Artist Development and Exposure–Specializing in Modern Rock Radio Promotion






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Swedish rock duo Johnossi is gearing up for their first US release since their self-titled debut came out here in 2007. "Transitions" is the band’s fourth full-length studio album and for it the band added some strings and invited The Soundtrack of Our Lives founding member and kebyboardist Martin Hederos to join them in the studio. In addition, they enlisted the help of Peter Bjorn and John’s Bjorn Yttling (Lykke Li, Franz Ferdinand, Shout Out Louds) and Miike Snow’s Pontus Winnberg to act as executive producers.

John Engelbert (vocals, guitar) and Oskar “Ossi” Bonde (drums) aka Johnossi assembled this illustrious team to help them expand their sound. They not only wanted to grow sonically, but they wanted to bring trusted and experienced musicians and producers into the fold in order to give them a fresh perspective. While not a complete departure from their earlier releases, "Transitions" reflects the band’s evolution since forming more than eight years ago and while they could not have made this album back then, it still is very signature Johnossi.

Johnossi’s first two albums – their self-titled debut and 2008’s "All They Ever Wanted" - gave the duo a solid start. They amassed a devoted following and they earned critical acclaim. The third album, 2010’s "Mavericks" was certified gold and earned Johnossi a Swedish Grammy Award for “Best Group”. The tours that followed these releases included a US tour in 2007 with the Shout Out Louds, a 2009 tour of Japan with The Hives and extensive touring in Sweden and Western Europe both as a headliner and supporting other Swedish acts such as The Soundtrack of Our Lives and Mando Diao. Furthermore, Johnossi’s sound both recorded and live belies their two-piece set-up and over the years they’ve cemented their reputation as one of the best and most explosive live bands around.

Their new album, "Transitions", is really a continuation of the Johnossi story and both John and Ossi see it as a natural progression. “Transitions is, as we see it, about us as a band,” explains Ossi who goes on to say, “it tells about the journey we made since we started as young guys in our 20’s.” For the US release of "Transitions" (out 4/29), the label expanded the track listing with a few additional songs that have never been released before in the US including the band’s biggest hit to date “What’s The Point.”

Listen: "What's the Point"  





5/06 The Blue Note - Columbia, MO*
5/07 Mercury Ballroom - Louisville, KY*
5/08 The Madison Theater - Covington, KY*
5/10 Egyptian Room - Indianapolis, IN*
5/12 Marathon Music Works - Nashville, TN*
5/13 Track 29 - Chattanooga, TN*
5/14 Music Farm - Charleston, SC*
5/15 The Buckhead Theatre - Atlanta, GA*
5/16 Ponte Vedra Concert Hall - Jacksonville, FL*
5/19 The Fillmore - Charlotte, NC*
5/20 The Orange Peel - Asheville, NC*
5/21-22 9:30 Club - Washington, DC*
5/25 Sasquatch! Music Festival - Quincy, WA
5/28 The State Theatre - Kalamazoo, MI#
5/29 Masonic Auditorium - Cleveland, OH#
5/29 Nelsonville Music Festival - Nelsonville, OH
5/30 Stage AE - Pittsburgh, PA#
5/31 Nelsonville Music Festival - Nelsonville, OH
6/2-3 The National - Richmond, VA#
6/04 Ram's Head Live - Baltimore, MD#
6/07 Governors Ball - Randall's Island, NYC
6/08 Mountain Jam - Hunter Mountain, NY
6/19-22 Firefly Festival - Dover, DE
7/12 Green River Festival - Greenfield, MA
7/18 Nightfall Summer Series - Chattanooga, TN
7/20 Forecastle Festival - Louisville, KY
7/26 Newport Folk Festival - Newport, RI
8/01 Lollapalooza - Chicago, IL
8/8-10 Outside Lands - San Francisco, CA

*w/Tegan and Sara
#w/The Head and the Heart




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Lucius knew from the start they were on to something special. Centered around the powerful voices and compelling songwriting of Jess Wolfe and Holly Laessig, the Brooklyn band has evolved from a promising duo into a dynamic quintet whose debut "Wildewoman" is lauded by The New York Times as “an art school take on girl group soul.”


Hailed by The Boston Globe as “the most welcome addition to pop music this year”, "Wildewoman" ­­has landed on numerous critics’ year-end best of lists. Admired by PASTE for its “strong song structures, substantive lyrics and precise playing” and included in NPR’s top 50 albums of 2013, Lucius pairs the synchronous vocals of Wolfe and Laessig, who play synth and keyboards, with guitars and drums from Dan Molad, Peter Lalish and Andrew Burri. Together, they make music that evokes classic girl-group pop and iconic rock ’n’ roll with a modern twist, that belongs solely to Lucius. But none of it happened overnight.

“We’ve been singing together for almost nine years,” Wolfe says. “We never wanted to rush anything. We never looked for a record deal before it felt like we needed one, and we never wanted to be on tour until we felt like we could sustain ourselves on the road. It was important for us to hone our craft.”


Wolfe and Laessig met in college in Boston, bonding over a love of old-school soul, David Bowie and the Beatles. They sing as though each is one half of the same voice, with riveting, resonant unison harmonies that feel instinctive as their voices diverge and then meld together on the ineffably catchy title track.


“We started singing in unison because we were always drawn to doubled vocals on recordings,” Wolfe says. “We figured it couldn't hurt to try it in a live setting and it just felt like our voices were supposed to be sitting together - an automatic vocal kinship. In truth, many of our intentional decisions, when it comes to sounds and arrangements and even band setup, have been happy accidents.”


After their initial musical gathering, the pair started writing songs together, exploring a sense of otherness that each had felt growing up, and pairing it with arresting musical arrangements: from bright acoustic guitars and heartbroken vocals to layers of irresistible rhythm and bold melodies.


“Jess and I have shared unusually parallel experiences,” Laessig says. “We were both bullied during adolescence, which lit a fire in each of us. We have both experienced relationships and love on a similar timeline, so when we write songs together we have a natural empathy. The themes that run through this record reflect the struggles and realizations of becoming an adult, and of being a bit of an outsider sometimes, but embracing it. I think that's something people can relate to.”


