#i have fond memories from Tivoli

[helianskies]

i think this has only just occured to me because i've spent the last 5 hours going thru pics from my Denmark trip back in summer but imagine Den taking the other nations to Tivoli Gardens (a sort of theme park right in the centre of Copenhagen) to wind down after a conference he's been hosting lmao

[maisieabroad]

Week 15 Update #1

When I first began this blog, I imagined myself making weekly updates on my life overseas, writing words upon words on the endless amazement, keeping family and friends well-informed with remarks and witticisms. And I would update regularly, let’s say, once a week or so. 

....... yeah. 

So here’s the first of a series of things that’ve gone on in my life in the 10 weeks since you last heard from me, attempting to elaborate on and fill in the spaces between photosets (don’t worry, there will be more photosets). 

Travel Break One: Oct. 6th - Oct. 15th

I woke up on the first day of break at 4am, and got on an early morning flight to England. As with most places you haven’t been in a while, I didn’t realize how much I’d missed my home-away-from-home until I got there. I didn’t realize how much I’d missed my family members until we were hugging. Mum, Russell, Aunty Lisa and I immediately drove down to Wells-Next-The-Sea, where Ben (my cousin) and Emma were getting married the next day. I was quite excited, because I hadn’t been to a wedding since I was a small child - not to mention all the family that would be there, that I hadn’t seen in ages. 

The wedding took place at the beautiful, quirky, Voewood house, as well as the green gardens in the back. I found the ceremony quite moving (and we did have a little fun watching Ben squirm under the attention at the altar). The rest of the day was wonderful, from congratulating the new bride and groom, to a delicious South African dinner, and endless cheese, chocolate, and glasses of prosecco (and three jagerbombs from generous cousin Tom). 

The next day I got to go on a brief jaunt around Wells, which was nice because I have fond memories of it from three summers ago. I don’t know if I’ll ever get tired of walking along the Quay. After a lunch of homemade pizza, we said our goodbyes and drove to Market Deeping. It was strange thinking that the next time I see my newest once-removed cousin, tiny 8-week-old Duke, he’ll probably be able to talk in complete sentences (when I saw him he was just sorting out what his hands were). During our two days with Lisa and Russell, Mum and I got to have two proper English dinners: steak and ale pie, and fish and chips. It’s just not the same anywhere else. 

October 10th, Mum and I flew to Stockholm. The bus into the city from the airport drove us through idyllic farm plots bordered by tall, green and orange forests, with deer grazing in the undergrowth. It was so cold and windy, one of the first things we did was buy a hat from Mum, and a scarf for me (thanks H&M). Over the next two days, Mum and I strolled through Gamla Stan, visited the amazingly-preserved Vasa ship from the early 1600s, took the city ferry as the sun was setting, and also had some /amazing/ swedish meatballs. 

The 12th had us on another train, this time to Gothenburg. More beautiful Swedish scenery - this time trees teetered over the sheer rock that tumbled into the bluest lakes I’ve ever seen. When we arrived at our room, on an anchored “boat-el,” it was incredibly windy (thanks again, H&M). Gothenburg is a beautiful city, with canals running through the city center, and tiny parks scattered throughout. I did a speed run of the art museum an hour before it closed, and we both indulged in goose-breast-style cream desserts. Mum also got her prawn sandwich fix at the Fish Church (I’m not even the biggest shrimp fan, and it was really delicious). On the 13th, we arrived back in Hedehusene. 

It felt strange showing my Mum around Copenhagen, mostly because it felt really strange to have a foreign city be so familiar to me. That night Martin and Tina spoiled us with a birthday dinner (technically my Mum’s birthday dinner, but I was being spoiled too) of pork with crackling, pickled red cabbage, potatoes and gravy, and for dessert, apple cake. 

The 15th, Mum and I went to Nyhavn, Den Lille Havfrue, Rosenborg, and Tivoli. I was so grateful to have spent such unique quality time with my Mum, and being able to spend time with family (blood and host). 

[shooktim-blog]

Although I’ve been to Europe on many occasions and have been fortunate enough to explore many different corners of the continent, there remain some places – entire countries – that I have somehow missed. Denmark was one of those countries, which is one reason why I decided to start my vacation in the capital city of Copenhagen. To be honest, I was certain I would like Copenhagen before I visited, but what I didn’t realize was just how much I would enjoy my time there. In this first post of many about my time in Denmark, I want to share some initial thoughts and observations about spending time in Copenhagen.

Hygge

A surprisingly difficult term to define, hygge in large part came to define my time in Copenhagen. Hygge is many things; it’s a feeling of coziness, contentment and being at peace. Enjoying a picnic with friends in the park can be hygge, but so can a well-designed row of townhouses. It’s easier to experience than to define, which is one reason why I was happy that I actually booked a hygge tour. For a few hours, we were led around central Copenhagen learning more about the city’s history, but more importantly Danish culture and how central a role hygge plays in everyday life. From cozy coffee shops to colorful streets, hygge was better shown to us than explained, and the perfect jumping off point to launch our own Danish adventures.

