Archive for the “Performers” Category
Posted by Chris Becker in Classical Music, Commissions, Composers, Concerts, Contemporary Classical, Houston, Performers, tags: Alexandra T. Bryant, barbecue, Dr. Daniel Kramlich, Duo Scordatura, George Heathco, Houston, Jack Benson, Jordan Kuspa, Luke Dahn, Texas, viola, Violin
Houston, TX – There’s no question that Houston’s proponents of contemporary music are enthusiastically embracing creative marketing concepts and alternative venues for performances in an effort to expand and educate a new century of audiences. In an un-zoned city like Houston, I find that musicians and audiences will happily cross so-called genre and cultural boundaries especially if there’s promise of a good time (Texas barbecue can help too, but that’ll be another entry…). Much to my delight, I am seeing familiar faces when I’m out at performances of new music be it in a gallery in the Third Ward, a club in Montrose, or the Hobby Center’s Zilka Hall. Although I’ve only been living in Houston for short time, I feel a sense of connection to what is a pretty broad cross section of the city’s creative community.
Duo Scordatura violinist Nicholas Leh Baker
One of the familiar faces I see around town is Houston composer George Heathco, who hipped me to what will be an exciting concert of contemporary pieces for the violin and viola, including three (!) world premieres, performed by the duo of violinist Nicholas Leh Baker and violist Faith Magdalene Jones who call themselves Duo Scordatura. The concert takes place Saturday, January 29th at 6pm at First Presbyterian Church, located at 5300 Main Street. Tickets for concert are $10 for general audiences and $5 for students, children, and seniors.
The concert, titled COMMISSIONED, includes four works commissioned by Duo Scordatura, including works by Alexandra T. Bryant, Luke Dahn, George Heathco, and Dr. Daniel Kramlich. Part of the creative marketing for COMMISSIONED includes the Commissioned Project Interview Series featuring the duo and commissioned composers discussing the collaborative process that takes place between composers and the performing musicians.
Composer George Heathco
Heathco describes his programmed piece Turbine (2010) as “a bitch to play, but…a very entertaining work (or so I hope).” Also on the program are pieces by Jack Benson and Jodran Kuspa.
All of the composers on the bill either currently or have at one point called Houston their home and, according to Nicholas Leh Baker in his video interview, will all be present at the performance. Duo Scordatura is committed to presenting works “in a wide range of venues across the Houston landscape.” I look forward to hearing them next Saturday at First Presbyterian Church, and in the future wherever their mission takes them.
8 Comments »
[Ed. note - Welcome our newest contributor out in the City of Angels, Paul Bailey. Paul is a composer, trombonist and teacher, leader of the Paul Bailey Ensemble, and a good friend to boot. Paul's own work draws quite a bit on music and culture outside both the standard university and powdered-wig crowd, has a deep dislike of pretention, and has no problem calling them like he hears them.]
For the last week I have been at a loss for what to say about the music presented by the Argento Chamber Ensemble at their concert January 10th at the Zipper Hall “Monday Evening Concert Series.” It was obvious that the stage was filled with a plethora of world-class musicians who throughout the evening ably demonstrated that they all had achieved the very pinnacle of technique on their respective instruments. But with all that musical dexterity to go around I was mostly left cold by the music presented and was even more disappointed that for the last ten years many of new music concerts that I have attended in Southern California (and more specifically at Zipper Hall) seem to equate complexity with aesthetic and artistic depth.
The concert opened with Brian Ferneyhough‘s La Chute d’lcare, which featured an Olympic medal–deserving performance by clarinetist Carol McGonnell, whose effort was minimized by the disjointed orchestration and impenetrable form. Although I didn’t find their performance lacking, after a while the virtuosity being displayed seemed to reflect a video game in which the ensemble plays each successive level of complexity to increase their score.
For me, Joanna Chou‘s solo piano performance of Gerard Pesson‘s La Luminiere n’a pas de bras pour nous porter was the standout performance and composition of the evening. Based on an asymmetrical toneless ostinato, which alternated with white note tone clusters, this was the evening’s best example of “less is more.” Pesson’s other two pieces — La Vita e come l’albero di Aantale (piano and violin) and Non sapremo mai di questo mi (piano, flute, and violin)—were well performed, mercifully short explorations of piano ostinatos which contrasted with the extended performance techniques for piano and flute.