In 2007, Wolfe and Laessig moved to Brooklyn’s Ditmas Park, taking up residence at the Bromley House, which had, unbeknownst to them at the time, been a music school and recording studio for more than 60 years prior. Wolfe and Laessig established an open-door policy for the strong local community of musicians. First came Molad, a drummer, producer and engineer whom Lucius sought out for some early recording sessions (he also co-produced "Wildewoman"). He introduced them to Lalish, his former bandmate in the indie-pop trio Elizabeth and the Catapult. Later, Molad met Burri while working on a different recording project, rounding out the Lucius family.


At the same time, Lucius was developing the memorable visual look the band employs onstage — “dressing the sound,” they call it. Taking inspiration from strong visual artists, and citing Bjork, Bowie, Warhol and Prince as style icons, the women are bedecked in a seemingly endless array of identical head-to-toe ensembles, complimented by the men’s sharp, tailored style.

Listen: "Turn It Around"  


Jessica Lea Mayfield

4/22 Club Cafe - Pittsburgh, PA
4/25 Great Scott - Boston, MA
4/26 Rough Trade - Brooklyn, NY
4/28 Mercury Lounge - New York, NY
4/29 Johnny Brenda's - Philadelphia, PA
4/30 Rock & Roll Hotel - Washington, DC
5/01 The Grey Eagle - Asheville, NC
5/02 Mercy Lounge - Nashville, TN
5/03 The Earl - Atlanta, GA
5/05 Zanzabar - Louisville, KY
5/06 Firebird - St. Louis, MO
5/08 Turf Club - St. Paul, MN
5/09 The Empty Bottle - Chicago, IL
5/10 Beachland Ballroom - Cleveland, OH
6/10 Anderson Japanese Gardens - Rockford, IL
6/12 Hi-Dive - Denver, CO
6/13 Kilby Court - Salt Lake City, UT
6/14 Neurolux - Boise, ID
6/16 The Crocodile - Seattle, WA
6/17 Doug Fir Lounge - Portland, OR
6/19 The Independent - San Francisco, CA
6/20 The Roxy Theatre - West Hollywood, CA
6/21 The Casbah - San Diego, CA
6/22 The Western - Scottsdale, AZ
6/24 Stubb’s BBQ - Austin, TX
6/25 Club Dada - Dallas, TX
6/26 White Water Tavern - Little Rock, AR
6/27 Mojo’s - Columbia, MO
6/28 Do317 Lounge - Indianapolis, IN


Jessica Lea MayfieldJessica Lea Mayfield

Make My Head Sing…

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Out April 15, the new album from Jessica Lea Mayfield was co-produced with her collaborator, bassist and husband Jesse Newport and was recorded at Nashville’s Club Roar studio. Of the new music Mayfield comments, “The whole record is just me and Jesse and my drummer Matt Martin. I think a lot of my favorite bands are guitar, bass and drums. I wanted to simplify things. Bands are so big these days, I wanted to get in the studio and make a rock record and hear real guitar tones and something heavy.”


"Make My Head Sing…" follows Mayfield’s 2011 release, "Tell Me", which was produced by The Black Keys’ Dan Auerbach and was described by Rolling Stone, which named her an Artist to Watch, as “a disarming collision of stark country balladry, dynamic alternative rock and arty electronic pop.” Additionally, the Associated Press asserted, “Tell Me is the portrait of a precocious girl growing into self-assured womanhood and a producer reaching the peak of his powers. It is a dark and moody album, full of delights throughout, and if it doesn’t make Mayfield a star, that too will be heartbreaking,” while Spin Magazine included Mayfield in their “The Next Big Things: 11 Artists You Must Hear in 2011” feature, calling her a “smart-ass country-rock ingénue.” She also made her network television debut on the “Late Show with David Letterman,” performing the album’s first single, “Our Hearts Are Wrong,” which NPR Music praised as “…genuinely moving”.


"Matches a grunge-era deadpan with gnarly leftfield roots music in service of haunting, smoldering rock 'n' roll."--Stereogum

"...echo-laden bluegrass vocals mesh with scorching electric guitar lines to render remarkable results."--Rolling Stone

" sounds like she's been listening to a good deal of sludge metal, with raw, thick riffage that's up there with many of the more likely Sabbath worshippers. Her voice remains gentle though, making for a pretty interesting mix."--Brooklyn Vegan

Listen: "I Wanna Love You"  

Future Islands

Future Islands

4/09 The Catalyst - Santa Cruz, CA
4/10 The Chapel - San Francisco, CA
4/12 Coachella - Indio, CA
4/15 Constellation Room - Santa Ana, CA
4/16 Beauty Bar - Las Vegas, NV
4/17 Pappy & Harriet's - Pioneertown, CA
4/19 Coachella - Indio, CA
4/20 The Crescent Ballroom - Phoenix, AZ
4/21 Lowbrow Palace - El Paso, TX
4/22 Padre's - Marfa, TX
4/23 The Mohawk - Austin, TX
4/24 Three Links - Dallas, TX
4/25 Stickyz Rock'n'Roll Chicken Shack - Little Rock, AR
4/26 The Bottletree - Birmingham, AL
4/27 Cat's Cradle - Carrboro, NC
4/29 First Unitarian Church - Philadelphia, PA
4/30 Webster Hall - New York, NY
5/01 9:30 Club - Washington, DC


Future IslandsFuture Islands


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Future Islands believe in true love, you can tell that because their songs speak through our lives. It’s as if their music has always been with us, soundtracking every great hope, dawning realization and broken promise. Every fond embrace, each leap of faith. Over the last eight years Baltimore’s most quixotic and emotionally involving trio have maintained an admirable level of skill and pace, never slowing down for the corners. It’s vocalist Samuel T. Herring, William Cashion (bass, guitars), and Gerrit Welmers (keyboards, programming, guitars) who find themselves responsible. Their sound is at once beguiling and irresistible. It’s one part melancholic, one part euphoric; full of animated basslines, robust drum machines and questing keyboards, all set off by Sam’s remarkably distinct, soaring vocal.


Returning with their new album "Singles", Future Islands have refined their unique sound further still. Chris Coady (known for his enduring work with Beach House, TV On The Radio, Grizzly Bear) mixed and produced the album, leaving his luminous fingerprint across the album’s radiant collection of pulse-grabbers and slow-burners. Packing an ever harder punch, it makes for a deeply resonant listen; an affectionate hand on the shoulder. "Singles", the band’s fourth full length, is a decidedly polished sounding album, it’s glossy like unapologetic pop, silken and lustrous, but check it’s pockets for the stockpile of realism.


