the fans remaining in the haunt weren’t ready to leave yet. The band returned for “Sabre Dance” and “Haus,” but the board had been turned off, leaving the audience to sing the band’s vocal parts. Romanski came to the front of the stage for “Haus,” leading the audience in scatting “bum-de-bum-de-bum ska-ta.” Although many of the people left in the Haunt didn’t know the words to the song, they tried to sing along anyway, creating an anarchistic melee of vocals that perfectly complimented the song’s hardcore tone.
Blind Man’s Sun are not only the best club band around – they may be the best band on the planet, period. Their undefinable sound and unparalleled stage presence make them worth seeing anytime, anyplace – and this historic show should always be remembered as one of the best, most unpredictable evenings in their history.
Gov't Mule, The Derek Trucks Band, Frostbit Blue
March 21, 1999 - The Broome County Forum, Binghamton, NYBy Zachary Roberts
Gov't Mule Rides Through Binghamton
Even with a foot of snow falling, Gov't Mule drew several hundred fans on this Sunday night at Binghamton, NY's Broome County Forum. Supported by The Derek Trucks Band and local act Frostbit Blue, this was the Mule's second visit to this upstate southern-styled rock mecca in less than three months, and the band was clearly happier to be in the acoustically-conscious theater than at a local club.
The Mule opened their set with "Wandering" and "Thorazine Shuffle," but it took them some time to stretch out their chops. Both tunes were given very tight readings, with "Thorazine Shuffle" barely surpassing the length of the recorded version on Gov't Mule's studio album Dose.
On the instrumental "Devil Likes It Slow," however, the trio finally loosened up a bit. Warren Haynes dialed in a gritty, chorused guitar tone and layered dissonant chords over a rollercoaster bassline deftly supplied by Allen Woody, while drummer Matt Abts kept a tight groove on the skins.
The Mule also inserted a gentle swing section right in the heart of the rock/jazz mash, helping to keep fresh what is perhaps the finest of Gov't Mule's original tunes.
Haynes then introduced "Lay Your Burden Down" as the first of several new tunes they would play that night, but perhaps the most memorable thing about it was the blistering segue into "Blind Man In The Dark," one of the tunes with which Gov't Mule has found some radio success. "Blind Man" was short, tight and true to the studio cut as well, making a clear statement this early into the show; the Mule is gunning for some mainstream success, and they've got the talent and skill to back up their studio cuts on the live stage.
The first of the night's highlights came when the band launched directly into Howlin' Wolf's classic blues "Smokestack Lightning," even as the last notes of "Blind Man" still rang in the speakers. The phrase "power trio" was immediately conjured up as the Mule kicked the doors off the hall during a monster jam in the tune's midsection, with Haynes ripping off steel-melting slide guitar leads.
When Haynes returned to the groove for the verse, he stepped out from behind his mike, belting the vocals with such force that the crowd roared in response to his tremendous display of raw power.
After a quick tuning break while Allen Woody replaced his bass with a double-necked guitar/bass that he would make excellent use of for the next five songs, the night's second instrumental was played.
Bookended by teases of "Daytripper" and "Tomorrow Never Knows," the tune itself was another example of the Mule's jazz/slide-blues/rock fusion that sparkled but didn't shine.
As if punning on their previous tune, Gov't Mule then trotted out their third and final radio single, a cover of the Beatles' "She Said, She Said." Fitting the form they had already established, "She Said" was short and tight, but in many ways much more satisfying than either "Thorazine Shuffle" or "Blind Man."
The Mule's pop problem mostly lies in the lyrics, which seem to be written only as a way to get Haynes' excellent vocals into the mix. With "She Said," which has powerful lyrics the likes of which Haynes has only captured once (and why didn't they play "Soulshine"?), Gov't Mule has a true pop gem to fully explore.
With a slow and lengthy reading of Neil Young's "Cortez the Killer," Gov't Mule perhaps proved Lynyrd Skynyrd wrong - southern man does need him around. Two extended solos provided ample time for Haynes to flesh out the tune, and in what was the evening's weirdest musical statement, the Mule's jams echoed strongly of The Wallflower's "6th Avenue Heartache."
The show took a little bit of a lull with "D.I.T.D." and "Mule," two original tunes that lacked imaginative readings. Woody's bass triplets drove "D.I.T.D." like a sledgehammer, but there was nothing else too memorable going on with either song.
Gov't Mule finished their set with a pair of slower numbers, for which Woody switched to a double-necked bass/mandolin. With John Tuva sitting in on an underutilized pedal steel guitar, Dave Mason's ballad "Sad And Deep As You" received an excellent reading, with softly textured sounds working off of the superb lyric delivery by Haynes. On the show closer "I Shall Return," which also ends Dose, the band perhaps displayed a little bit of tiredness, failing to really fire on all cylinders.