Ending the first half of the concert was Salvatore Sciarrino‘s Let Me Die Before I Wake, which again featured Miss McGonnell’s clarinet expertise (mostly through whispered tones). Although the piece was described by the composer as having “mysterious links with darkness: every bit of light is distilled,” the performance became more of duet with the intermittent dulcet buzzing drones of a slowly dying fluorescent light which I eventually preferred this impromptu duet instead of the more organized solo clarinet performance emanating from the stage.
The second half of the concert featured the much-heralded Fausto Romitelli‘s Professor Bad Trip. Other than some vague reference in the score to Henri Michaux’s experiences under mescaline and four pedantic announcements introducing each section (“Lesson 1,” “Lesson 2,” “Lesson 3,” and “Lesson 4″), it was left open what morals we might ascribe from this evening’s performance. The effect of having an announcer speak at the beginning of each lesson seemed to me about as aesthetically pointless as having an usher come out to tell us when the concert was over. (Not that musically there were any clues as to when each section was complete.) Like much of the evening musicians started and stopped without much discernible development of the musical elements. In many ways Professor Bad Trip was like a listening to wind-up box of 12 instruments chattering independently which somehow happened to stop together every 10-15 minutes.
[Some video of a 2008 performance by the Fiarì Ensemble:]
On a more positive note I can say that the ensemble (and the sound engineers) expertly handled mixing the acoustic and electronic instruments. From personal experience, it’s very hard to decide how to blend these disparate sound sources. Their decision to play through a PA and to degrade the guitar sound through pedals so it would blend better (which it did) worked pretty well. My only problem was at times hearing the guitar out of the center PA above the stage instead of from where the guitarist was sitting, but not a big deal overall. I also felt that Jay Cambell‘s loquacious electric cello jamming was diminished by his awkward switch back to his Ars Antigua violincello. After rocking out, it works better if you acknowledge the audience when switching instruments.
With that point I should wrap up and get to my main frustration with the whole evening—and many other new music evenings I have witnessed. “Witnessed” is really the point, because with very little interaction among the musicians, and only a brief introduction to begin, our part was basically to sit silently for over 2.5 hours and listen to some of the best technical musicians that the academy and conservatory system produce. A little of this music goes a long way, and I know that if I brought many of my friends to a show like this they would have no frame of reference on which to hang their ears. Maybe the problem still is, as Milton Babbitt said, “Who Cares If You Listen”… but in 2011, I’m still hoping that we can move beyond such ivory tower dogma.
Please don’t get me wrong: I’m not suggesting that art music necessarily has to entertain, but it does need to engage its audience. The music presented in this concert would be unintelligible to all but the most select and die-hard audience, and by now isn’t it obvious that such complexity only obscures the intended meaning, and that the implied depth is only superficial? As a performer I also know how exhilarating performing technically challenging music can be, but as an audience member it was about as engaging as watching a seven-year-old shred on Guitar Hero.
17 Comments »
Posted by Armando Bayolo in Chamber Music, Concerts, Contemporary Classical, Electro-Acoustic, Events, Experimental Music, Festivals, New York, Performers, tags: Concerts, Electro-Acoustic, Events, Experimental Music, Festivals, New York, Performers
On Monday, January 24, 2011 at 8:00 p.m. at The Bushwick Starr in Brooklyn, violist Wendy Richman of the International Contemporary Ensemble (ICE) will present “Viola & “, the first program in her “Vox/Viola” project, in which she presents new and important works for singing violist and/or electronics. The program features works by Arlene Sierra, Lou Bunk, Hillary Zipper, Kevin Ernste, Kaija Saariaho, Giacinto Scelsi and Sequenza21’s own Senior Editor, Christian Carey. I caught up with Ms. Richman via email to speak with her about the project’s origin and her interest in performing “one-woman duos.”
“It’s not entirely fair for me to say all the pieces are one-woman duos,” she says. “There’s a very active partner, sound designer Levy Lorenzo, doing much of the program with me.” The idea for these programs goes back several years, growing in part out of Wendy’s involvement with a number of composer friends who happened to work extensively with electronics, but “also because I liked the idea of having a recital program that was totally self-contained. In my imagination, I could pack my laptop, mic, and a pedal, meet with a sound guy for 10 minutes, and—bam!—the show would go perfectly.”