"Seasons (Waiting On You)" kicks off the record in a decidedly jubilant yet soulful manner, typical of the band’s most recent 7”s. It’s got all the passionate delivery and exuberance you’ve come to expect from Future Islands, only there’s a new found relaxed distance and maturity at play. “People change, but some people never do” Sam wistfully calls out, fighting the corner for each nagging doubt and irrepressible desire that won’t back down.


"Singles" is a bold album of wandering reflections and haunted wonder. It’s an album that keeps running from the off and keeps running from a restlessness that threatens to consume. Suddenly you realize they’re more enthralled by the notions of romanticism and idealism that never fail to lead all hearts astray. Future Islands have always been there, on the outside looking in. With "Singles" they step inside us and start looking out and it’s a joy to finally join them.

Listen: "Seasons (Waiting On You)"  


The Crookes

3/23 The Echo - Los Angeles CA


The Crookesthe crookes


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2014 sees Sheffield-based dreamers The Crookes release their 3rd LP, "SOAPBOX" becoming the first band to release three full-length albums on Fierce Panda since indie heroes Death Cab For Cutie. Over the past four years they have also released a string of stand alone singles, one mini-album, and racked up an international gig-count that puts most other modern bands to shame, prompting BBC Radio's Steve Lamacq to describe them as “one of the most hardworking and prolific bands of the underground.”


2013 saw The Crookes on tour supporting friend and Sheffield hero Richard Hawley, showcase at SXSW in Austin, Texas (where they were spotted and signed by Modern Outsider Records) and play two critically acclaimed shows in New York, all before disappearing to Italy for two months to record in a secluded church in the Italian countryside. The result was "SOAPBOX", an album that is tougher and more ferocious than anything they’ve previously released.


“Something has changed in us” the band says. “We are no longer wide-eyed and naive, but we are still more determined than ever. The world deals blow after blow until its final blow stops you caring… but still we care more than we ever have, we are still resolute in our belief.” "SOAPBOX" was made by hands calloused through hard work and an adherence to an old fashioned way of doing things. “The most obvious theme that runs through the entire album is the idea of The Outsider” frets guitarist and lyricist Daniel. “As a band that seems to suit us… never invited inside, but never wanting to be. I can empathise more with the madman standing on his soapbox, slowly gaining an audience by speaking with passion and honesty."


The hard work has paid off. Whilst on the road The Crookes have built up a cult following known as the “Bright Young Things” and are at the forefront of the nascent New Pop movement in the UK guitar scene. This devoted fan base has translated to sold out concerts around the world including three shows in Tokyo and the main room of the legendary Paradiso club in Amsterdam as well as headlining festivals in Germany, Holland, America and Spain.


The Crookes have recorded live Sessions on BBC Radio's 1,2,4,5 and 6, had their song "Backstreet Lovers" voted number 24 in the Single of the Year Campaign on 6Music and frequently play listed on stations throughout Europe, Asia and South America and being chosen by MTV Canada to represent emerging music from the UK.

Listen: "Before the Night Falls"  



4/10 The Pool/The Cosmopolitan - Las Vegas, NV
4/12 Coachella - Indio, CA
4/17 Bill Graham Civic Auditorium - San Francisco, CA*
4/19 Coachella - Indio, CA
4/21-23 The Moody Theater - Austin, TX#
4/24 Fitzgerald's - Houston, TX
4/26 Trees - Dallas, TX
4/28 Belly Up - Aspen, CO
4/29 Urban Lounge - Salt Lake City, UT
5/01 Wonder Ballroom - Portland, OR
5/02 Neumos - Seattle, WA
5/03 The Wild Buffalo - Bellingham, WA
5/24 Boston Calling - Boston, MA
6/12-15 Bonnaroo Festival - Manchester, TN
6/16 Louisville Palace - Louisville, KY^
6/18 The Midland - Kansas City, MO^
6/20 Milwaukee Theatre - Milwaukee, WI^
6/21 State Theatre - Minneapolis, MN^
6/24 The Buell Theatre - Denver, CO^
8/01 Lollapalooza - Chicago, IL
8/01-03 Pickathon Festival - Portland, OR

* W/ Qotsa
# W/ The National
^ W/ Nick Cave And The Bad Seeds




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The most important element of Warpaint’s second, self-titled album is space. The hauntingly lovely sounds that comprise its 12 songs are punctuated by a distinct absence of sound, one that elevates the band’s music to a new place of depth and emotional poignancy. For the Los Angeles rock band crafting a second album offered an opportunity to expand the ethereal, hypnotic songs on their 2010 debut "The Fool" and to mirror their extensive live experience on a recording while allowing for the inclusion of more room.

The group, formed in 2004 by Kokal, Wayman and Lindberg, toured on "The Fool" for two and half years, solidifying the bond between the musicians over the course of numerous performances around the world. The new album represents Mozgawa’s first full collaboration with Warpaint since she jointed shortly before the band recorded "The Fool" in late 2009, something that augmented the experience this time for everyone involved. The initial work on "Warpaint" began at a house in Joshua Tree in March of 2012, where the four musicians decamped to write and demo early ideas for the new songs. There was no immediate vision or goal, instead the band wanted to create a meditative place in which to channel inspiration.

“We could come from any direction we wanted,” Kokal says. “Here we’d been playing the same songs over and over again on tour and being in Joshua Tree it was like a dam was released and all this water started flowing out. Recording and writing this album, we really started to play and interact with each other in a new kind of way. It was the natural next level of getting to know each other and discover our album. I think the element of space became kind of a band member, and we were very conscious of not trying to fill in every silent moment anymore.”

The musicians spent a month in Joshua Tree before returning to Los Angeles, where they continued to write and demo before going into the studio with Flood in January of 2013. The producer, the only person on the band’s producer wishlist, joined the group at Five Star Studios in Echo Park for six weeks. The band was drawn to Flood’s ability to balance the lo-fi aesthetic of a raw demo with hi-fi production, a sensibility they hoped to embrace when recording the new tracks. In fact, several of the demo pieces made their way onto the final tracks on self-titled "Warpaint".

“I could hear in Flood’s work with PJ Harvey that he was comfortable with having a demo-type feeling to the music sometimes but able to translate that on to a greater level of professional sound,” Wayman says. “He’s got so much experience under his belt and he’s really talented at creating things, making them sound big and luscious. We used a lot of mood-enhancing atmospheric stuff, like synths and electronic drums. We all love hip-hop and trip-hop, which is really mood and rhythm based. That influenced us here.”