For the first of the two-song encore, Haynes, Abts, and the Derek Trucks Band (minus drummer Yonrico Scott) delivered a softly beautiful version of Bob Dylan's "I Shall Be Released," and with the stage bathed in orange light, the gentle slide musings of Trucks and Haynes put the crowd into a trance.
Scott and Woody then completed the assemblage of musicians, marking the first time all tour that both complete bands have been on-stage together, as Haynes pointed out to the crowd. Perhaps there were a few too many musicians - even on the ur-standard "Good Morning Little Schoolgirl," the group had trouble lifting the blues romp past a slightly slowed, odd-tempo shuffle.
The "Schoolgirl" jam's star was Derek Trucks Band keyboardist Bill McKay, who was certainly stifled during his own set but ripped off tremendously funky leads at Haynes' behest for the show closer. The DTB set was, as a whole, somewhat disappointing, mostly because Trucks projected a weak, nervous energy into his playing.
Unfortunately lacking any subtlety, almost every note Trucks played was heavily in the forefront of the mix, and he failed to really enhance any of the keyboard and bass grooves his backup outfit delivered. I kept expecting Trucks to put his head down and rock, but he only put his head down to hide from the crowd. It was drummer Yonrico Scott who showed real inspiration in his playing, with funked out beats and jazzy polyrhythms that indicated who is really the most mature player in the DTB.
Local dueling-guitar act Frostbit Blue opened the show. Clearly excited to be playing in such a nice venue in front of a home-town crowd, the band dug into their Allmans-style tunes with several hefty jams that had the crowd cheering at the end of their set.
Seen & Heard In a Dream
By Ranisa Rubin
When you leave a concert, you probably don't notice the sucker passing out flyers for some unknown event. Maybe you're still captivated by the performance, or maybe you're too tired or drunk to realize what you are being handed.
But what you don't recognize is that this poor individual has been standing outside, rain or shine, hoping that at least one of his flyers is going to make it past the closest garbage can.
This was how Mark Davidson, founder and executive director of Seen & Heard, spent the majority of his week nights. While the rest of his friends were at parties or inside enjoying the show, Mark stood outside promoting someone elses show.
His parents thought it was only a phase. He loved music as much as the next guy. And like so many other teenagers, he dreamed of making music a career. Mark was just a little extreme about his passion. He couldn't play an instrument, but if passing out flyers would help him get closer to the stage, he was willing.
Mark started his music collection with his cousins old 45s and 8-tracks. He attended any show he could afford. Growing up in New Jersey, he traveled into New York to see bands that no one had ever heard of and some who would never be heard from again. Sometimes, he would be one of five people in the audience, The other four spectators were family members of the band; but as long as it was music, nothing seemed to matter.
When he moved to DC to attend The George Washington University, Mark continued to surround himself with music. He became the first employee of Walther Productions, an independent concert production company. He went to all shows, regardless of the time, weather, or venue,to pass out flyers. At the time, no one knew if it would pay off. He was paid minimum wage and aside from some free shows, his success was difficult to measure.
His friends thought he was crazy, but his boss reveled in his devoted employee. So Mark continued to spend his college days walking the city, hanging up posters and passing out flyers. To earn some extra bucks, he got a job selling CDs at the local Tower Records.
What no one realized was that during his flyering days, Mark was accumulating a tremendous knowledge base of music. His expansive music taste, along with selling CDs and passing out flyers had given him direct access into the music world. He had become familiar with all sorts of music styles and had the opportunity to see almost every music venue in the DC area.
And Mark was even smarter than most people thought. While waiting for shows to end to distribute his flyers, Mark took advantage of his position. He spoke to bartenders, bar managers, and bar owners. They admired his passion for music and were attracted to his laid back amiable personality. Soon, Mark was recognized anywhere where music was played. He was given free sound board lessons, the chance to manage the stage at an outdoor music festival, and the opportunity to work on the HORDE tour. Along the way, he made and maintained countless friendships and contacts within the music industry. And his knowledge continued to grow. Mark soon realized that his poster hanging days were coming to an end.
Mark combined his compilation of knowledge and background experience with his innate musical intuition. He began to seek out local musicians. "Music is music," he said, "any individual with an instrument deserves the chance to be heard." Sometimes on the metro or randomly on the street, Mark would strike up a conversation with someone that looked like a musician. His knowledge and passion beamed through and instantaneously, people recognized that Mark knew what he was talking about.