The reality of doing recitals with live electronics proved more complicated than Richman imagined, however, until she met Lorenzo while performing Kaija Saariaho’s Vent Nocturne at an ICE Saariaho portrait concert in New York’s The Tank, where Lorenzo was the audio engineer. “I really experienced the piece differently during that performance. Levy is a fantastically sensitive musician, in addition to [having] great technological skills. Maybe it was in part the rather cramped quarters of the Tank, so we were essentially onstage together, but I’d never really approached playing this music as a duet. Now, it’s really important to me to approach it that way, so the electronics part is not only ‘live’ but ‘alive’.”
“About five years ago,” she adds,” I began playing Scelsi’s Manto, a three-movement work whose movements can be played separately, all together, or in any pairing. The last movement’s instruction states that it is for ‘altiste/chanteuse (necessarily female),’ and ‘the text is a speech of the Sibyl [a prophetess or seer].’ I was learning the piece during a really hard time in my life, when I was recovering from a bad accident, and I think I was looking for music that really spoke to me. Well, the Scelsi did! I guess I was speaking/chanting to myself, (because) it was the first piece in a long time that I had an extremely visceral response to, and that particular commitment seemed to speak to audiences. I received really positive feedback about it and began to feel that it was my piece.”
While there are a number of violinists who sing and play at once (Courtney Orlando of Alarm Will Sound and Monica Germino, of the Dutch group Elektra come to mind), singing violists remain something of a rarity. “I knew that there were some other string players who had done similar things but hadn’t heard much about viola/voice works aside from the Scelsi, and basically I just thought it would be a fun project for me to do.”
So at the urging of the composer Ken Ueno, Ms. Richman embarked on blazing a trail as a singing violist commissioning a number of composers to write pieces for her. The commissioning process, she says, was refreshingly informal and casual. “I talked to composer friends and told them that I don’t have any money (yet!) but that I’m fairly confident I can get a decent number of performances. Their responses varied, of course, but for the most part they were all interested and it was just a matter of time (many had paying commissions that would obviously take priority). I currently have eight finished pieces (three of which are being premiered on the 24th), and a total of about twenty composers who have committed to writing things over the next few years.”
The group of composers on the “Viola & “ program represents a highly eclectic and diverse group. This may seem unusual, but it stems from Ms. Richman’s refreshingly open and friendly approach to commissioning new works. “After hearing (a composer’s) music and liking it, the most important thing for me is that I like the composer (himself) and want to work with (him). In some ways, that’s more important to me, because they might find themselves making stylistic adjustments anyway given the relative newness of the genre to them. I needed to feel like we connected as friends so I could be really comfortable in the collaborative aspect of the project.”
Violist/vocalist Wendy Richman and Engineer Levy Lorenzo
Part of The Forge’s Forgefestival
Monday, January 24, 2011 at 8:00 p.m.
The Bushwick Starr
207 Starr Street
Brooklyn, NY 11237
Info Line: 201.875.8573
2 Comments »
Posted by Chris Becker in Composers, Contemporary Classical, New York, Opera, Performers, Premieres, Women composers, tags: Andrea Liberovici, Apollo Theater, Helga Davis, Jeffrey Zeigler, Mephisto's Songs, multimedia, paola prestini, Robert Wilson, Salon Series
This Friday and Saturday October 22 and 23, Andrea Liberovici’s multimedia work Mephisto’s Songs premieres a part of the Apollo Theater’s Salon Series. I’m not familiar with Liberovici, but I am familiar with Mephisto’s featured performer singer Helga Davis. In addition to Ms. Davis’ amazing vocals, the piece includes recorded narration by Robert Wilson and cello improvisations by The Kronos Quartet’s awesome Jeffrey Zeigler. Live musicians for this performance include Clarice Jenson (cello), Fred Cash Jr. (bass), and Abe Fogle (drums).
Some of you may be familiar with Helga Davis as a host of WQXR’s Overnight Music. She works frequently with composers Paola Prestini and Bernice Johnson Reagon who, in collaboration with Robert Wilson, created the critically acclaimed opera The Temptation of Saint Anthony with Davis singing the role of Hilarion. And some of you truly hip folks may know that she sings on two scores I composed for dance, Like Dirt for Racoco Productions and La Spectra for Movement Pants Dance. Davis is also a distinctive and powerful composer. Her solo shows combining song, spoken word, theater, and video at venues that include New York City’s Whitney Museum or Galapagos are not to be missed.
Check out the Apollo Theater website for ticket information for their Salon Series. An article about another one of Liberovici’s recent projects can be found here.