“We wanted to make a sexy record,” Lindberg adds. “Something a little more minimal than "The Fool". We had so much to express – and still do – but have learned the magic of less is more and truly went in with that frame of mind. We were more mindful and wanted to make room for one another.”

The resulting album, self-titled because this it the truest expression of Warpaint to date, is vast and beautiful, collecting lush, compelling songs that embody otherworldly tones and hushed pauses. There is a hazy sense of abstraction that pervades, leaving each song lingering as the next begins. The album finds all four musicians playing in tandem, and indeed much of the album was recorded live in the studio. It merges disparate influences and sensibilities while eventually landing on a cohesive – and unexpected – thematic thread.

Ultimately "Warpaint" reveals the next stage of evolution for the group, a truly collaborative effort that showcases both musical growth and a startling depth of friendship. “We thought about this collection of songs like, this is us,” Wayman says. “This is an expression of who we are.”

Listen: "Keep It Healthy" (radio edit)  


Black Pistol Fire

4/12 Baton Rouge Blues Fest - Baton Rouge, LA
4/18 Stubbs BBQ - Austin, TX
4/24 Grand Staffod Theater - Bryan, TX
5/10 Eugene, ORUniversity of Oregon
6/08 Houston Beer Festival - Houston, TX


Black Pistol FireBlack Pistol Fire

Hush or Howl

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Black Pistol Fire is a Canadian Rock and Roll duo that split’s time between Toronto, Ontario and Austin, Texas. Their wild and energetic rock-and-roll sound has been described as a mix of classic southern rock and garage punk, garnering comparisons to early Kings of Leon, Creedence Clearwater Revival, The White Stripes, and Clutch. It's clear that the band's sound spans many different eras and subgenres, relying on a classic rock and roll sound that has been updated for our modern times.


Black Pistol Fire features Kevin McKeown on Guitar/Lead Vocals and Eric Owen on Drums. The two have been friends since kindergarten and began playing music together when they discovered a shared passion for rock and roll music in high school. The two became founding members of rock and roll trio The Shenanigans. With The Shenanigans, they recorded an LP titled Bombshell Baby. After things with The Shenanigans and Toronto got stale, the two wanted a change of scenery and to try out something new. They then packed up their instruments and a bag of clothes and headed south. The band finally settled down in Austin, Texas in 2009 and Black Pistol Fire was born.


Arriving in Austin, the two began rehearsing as a duo. While they had previously done this to write songs for The Shenanigans, there was one crucial difference this time around: there would be no bass to be added later. They soaked up all that the Austin music scene had to offer, and their music developed a more distinctive "southern" sound. Like every good band, they lived in poverty and survived off a steady diet of potatoes while rehearsing, writing, and creating new material in a garage they had rented.


While playing a local Austin hotspot, Producer Jim Diamond (The White Stripes, The Von Bondies, Jon Spencer Blues Explosion) approached the band about recording their next record. That album was recorded in 2 separate sessions, mainly off the floor, on to 2” tape. The LP, simply titled “Black Pistol Fire” was released in February 2011 in select record stores in North America, at live shows, and worldwide through ITUNES. The LP garnered a positive critical response from publications such as the Austin Chronicle, Pop Music Matters, and the Houston Press. The band has also seen their music used in television shows such as 90210, Hawaii 5-0, Suits, WWE RAW, Sons of Anarchy and The Protector. Throughout, they have been touring the USA and Canada, completed a successful European tour, as well as playing festivals such as SXSW, and Headlining Rock the Republic, and Mr. Fest. They have supported the likes of Band of Skulls, State Radio, Shonen Knife, and Lucinda Williams.


The band recorded follow up "Big Beat 59" with producer Michael Rocha in Toronto, and it was released in August 2012. As a pre-cursor to the album, the band also recoded the 5 song EP "Shut-up!" a tribute to Little Richard, which was released in May 2012. The band has crossed the country promoting the LP including opening slots with Band of Skulls and a tour with State Radio that included a stop at New York City's famed Webster Hall.


Black Pistol Fire didn't waste anytime when not on the road and recorded the follow-up to "Big Beat '59" in the spring of 2013. Once again the album, Hush or Howl, was recorded with good friend Michael Rocha, this time in Austin, TX. The album has a release date of April 1, 2014 through Modern Outsider Records. The band gained further momentum during SXSW 2013 where The Huffington Post called the band "the next big thing" and "the most energetic and musically versatile of all the bands playing the festival". Things just keep on picking up and 2014 promises to be a BIG YEAR for the boys of BPF!

Listen: "Dimestore Heartthrob"  



4/23 Pepsi Center - Denver, CO*
4/26 Starlight Theatre - Kansas City, MO*
4/27 Chaifetz Arena - St Louis, MO*
4/29 Schottenstein Center - Columbus, OH*
5/01 Bridgestone Arena - Nashville, TN*
5/02 Aaron's Amphitheatre - Atlanta, GA*
5/05 Masonic Lodge - Los Angeles, CA
5/07 Rough Trade Brooklyn - New York, NY
5/23-25 Sasquatch Music Festival - The Gorge, WA
5/23 Les Schwab Amphitheater - Bend, OR^
5/26 Knitting Factory - Boise, ID#
5/27 Urban Lounge - Salt Lake City, UT#
5/30 Granada Theater - Dallas, TX#
5/31 Republic - New Orleans, LA#
5/31- 6/1 Free Press Summer Festival - Houston, TX
6/03 Crescent Ballroom - Phoenix, AZ#
6/05 The Fonda Theatre - Los Angeles, CA#
6/6-7 The Fillmore - San Francisco, CA#
6/13 9:30 Club - Washington, DC#
6/15 Union Transfer - Philadelphia, PA#
6/16 Royale Nightclub - Boston, MA#
6/19-22 Firefly Festival - Dover, DE
6/22 Webster Hall - New York, NY#
6/23 Webster Hall - New York, NY#
7/17 First Avenue - Minneapolis, MN
7/18-20 Forecastle Festival - Louisville, KY
7/19 Pitchfork Festival - Chicago, IL

*w/Arcade Fire
^w/The National
#w/Sylvan Esso




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Merrill Garbus has performed as tUnE-yArDs since 2009, and that band name has always been synonymous with forward movement—whether because of her explosive performance style or the always-surprising way in which her songs unfold. First gaining notice with the debut "BiRd-BrAiNs", which The New York Times called “a confident do-it-yourselfer's opening salvo: a staticky, low-fi, abrasive attention-getter,” Garbus forged a reputation as a formidable live presence through relentless touring. In 2011, tUnE-yArDs released its second album, "w h o k i l l", a startling and sonically adventurous statement that led to a whirlwind period where Garbus and bassist Nate Brenner accrued accolades from critics (including the #1 spot on the Village Voice's 2011 Pazz and Jop poll), performed in front of increasing numbers of rapturous crowds around the world, and collaborated with the likes of Yoko Ono and ?uestlove. It was a thrilling ride, but it was one that needed a little bit of recovery afterward.