As he began to accumulate demo tapes Mark learned that not just anyone can succeed in the capricious music industry. "I have listened to enough tapes to recognize talent." Mark even took a job as the manager of a local cabaret singer. He acknowledged that "cabaret may not be my number one preference but its still music."
While Mark started to do independent work with small bands, he was hired at The George Washington University Advertising Department. This current job entails working with yet another aspect in the promotion of events. This time, he was experiencing the administrative and bureaucratic world while establishing news ties with regional and national media.
Even with a full-time job, Marks musical ambitions were still alive. In his spare time he continued to attend four to five shows a week. At GW, he became a loyal internet user visiting musicians and producers web pages. His aspirations were growing every day. "I want to put together a minor league in music - to give talented bands the opportunity to be seen and heard."
And then, the musical gods placed the tape of Brother Chameleon into his hands. Mark said the tape was like a gift. "The band combined my own musical taste with what I thought other people would like." His emotions ran wild. He couldn't formulate the words to express his excitement. "I cant explain it, I just felt it."
This was the catalyst that inspired Mark to apply all of his eclectic experiences and show the music world what he had to offer. He realized that all of his lonely musical excursions were paying off. "Every thing I had done, every job that I took, and every flyer that I passed out, suddenly seemed justified. They were all steps taking me to this point." And just like that, Seen & Heard was born.
Mark had written press releases and promoted shows. He had worked behind the scenes and helped direct shows. "But these were all other peoples shows," Mark remembered. "Now it is my turn." And in the fall of 1998, Mark established Seen & Heard, a concert production and music management company. With Boston-based Brother Chameleon as the company's first client, Mark, age 23, suddenly had his own company, and the business cards to prove it.
With the "Sell Your CD Showcase", in February, Mark officially placed Seen & Heard on the map. In an effort to blend the two worlds of record stores and music venues, Mark booked, promoted, and produced his first show. Brother Chameleon, joined by DC-based Boogiehawg, were able to first introduce their music at an in-store performance at Tower Records and then perform in front of a live audience. Over 275 people packed the small music venue to witness Seen & Heards first concert series.
In one whirlwind of a month Seen & Heard grew. Bicycle Thieves and uLu contacted Mark and are currently working on shows for this April, including one at DCs State of the Union.
Mark is constantly looking for new bands. He is in the process of creating a web site and a mailing list. He plans to set up his own tour and to keep discovering new and talented bands. Already, bands are starting to contact him. "It's all new to me so every concert, every business card, and every phone call still excites me."
As the company continues to evolve, Mark promises that Seen & Heard is just getting started. He sees that the DC music scene is wide-open and vows to make sure that his presence is felt within the music industry. Marks message: "I am for real. I may be young but I have what it takes and I plan on sticking around."
For more information on Seen & Heard contact the office of Seen & Heard at 202/462-3232 or markd@gwu.edu.
Seen & Heard Upcoming Events:
April 1999
15th - Brother Chameleon @ Giles Café (w/Triple Fat Goose)
22nd - Bicycle Thieves @ Tower Records - D.C. 12:30 pm
22nd - uLu @ State of the Union (D.C.)
22nd - Brother Chameleon @ Sugarshack (MA)
23rd - uLu @ Tower Records - D.C. 12:30 pm
23rd - Bicycle Thieves/uLu @ Froggy Bottom Pub (D.C.)
23rd - Brother Chameleon @ Assumption College (MA)May 1999
1st - Brother Chameleon @ Tufts University (w/ Ben Folds Five)
6th - Brother Chameleon @ Giles Café (MA)
15th - Brother Chameleon @ Roosevelt's (MA)
21st - Brother Chameleon @ Giles Café
Deep Banana Blackout Tour Dates:
4/15 Wetlands Preserve "BOOT CAMP" 18+ w/ very special guests
4/16 Wobbly Barn, Killington, VT 21+
4/17 Wobbly Barn, Killington, VT 21+
4/21 Arch St. Tavern, Hartford 21+
4/22 Wetlands Preserve "BOOT CAMP" 18+ w/ very special guests
4/30 Southport Hall. New Orleans, LA 18+
5/6 Peasants, Greenville, NC 18+
5/8 Washington & Lee University, Lexington, VA
5/13 Toad's Place, New Haven, CT All Ages
5/15 Higher Ground, Winooski, VT 18+
5/19 Shenanigan's, Norwalk, CT 21+
5/22 All Good Festival, Brandywine, MD http://www.walther-productions.com/
6/19 Gathering of the Vibes, Bridgeport, CT
6/20 Gathering of the Vibes, Bridgeport, CT http://www.ttapes.com
Tickets on sale April 1
6/21 Yellow Kittens, Block Island, NY 21+
6/22 Yellow Kittens, Block Island, NY 21+
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