3 Comments »
Posted by Chris Becker in Contemporary Classical, Electro-Acoustic, Experimental Music, Flute, Houston, Improv, Percussion, Performers, Sound Art, Women composers, tags: Avant Garden, Doggebi, Flute, Houston, improvisation, Labotanica, Michelle Yom, sound installation, Women composers
Pyramid and Michelle Yom at Labotanica (Houston, TX)
This Friday, October 1st at 7pm, Michelle Yom will present her sound performance installation Back To Imagined Spaces at Houston’s alternative arts and music venue Labotanica located at 2316 Elgin Street. This is a part of Labotanica’s ongoing Hear/Her/Ear series spotlighting women in experimental music.
I got a chance to hear Michelle last month in a solo vocal set at Avant-Garden where she recorded and looped her singing in real time to additively build a series of haunting chorales. Michelle is perhaps best known as a flautist with a strong classical technique and the skills and imagination of a great improviser. Her flute and drums duo Doggebi features Michelle with drummer Spike The Percussionist – a musician I name checked in my Houston Mixtape #3: The Epicenter Of Noise – freely and (almost) breathlessly improvising music that is somehow stark yet filled with a minutiae of details.
Back To Imagined Spaces imagines the human body as a collection of cells that sing and are heard in a “self-imposed timeless space” contained within the pyramid Michelle has constructed inside Labotanica. Regarding the music she will perform, Michelle writes: “The first set is a series of staccato vocalizations with syllables from the mantra, Asato Ma Sad Gamaya, processed through seven delays. The second set will be a live performance of tonal pieces titled Heart, Ears, Kidney, and Stomach, also using vocal sounds. The pieces are intended to capture a version of imaginary but prudent sounds, much like taking a microscope and focusing the lens into singing, living cells.”
Also on Friday’s program are performances by artist, vocalist and electronic composer Melanie Jamison and Labotanica’s tireless curator, visual and sound artist Ayanna Jolivet McCloud.
There is a $5 cover charge for the show. All proceeds go to the musicians. Michelle Yom’s installation will be up October 1st through October 9th, 2010.
2 Comments »
In this space just a year ago we told you about Asphalt Orchestra‘s Lincoln Center Out of Doors hit-the-streets, in-you-face debut last summer. Well, what a year they’ve had! In August they performed during lunchtime at Philadelphiaʼs 30th Street Amtrak Station; it’s a testament to the band’s transcendence of genre that The Philadelphia Inquirer named that show one of the 10 Best Classical Performances of 2009, even though it took place in a train station and featured almost no classical music! In late 2009 the band was selected to play the official opening of Lincoln Centerʼs newest space, the David Rubenstein Atrium, and garnered even more critical hoo-hahs. Their ever-changing set list now includes commissions from Tyondai Braxton of Battles, Stew and Heidi Rodewald of The Negro Problem and Passing Strange, celebrated Balkan musician-composer Goran Bregovic, as well as new arrangements of Björk, jazz legend Charles Mingus, Swedish metal pioneers Meshuggah, the eminent American experimental composers Conlon Nancarrow and Frank Zappa, the playful Brazilian songwriter Tom Ze and the iconic Zimbabwean artist Thomas Mapfumo.
AO brings together some of the best rock, jazz and classical musicians in New York City and beyond: Jessica Schmitz (piccolo), Ken Thomson (saxophone), Peter Hess (saxophone), Alex Hamlin (saxophone), Shane Endsley (trumpet), Stephanie Richards (trumpet), Alan Ferber (trombone), Jen Baker (trombone), Kenneth Bentley (sousaphone), Yuri Yamashita (percussion), Sunny Jain (percussion) and Nick Jenkins (percussion). Is it classical? Yes. Is it rock, prog, jazz, world-party street band? Yes. Is it useless to try and pigeonhole this vital bridge between the arty and the party? Yes.
All this is to tell you that Lincoln Center Out of Doors is back starting tomorrow, Aug 4th, and AO can be found there again doing their gloriously noisy thing Wednesday through Sunday this week. Head to AO’s website for daily event details.
Among their here-there-and-everywhere, they’ll be premiering new commissions by David Byrne and Annie Clark, and Yoko Ono (they’ve been rehearsing with both Ono and Byrne the past weeks). If that weren’t enough, following their own set on August 5th they’ll be featured in the Taylor 2 performance of Paul Taylor’s piece “3 Epitaphs,” in celebration of Taylor’s 80th birthday. Appearing with the company’s dancers, the band will premiere new arrangements of pieces originally played by the Laneville-Johnson Union Brass Band.