"I took the Fall [of 2012] off and started taking both Haitian dance and drum lessons," says Garbus of the post-w h o k i l l period. "It was nice; I was trying to be healthy and have a good time. And then, in January [2013], I was like, 'I have nothing.' I've never had nothing before—I've always had some songs that I'm planning on recording; I've always been working live with the looping pedal and writing that way. And I thought, 'OK, if I'm going to grow as an artist, I need to do this differently.'

"So I went to my studio five days a week and told myself I would be doing two demos a day. I also had rules: 'This week I'm only going to write using drum machines'; 'This week I'm going to write using vocal melodies first, and build something around that.' At the end of that, I had about 30 demos."

Those demos would eventually gel into "Nikki Nack", the stunning third album by the Oakland-based band. A complex, textured statement that's a showcase of how Garbus's songwriting has blossomed, and a testament to how current technologies can combine with themes from the past—Saturday mornings spent watching Pee-Wee's Playhouse, puppet shows based on Jonathan Swift's A Modest Proposal, hard days made less so by the refuge provided by top-40 radio—to create something utterly original.

"It was weird what stuck," Garbus says of the writing process. "The first song that felt finished is not on the album, and I almost scrapped ‘Water Fountain.'" That pulsing track's post-apocalyptic vision is presented as a sing-along, a tale of streets where once-useful structures have been rendered into disintegrating husks with Brenner's bass playing providing an increasingly concerned counterpoint. "I almost threw it away," she recalls, "because it sounded like a kids' song. But I really liked the theme, which mirrored what I was seeing in Oakland—people don't want to pay taxes, but the taxes are paying for the water fountain, and for the trash to be picked up, all these bare essentials."

Having studied both Haitian dance and drumming during her downtime, Garbus also visited the island nation in the spring of 2013 (she penned a piece about her time there for the online magazine The Talkhouse). The trip informed the record both spiritually and practically, and led to Garbus adding another instrument into tUnE-yArDs' musical arsenal (which, as she documented online, includes items like a bag of rice and a stool this go-round). "There's this drum called the boula; it sets the tempo for all the other drums," she says. "It's the smallest drum, and it's played with two sticks, flat to the skin. That element of Haitian drumming acts as the hi-hat, or the metronome, for a lot of the songs on the album."

"Nikki Nack" has uncertainty about both the past and the future, but that's in keeping with Garbus's overall aesthetic of constantly questioning and burrowing for a "new way," tempered by the joy that goes hand in hand with new discoveries. “We worked with other producers for the first time this time around, which required that I humble myself quite a bit. We've worked with other collaborators, of course, like Eli Crews as a recording and mixing engineer again, but to ask Malay (Alicia Keys, Frank Ocean, Big Boi) and John Hill (Rihanna, Shakira, M.I.A.) for input on the tracks I had to let go of tUnE-yArDs being rigidly my production. I have a very specific vision for the sound of the band and I don't think women producers get enough credit for doing their own stuff, so I was resistant – but we grew, Nate and I both, and the songs grew. And it turns out that's what's most important: the songs, not my ego.”

Listen: "Water Fountain"  


Hamilton Leithauser

4/15-16 Joe’s Pub New York, NY(two shows)
5/05 Hotel Cafe - Los Angeles, CA
5/16 Non-Commvention Free @ Noon - Philadelphia, PA
6/18 Fox Theatre - St Louis, MO+
6/20 Pinewood - Lincoln, NE+
6/24 Starlight - Kansas City, MO+
6/27 First Merit Bank Pavilion - Chicago, IL+
6/28 First Merit Bank Pavilion - Chicago, IL+

+ w/ Ray LaMontagne


Hamilton LeithauserHamilton Leithauser

Black Hours

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Hamilton Leithauser announces his debut album "Black Hours" (out 6/3)--inaugurating a new chapter in an already remarkable career from The Walkmen front man. The album brings Leithauser full circle and then some, from lonely midwinter piano-and-vocals sessions, to loud, live Rock n Roll group and back again. Featuring Leithauser with a slew of talented collaborators including Rostam Batmanglij (Vampire Weekend), Morgan Henderson (Fleet Foxes), Richard Swift (The Shins) and Paul Maroon (The Walkmen), the album showcases Leithauser at his most passionate, personal and free.

In its orchestrated rhythms, dynamic vocals and generous production, "Black Hours" speaks from one booming voice. The instrumentation provides muscle and texture: Maroon covering a wide range of acoustic and electric guitars as well as grand piano; Batmanglij switching between guitar, harpsichord, piano, bass and harmonica; Henderson takes the marimba and upright bass, and Swift lays down impressive drums on seven tracks. Amber Coffman from Dirty Projectors provides backing vocals on several numbers and even Hugh McIntosh from Leithauser's first band, The Recoys, returns to the drum stool for a pair of songs.


Principal recording was done in August 2013 at Vox Studios in Los Angeles, "the oldest private studio in the world," where Nat King Cole, Bing Crosby, Johnny Mercer and countless others cut demos before appearing on air at NBC Studios, just across Melrose Ave.

First single "Alexandra" will also be available as a 7" on Record Store Day (4/19) backed with an exclusive track "In The Shallows".

Listen: "Alexandra"  

Skating Polly

Skating Polly

4/22 Subterranean - Chicago, IL
4/23 7th Street Entry - Minneapolis, MN
4/24 The Record Bar - Kansas City, MO
4/25 Replay Lounge - Lawrence, KS
4/26 Hi-Dive - Denver, CO
4/27 Kilby Court - Salt Lake City, UT
4/28 The Holland Project - Reno, NV
4/29 Love the Captive House Show - Fresno, CA
4/30 Bootleg Bar - Los Angeles, CA
5/06 LOFI - Mesa, AZ
5/07 The Hive - Flagstaff, AZ
5/17 Schwarzstock - Yukon, OK


Skating PollySkating Polly

Fuzz Steilacoom

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Skating Polly is an "Ugly Pop" duo made up of stepsisters Kelli Mayo (14) and Peyton Bighorse (18). For the new album, "Fuzz Steilacoom" (out March 18th), the Oklahoma City band traveled to Olympia, WA to record at Dub Narcotic Studios with indie innovator Calvin Johnson (Beat Happening, K Records)! Skating Polly's prior album "Lost Wonderfuls" was produced by another punk legend--Exene Cervenka of X, who has been gushing about the band since she first heard them!

Skating Polly has already shared stages with Wavves, The Flaming Lips, Band Of Horses, Deerhoof, Kate Nash and the legendary Mike Watt, while finding fans ranging from Rosanne Cash to Sean Lennon. In a short time the band has revealed itself as a wildly vital force in the resurrection and reinvention of classic punk rock.

Kelli says, "Our music is 'Ugly Pop' and I ran it by Peyton and she agreed. Ugly Pop is pop music that doesn't fit into radio standards of pop music. It's pop music that goes wherever the hell it wants to go. Pop music that gets sloppy and loud, pop music that’s rough around the edges, pop music that is just ugly but in a great way!"


"After I heard the cd I was just so happy that there were two young women out there making such good music on their own in the middle of America."-Exene Cervenka (X)

"We're going to go ahead and wager a guess that most 12 and 17 year olds these days aren't listening to much Bikini Kill or Babes in Toyland."--Purevolume


"In just three years, local rockers Skating Polly already have recorded an album with a punk legend. Who says teenagers are lazy?"-The Oklahoma Gazette

"With songs that blend a sweet Tegan and Sara-like vocal chirpiness with riot grrl rage - so refreshing to watch a young, female band that prefers the ferocity of Kathleen Hanna over the vacuous Disney girl pop that gets shoved through the radio." -Indierocklive

"Skating Polly is not a kid band, but they remind us what it’s like to be kids, unaware of age, delivered from the weights we ultimately hang on ourselves with the passing years. There's a sort of wisdom to be found in their music, at once tranquil and determined." -Blogotheque

"...zooms and attacks from the start, thrashing around like a loony in a straight jacket."-Prefix

Listen: "Alabama Movies"  


Kaiser Chiefs

6/10 Three Rivers Festival - Pittsburgh, PA
6/11 Mercury Ballroom - Louisville, KY
6/13 First Ave. - Minneapolis, MN
6/14 Taste of Randolph Festival - Chicago, IL
6/15 St. Andrew's - Detroit, MI
6/17 House of Blues - Cleveland, OH
6/18 9:30 Club - Washington, DC
6/20 Webster Hall - New York, NY
6/21 Firefly Festival - Dover, DE


Kaiser ChiefsKaiser Chiefs

Education, Education, Education & War

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Things could so easily have stayed the same. After more than 10 years, four albums, platinum record sales, a volley of top ten singles and 3 Brit Awards, it would have been simple for Kaiser Chiefs to sit back and coast a while, to enjoy the warm glow of being one of Britain’s most cherished bands.

But in late 2012 there came a change: the departure of founder member and drummer Nick Hodgson. Yet an event that might have derailed the band entirely instead it lit a fire that has carried the Kaiser Chiefs forward, through a period of re-evaluation and reinforcement, to create an album that is their most considered, literate, and impassioned record to date.

"Education, Education, Education & War" began out of frustration. The band’s remaining members, lead singer and lyricist Ricky Wilson, bassist Simon Rix, guitarist Andrew White and keyboardist Nick Baines, decamped to Real World to see if they could kindle something new. In the days that followed, the sense of neutered creativity gave way to something thrilling and unleashed. By the end of that week, Rix recalls, they had “Nineteen or 20 ideas for songs.” And more importantly, Wilson says, “We had the spark that gave us hope.”


“At first the songs came from a very personal anger,” explains Wilson. “But then I thought back to what I’d enjoyed writing about in the beginning, with Employment, and what I enjoyed then was looking around and writing about what I saw. And so over the next year I began to write songs about living in this country, about the thoughts that inspired in me.”

The album title is a reference to Tony Blair’s famed 2005 speech on the power of education: “Education, education, education,” he told the crowd that April in Sedgefield, “then and now the key to the door of Britain’s future success.”

It is an album that takes the temperature of a nation seven years into a recession, people desperate for work, debt-ridden, suspicious of corporations, big business, government, and eager for signs of compassion, understanding, hope. In the centenary year of the First World War, it also questions the role and importance of modern conflict, the wars waged in Afghanistan and Iraq, the diminished power of an Empire. “I’m not saying it’s political, it is about the feeling of futility… about wondering ‘what is the point?’ Not in a way that means giving up, but in a way that raises a question I want to ask. I don’t think a band has a responsibility to say anything more than love songs, but if it’s in your mind more than love songs then stop writing love songs and start writing songs about what’s going on in your street.”

The Kaiser Chiefs that emerged from near-collapse in 2012 appear regalvanaised, bolstered by the addition of a new drummer, Vijay Mistry [formerly of Club Smith] and inspired by a new sense of freedom and musical possibility. They are angry, yes, but they are also inspired and ambitious and hungry for success.

The album was recorded in Atlanta, Georgia — a move that gave the band the opportunity to view themselves from a new perspective. “In a weird way working in America has been good for us, because unlike some bands who work in America and end up sounding American, I think it’s solidified how British we are,” says Wilson.

They hired Ben H. Allen III as producer, impressed by his expressive work on recent albums by Animal Collective, Deerhunter and Youth Lagoon, as well as his production for Gnarls Barkley and Cee-Lo Green. They sensed he shared their hunger and ambition, while having few pre-conceived ideas about what Kaiser Chiefs should be. “He knew that we were going for it,” says Wilson. “I’d go in and do a vocal take, and then I’d say ‘Don’t you think it sounds a bit…?’ And he’d say ‘What? Successful?’”

Above all these are songs carried by the pluck and romance of hope. This is a band reformed and recharged, they say, a band that knows just what’s possible with faith and solidarity and a refusal to accept defeat.