But wait, there’s still more! AO’s eponymous first CD on Cantaloupe Music just dropped today, allowing happy listeners around the world to hear much of this music. The recording was made live-in-studio at Water Music Studios, Hoboken, NJ, in August 2009; here’s the tracklist:
1. Frank Zappa: Zomby Woof
2. Goran Bregovic: Champagne
3. Charles Mingus: The Shoes of the Fisherman’s Wife Are Some Jive Ass Slippers (arr. Jose Davila)
4. Meshuggah: Electric Red (arr. Derek Johnson)
5. Bjork: Hyperballad (arr. Alan Ferber)
6. Stew and Heidi Rodewald: Carlton
7. Tyondai Braxton: Pulse March
1 Comment »
There’s a lot of shock and sadness in the Mexican classical community just now: last week one of the finest violists in Mexico and the world, Omar Hernández-Hidalgo, was found dead in his hometown of Tijuana, four days after apparently being kidnapped. A principal violist by the age of 21, Grammy-nominated twice, the first violist in his country to recieve a PhD. (at Indiana University), praised by Pierre Boulez, Hernández-Hidalgo was a champion of contemporary music, especially the new and vital in his own country. While his technique was commanding and virtuosic, his own personality was warm, modest and endlessly generous. He was in the midst of a demanding schedule of performances and festivals right up to his disappearance, and the sudden hole his senseless death leaves in the Mexican musical soul is keen and intense. Our hearts go out to his colleagues, family and friends, along with our hopes for sanity, peace and determination to stand for a world that will not stand for this kind of evil. RIP.
39 Comments »
Posted by Steve Layton in Canada, Chamber Music, Commissions, Composers, Concerts, Contemporary Classical, Electro-Acoustic, Experimental Music, Music Events, Performers, Post Modern
A few of the of the unusual and interesting events coming up soon, soon soon:
Victoria, B.C. : Wednesday May 12th, 8pm at Knox Presbyterian Church (2964 Richmond Road, Victoria / $10), LaSaM (Luminosity and Sounds by adventurous Musicians) is presenting a program titled “And Beethoven Heard Nothing“. As they tell it, the show will be “exploring Beethoven’s inherent belief systems, his deafness and the sonorities of his later work. Sonic phenomena; tinnitus and deafness; acoustic space, climax and stasis; memory and silence… The ensemble has pulled experiences of Beethoven’s thought and music through the filters of contemporary soundscape and performance practice into an evocative environment of dancing shadows, image and light.” Directed by musicologist Dylan Robinson and composer Tina Pearson, with technical direction by George Tzanetakis and live video projections by Tim Gosley. Besides Pearson (flute, voice, glass) and Tzanetakis (clarinet, saxophone) collaborating musicians include Chris Reiche (piano), Cathy Lewis (voice, percussion), and Alex Olson (bass). Island Deaf and Hard of Hearing Society will be on hand with information; the performance will be followed by a discussion about the project, and about how we use our ears in contemporary urban life.
. . . . .
Baltimore, MD : Friday May 14th is the kick off for the 2010 edition of the Megapolis Audio Festival, running all the way through Sunday the 16th. Right from the horse’s mouth, there’ll be ”circuit bending /noisemaker constructions, sonic slumber parties, free-form audio editing sessions, kickass musics, interactive demonstrations, urban sonic explorations, experimental musical practice and theory, film with funfun sounds, musical performances, subversive audio tours, (un-boring) lectures, and moremoremoremore.”
The line up
is mind-boggling in its scope, filled not only with listening but workshops, installations, player participation and likely wild parties hither and yon. A special shout-out to my composer friend Erik Spangler
, who in his alter-ego known as DJ Dubble8
will be working with Baltimore’s intrepid Mobtown Modern
. . . . .
Toronto, ON : Saturday, May 15th is the day to catch Contact Contemporary Music: Six Team League at the Music Gallery (197 John St., Toronto / 416-204-1080 / $20).
In celebration of Canada hosting the 2010 Winter Olympics with a nod to the National Hockey League’s “Original Six,” Contact Contemporary Music is pitching in with an ambitious attempt to connect the country through music. Six ensembles across the country will simultaneously present and perform a concert of six new works by six composers from six regions of the country in a musical sweep from sea to sea to sea.