Listen: "Coming Home" (radio edit)  


White Sea

5/23 Sasquatch Festival - Quincy, WA *
5/24 Knitting Factory - Boise, ID *
5/26 The Depot - Salt Lake City, UT *
5/27 Boulder Theater - Boulder, CO *
5/28 The Slowdown - Omaha, NE *
5/30 Summer Concert Series - Kansas City, MO *
5/31 Free Press Summer Festival - Houston, TX
6/3 Pabst Theater - Milwaukee, WI *
6/4 Newport Music Hall - Columbus, OH *
6/5 STAGE AE - Pittsburgh, PA *
6/8 The National - Richmond, VA *
6/10 Beacham Theater - Orlando, FL *
6/11 Grand Central - Miami, FL *

*-w/The Naked & Famous


White SeaWhite Sea

In Cold Blood

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White Sea (Morgan Kibby) is best known for collaborations and touring with M83. She's contributed to the band's acclaimed release "Saturdays=Youth", and co-wrote the songs including the hit "Kim & Jessie". She returned to the studio with M83 to contribute to their GRAMMY nominated sixth album, "Hurry Up We're Dreaming." Kibby provided vocals, keyboards, and arrangements as well as co-wrote the album's mulitplatinum ubiquitous smash hit "Midnight City" (amongst others), which enjoyed global chart success.


A venerable remix artist, Kibby has remixed tracks for a range of artists including: Lord Huron, The Naked and Famous, Britney Spears, Demi Lovato, Imagine Dragons, School of Seven Bells, Active Child, Manchester Orchestra, Kevin Devine, New Politics and more.


White Sea's debut album will be out Spring 2014.


"...splits the difference between bleary dream-pop and dramatic synth-rock - like M83, then, but with a more sugary melodic sensibility." -- Stereogum


"2014 is gonna be The Year Of White Sea." -- MTV Buzzworthy


"A soaring, beautifully anthemic new single" -- Gorilla Vs. Bear

Listen: "They Don't Know" (radio edit)  


Courtney Barnett

4/11 Coachella - Indio, CA
4/16 Orpheum Theatre - Los Angeles, CA*
4/18 Coachella - Indio, CA
4/22 The Ballroom at The Outer Space - Hamden, CT
6/10 Headliners Music Hall - Louisville, KY#
6/11 Exit In - Nashville, TN#
6/12 Georgia Theatre - Athens, GA#
6/14 Northside Festival - Brooklyn, NY
6/17 Bowery Ballroom - New York, NY
6/18 The Sinclair, Cambridge MA
6/19 Firefly Music Festival - Dover, DE
6/24 Varsity Theater - Minneapolis, MN
7/01 Larimer Lounge - Denver, CO
7/02 Urban Lounge - Salt Lake City, UT
7/04 Sasquatch Music Festival - Quincy, WA
7/05 Neptune - Seattle, WA^
8/01 Pickathon Festival - Portland, OR
8/02 Lollapalooza - Chicago, IL
8/08 Outside Lands, San Francisco, CA

^w/ Sharon Van Etten


Courtney BarnettCourtney Barnett

The Double EP: A Sea of Split Peas

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Courtney Barnett is a Melbourne-based guitar player & singer & songwriter. In 2012 she started her own label, Milk! Records, and released her first EP "I’ve Got A Friend Called Emily Ferris" to glowing reviews around Australia. That quickly snowballed into international critical acclaim in 2013 with her second EP "How To Carve A Carrot Into A Rose". The two EPs are combined to form the full-length debut, “The Double EP: A Sea of Split Peas”.

Lead single "Avant Gardener" tells the story of an anaphylactic panic-attack in the midst of an Australian heatwave, with lyrics like “The paramedic thinks I’m clever cos I play guitar, I think she’s clever cos she stops people dying.”


Courtney’s February tour dates sold out weeks in advance, but she'll be back for a full tour to follow in late Spring including Coachella and then onto select major festivals this summer. The official U.S. release of “The Double EP: A Sea of Split Peas” comes April 15th on Mom+Pop.


“Barnett’s music builds on the wordy irreverence of mid-’60s Bob Dylan and a Byrds-ian blend of psychedelia, folk and country” – Pitchfork


“Tales that unspool like barstool revelations and sound like some hybrid of Kimya Dawson and Kurt Cobain” - Rolling Stone


“Shows off a mind that’s racing at a hundred miles an hour” – NME

Listen: "Avant Gardener" (radio edit)  



4/19 Lost Lake Lounge - Denver, CO
4/21 Off Broadway - St Louis, MO
4/22 Double Happiness - Columbus, OH
4/24 Rhode Island College - Providence, RI
4/25 MilkBoy - Philadelphia, PA
4/26 Sixth & I Historic Synagogue - Washington, DC
4/27 Bowery Ballroom - New York, NY
4/30 Great Scott's - Boston, MA
5/02 Schubas Tavern - Chicago, IL
5/03 7th St Entry - Minneapolis, MN
5/06 Barboza - Seattle, WA
5/07 Doug Fir Lounge - Portland, OR

( * ) w/Lorde



Blue film

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Matthew Hemerlein, the man behind Lo-Fang, is classically trained in violin, cello, bass, piano and guitar, performing all the instruments on his debut record. Highly detailed, the album has roots in electronic, R&B, classical, and folk music, cast through a pop prism.

Originally from Baltimore, but currently based in LA, Lo-Fang's debut album will see release on 2/25 and he will be joining Lorde on tour!

"Blue Film" was written and recorded during Hemerlein's world travels, from a farmhouse in Maryland to a hotel in Cambodia, while taking in studios in London and Nashville.

Letterman On 2/26!

"14 To Watch"--Entertainment Weekly

"Bands To Watch In 2014"--Time Out LA

More on how wunderkind Lorde and Lo-Fang found each other on Billboard and

Listen: "When We're Fire"  (radio edit)  


The Orwells

4/19 Plan 9 Music - Richmond, VA
4/23 Waiting Room - Buffalo, NY
5/10 Verizon Wireless Amphitheater - Maryland Heights, MO
5/17 Vinoy Park - St Petersburg, FL
5/29 Boulevard Pool/Mophie Stage, Cosmopolitan - Las Vegas, NV


The Orwellsthe orwells

who needs you

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The Orwells are five guys from Chicago, IL, playing rock 'n' roll music with an unmatched ragged intensity. Cousins Mario Cuomo (vocals) and Dominic Corso (guitar), twins Grant (bass) and Henry Brinner (drums), and Matt O’Keefe (guitar) have been playing together since late 2009, when they were in 9th grade. Although one might try to simply sum up their sound as garage or punk, it isn’t that simple. The Orwells' sound comes from a deeper, different place that is both long forgotten and yet timeless. Their live show is frenetic, charged and feels like it could go off the rails at any moment-with the audience in full participation. NPR called them a "thrilling, charismatic teen garage-rock band with infectious energy".