The participating ensembles are the Motion Ensemble (Fredericton, NB) who have commissioned composer Joel Miller; Bradyworks (Montreal, QC) who have commissioned composer Michel Frigon; St. Crispin’s Chamber Ensemble (Edmonton, AB) who have commissioned Dave Wall; Redshift Music (Vancouver, BC) who have commissioned Jordan Nobles; and Contact Contemporary Music who have commissioned Juliet Palmer..
Six composers. Six ensembles. Six cities. Six concerts. Six Team League.
. . . .
Saint-Gilles, Belgium : Also on Saturday, May 15th, 8pm but half a world away (Maison du Peuple de Saint-Gilles, Parvis de Saint-Gilles, 37-39), the brilliant pianist Stephane Ginsburgh will be joining many other wonderful musicians, in a free concert titled “Constellations-Figure“. A clumsy translation:
What is a constellation? A design, a network. Links forged between the points seen from afar, but apparently close. They are a familiar and enigmatic. A graph that tells us about relationships, geometric and experienced. Paths traced between places and individuals symbolic or real. What form a constellation? The proximity of the points or the path of truth? Twenty artists are encouraged to draw their constellation, while participating in the figure which will rise by the force of things. Do you like the Milky Way?
Did I mention many other wonderful musicians? It’s a “Night of Soloists”: Jean-Michel Agius (voice), Primitiv (beatbox), Laurence Cornez (piano), Tom De Cock (percussion), Fabian Fiorini (piano), Stephane Ginsburgh (piano), Philippe Liénaert (piano), Céline Lory (piano), Barbara Mavro Thalassitis (voice/dance), Laurence Mekhitarian (piano), Gerrit Nulens (percussion), Isabelle Roeland (voice), Jessica Ryckewaert (percussion), Jan Rzewski (saxophone), Johanne Saunier (voice/dance), Laurence Vielle (voice), Gilles Wiernik (voice). It’s a cryptic but promising event, in a beautiful and historic location.
Making the classical aspects of the burgeoning indie classical movement abundantly clear, crossover albums are now crossover marketing musical scores. Via his website, composer Owen Pallett has released a limited edition score for the music on Heartland, his latest Domino recording.
Joined by the Czech Symphony Orchestra and a host of guests (including composer Nico Muhly) Pallette has crafted his most consistently engaging music to date. In some critical circles, indie classical has, rightly or wrongly, been under the microscope for making pop into a ‘longhair’ genre, robbing it of its immediacy in favor of overt sophistication. I’d submit that this vantage point doesn’t give enough credit to indie audiences, who seem to be just fine grappling with orchestral arrangements by Pallett and electronic experiments by Animal Collective alike.
What’s more, recordings like Heartland amply demonstrate that one can, if they’re talented, craft sophisticated music that has just as many catchy hooks as a three-chord, three-minute anthemic single. A case in point is the loop-laden and jaunty “Lewis Takes off his Shirt;” the music, and the video below, suggest that pop can indeed combine sophistication with immediacy, and that its orchestral incarnation can be downright cheeky!
For those of your with a case of ‘artifact avarice,’ the full orchestra score for Heartland is $46 and has been printed in a limited run of 300. In addition to the music it also provides lyrics and a chart of diagrams of patches for the ARP 2600.
Owen Palett’s touring a bunch in support of Heartland. Here are some dates:
04-08 Toronto, Ontario – Queen Elizabeth Theatre
04-10 Chicago, IL – Lincoln Hall
04-11 Minneapolis, MN – Varsity Theater
04-12 Milwaukee, WI – Turner Hall
04-13 Columbus, OH – Wexner Center
04-14 Pittsburgh, PA – Andy Warhol Museum
04-15 Washington DC – Black Cat
04-18 Indio, CA – Coachella Festival
04-20 Boston, MA – Institute of Contemporary Art
04-22 New York, NY – Webster Hall
04-24 Baltimore, MD – Metro Gallery
04-25 Philadelphia, PA – First Unitarian Church
04-27 Atlanta, GA – The Earl
04-29 Dallas, TX – Granada Theater
04-30 Austin, TX – The Mohawk
05-05 San Francisco, CA – The Independent
05-08 Seattle, WA – The Crocodile
05-09 Vancouver, British Columbia – The Vogue Theatre
05-10 Victoria, British Columbia – Alix Goolden Hall
05-11 Portland, OR – Aladdin Theater
05-13 Salt Lake City, UT – Kilby Court
05-14 Denver, CO – Larimer Lounge