Following their "Other Voices" EP earlier last year, for their "Who Needs You" EP out last Fall producer Dave Sitek (TV On The Radio/ Yeah Yeah Yeahs) was brought on once again to produce the title track. The single will also appear on their upcoming and highly anticipated full length this summer.

After a live stint in 2013 performing at Lollapalooza, ACL, two headline tours of the UK and one co-headline run in the US w/ FIDLAR, The Orwells are kicking off 2014 in support of Arctic Monkeys followed by a US headline tour (miss them at your own peril).


“FINALLY! Now we’re getting somewhere! That was wonderful.”

-- the man himself after the band killed it recently on Letterman

"delivers 12 thrilling minutes of tuneful, teenaged hooks." -- Spin

“The best new live band in America" -- NME (One To Watch 2014)

'Who Needs You' is my "Summer Anthem". -- Bob Boilen, NPR

"More recently, frontman Mario Cuomo has tapped into something special, songs like "Who Needs You" ring with big, chiming guitars, a giant stomping beat straight out of Motown and Cuomo, bellowing societal disgust through a microphone that sounds like it is plugged into a muddy lake bottom." --Chicago Sun Times

Listen: "Who Needs You"  

Wild Cub

Wild Cub

4/24 Stubb's BBQ - Austin, TX
4/25-27 CounterPoint Music Festival - Atlanta, GA
4/28 Sloss Furnace - Birmingham, AL
5/16 Hangout Festival - Gulf Shores, AL
5/17 Vinoy Park - St Petersburg, FL
5/21 Rams Head Live - Baltimore, MD
6/19-22 Firefly Music Festival - Dover, DE
6/23 Club AE - Pittsburgh, PA
6/25 Newport Music Hall - Columbus, OH
6/28 Triple Rock Social Club - Minneapolis, MN
7/03 House of Blues - San Diego, CA
7/06 Sasquatch! Music Festival 2014 - George, WA
7/12 MO POP Festival 2014 - Sterling Heights, MI
7/14 Czar Bar - Kansas City, MO
7/16 Duck Room, Blueberry Hill - St Louis, MO
7/25 The Parish - Austin, TX
7/26 Fitzgerald's – Houston, TX
7/28 Black Sheep - Colorado Springs, CO
8/06 El Rey Theatre - Los Angeles, CA
8/07 Great American Music Hall - San Francisco, CA


Blankwild cub


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A little over a year and a half ago, songwriter/composer Keegan DeWitt and multi-instrumentalist Jeremy Bullock stripped down a small Nashville row house to build a custom studio. In this space, and together with friend and drummer/producer Dabney Morris, they would record and eventually form Wild Cub around their debut album "Youth". Initially shared digitally a little over a year ago, the album will now see a wide release through Mom+Pop on December 10th as infectious debut single “Thunder Clatter” sits in rotation on SiriusXM’s AltNation.

Their vision was simple: to share songs akin to fleeting, auditory memories. A collection of 13 captured moments, much like a found box of letters and photographs, "Youth" serves as a loose examination of how life refines us as we move through it, how the choices made along the way shape us in potentially unexpected ways. Mixing programmed sounds and live performances – and recorded in less than two months – each song was run through a TASCAM 4-track cassette tape recorder to maintain an intimate, diary-like feel. The lyrics scatter and focus, abstract and refine, encapsulating the elusive feelings of small moments cast aside, such as late night drives, the limitlessness of falling in love, and the freedom of finding a true friend or co-conspirator in an immense and sometimes empty world.


The album transitions seamlessly between infectious electro-pop, tropical rhythms, and quiet washes of cinematic new wave reflection. It’s this evocative, cinematic quality that characterizes Wild Cub’s songs, influenced heavily by DeWitt’s extensive work in composing film scores (including 2013’s Academy Award-winning short documentary Inocente; 2013’s Sundance Audience Award for Best of NEXT winner This Is Martin Bonner; and 2010’s Cold Weather).

Since its initial small release, press and touring around "Youth" has mounted steadily and surely. Paste, Consequence Of Sound, MTV Hive, and The Wall Street Journal’s Speakeasy blog (’12 Acts to Watch at the 2012 CMJ Music Marathon’) all shortly took notice. Things began to take on a break-neck pace of their own in early 2013, with Wild Cub performing at designer Rebecca Minkoff’s Fall ’13 NY Fashion Week show, snagging’s ‘Band Crush’ stamp and major support from influential station KEXP (“…[Wild Cub’s] brand of darkly-tinged new wave recalls elements of the youthful abandon of John Hughes soundtracks, the baleful allure of Greg Dulli, and the clockwork electronics of New Order’s middle period”), while “Thunder Clatter” was highlighted in Entertainment Weekly’s ‘Singles Swap’ feature.


"Youth" gained notable UK press attention at this time from Clash Music, The Guardian, The Line Of Best Fit, and Top Shop, as Wild Cub’s tracks, remixes, and visually arresting videos continued to premiere in the States on sites including,, Noisey, and, among others. The band completed its first two US tours and hit festivals like SXSW (playing eight shows), Hangout Fest, and Lollapalooza (including a sold-out afterparty with UK stand-outs Palma Violets), while Alt Nation began championing Wild Cub as DJ Jeff Regan independently added “Thunder Clatter” to heavy rotation. Roughly 18 months since recording the first rough sketches of Youth in that row house in Nashville, Wild Cub headlined a brimming crowd at New York’s Bowery Ballroom after selling out both the Mercury Lounge and Glasslands a few months prior.


In addition to fall festival dates that include a stop at Austin City Limits, Wild Cub will travel to the UK for two debut London shows in November, where “Thunder Clatter” has made waves on the Spotify Viral and iTunes Top Singles charts after soundtracking a Bose ad. "Youth"’s wide release through Mom+Pop will also include two bonus tracks, “Blacktide” and “Lies.”

Listen: "Thunder Clatter"  (radio edit)