Easy to Explore

What I didn’t know about Copenhagen before I visited was just how easy it is to explore on foot. The city center is very compact and everything I wanted to see and do was within easy walking distance. Sure, they have public transportation, but honestly I only used it to get to/from the airport. That being said, since Copenhagen is on the water, the first thing I did was join an hour-long sightseeing boat cruise. While it may seem like one of those hokey tourist activities, which it kind of is, I also think it’s a fantastic way for any first-time visitor to better understand the city very quickly. There are a number of different ways to enjoy Copenhagen from the water, and there were different companies listed with the Copenhagen Card we used throughout the trip, but ultimately I opted for the 1-hour overview that took us from the docks downtown to colorful Nyhavn and even out to see some of the newly reimagined neighborhoods across the water. It was a fun way to try to combat some of that first-day jet lag exhaustion.

Tivoli Gardens

Tivoli Gardens played such an unexpectedly important role in my trip to Copenhagen that I just had to include the world’s 2nd oldest amusement park on this list. Opened in 1843, the fact that it’s not only still around but it that it’s still incredibly popular is what amazed me the most. More than 4.5 million people visited Tivoli just last year, thanks to its location within the city center and the fact that the park offers new and really fun rides. Walt Disney himself was inspired after a visit to the park, and many elements of Tivoli are echoed throughout Disneyland. I spent a lot of time in Tivoli not only because it was fun, but thanks to my hotel – The Nimb. Routinely named one of the best hotels in the world, its location adjacent to the park ensures unique access and experiences available only to guests. Complimentary entry and unlimited ride passes offered by the Nimb meant I could come and go as I pleased – a perk I made great use of. I think though that I loved Tivoli so much thanks to its own inherent beauty. Embracing nature and its location, it felt like being in a lavish garden instead of a small city amusement park, a unique experience for sure and it’s probably for that reason more than anything else that has kept it such a popular place to enjoy.

So Much More to Say…

This post is an extremely cursory overview and, almost more than anything else, has been a way for me to wrap my head around Copenhagen and start to dissect those individuals elements I enjoyed the most. However, in so doing, I’m missing something bigger. More than the people or fun activities, it was Copenhagen as a whole that appealed to me so very much. It was all of these discrete aspects, plus many more, that all contributed to my enjoyment of the city. It was my first bite into an open-faced sandwich just as much as it was a rollercoaster in Tivoli. They came together to synthesize what can be rare in the travel experience, a perfect trip. I can’t say that others will enjoy Copenhagen as much as I did, but I also can’t imagine anyone walking away from the experience without a smile on their face and many fond memories.

The post Copenhagen – My First Visit & What I Really Thought appeared first on LandLopers.

[tinymixtapes]

Feature: SONICA 2018

Ljubljana, the capital of Slovenia, is a strange place. --- Monday: Cankarjev Dom Empty halls always give off that unintentionally eerie feeling that nobody should belong there. That their purpose is outside the purview of the humans that built them. The more cavernous they are, the more you get this feeling. Cankarjev Dom, or Cankar Centre/Hall, is an example of this. It is fascinating that this, the largest exhibition hall in Slovenia, would be the opening venue of SONICA Festival. The festival didn’t even use the main spaces of the hall, but rather a smaller stage — Kosovelova dvorana, or Kosovel Hall — located in the lower basement of the building. It only amplified that smallness. Friday: ROG Factory After concluding the night’s activities at Cankarjev Dom, I went to an abandoned factory just a little east along the Ljubljanica River for a club night. Upon entry, it felt like I entered a Berlin joint, complete with a blasted-out concrete space for where people could stand, a makeshift bar, and lots of smoking. Alleged Witches, a local house DJ, opened with a two-and-a-half hour set that was of acceptable techno with sparks of ambient. Actress followed with techno, too, though with sprinkles of his established sound. After watching for a legally-mandated 15 minutes, I left, returned here, and wrote these words. Lee Gamble is playing in a bit, but that’s at 3 AM. That’s something I would’ve done 5 years ago, maybe even 3 years ago, but that ain’t me now. Wednesday: +MSUM Tomoko Sauvage (Photo: Lana Špiler) Entering the Museum of Contemporary Art, also known as +MSUM, was a bit disjointed, if only because the doors look like wing tips. Still, walking in, I noticed the crowd gathering around this one gallery space. It’s always good to have that. Just that bit of overfill to show that people are genuinely interested in what you have to offer. Tomoko Sauvage was the key act of the night. The Japanese artist primarily performed using a piezo-based mic setup, two bowls filled with water, among other stuff. I’ve always had a certain fondness for piezo-based surface recordings, especially because we can’t often hear these vibrations, even if we can feel them. Sauvage resorted to sound manipulation that worked effectively for the materials she was using, creating a unique environment from within the space that makes it more appealing to the listener. You sort of drift into and out of the space without ever moving. That takes a certain level of sophistry in your craft, and I look forward to more of Sauvage’s work. --- Even the name is strange. Lyub-li-ahn-a. Those j’s are weird. Majbe thej form a conspiracj (yes, you pronounce it like y). I guess that’s why the locals just use the pronunciation “Loub-li-ahn-a.” Alas. It is by no means exotic. Many elements of the city I felt a compelling connection to past American and European cities I’ve managed to stumble my way into the last 10 years: Köln, Berlin, Santa Fe, Detroit… Chicago. Its smallness stirs memories of Providence, an emblem of my childhood I have not set foot in for longer. --- Saturday: Klub CD Sometimes, an earnest moment changes everything. I don’t know where I was, or, rather, where my head was, while at Klub CD, the rooftop restaurant and hall of Cankarjev Dom. Performing in front of me was William Basinski. He’s an odd sort: Despite being this avant-garde figure, he had the look, disposition, and dress of a rock star. He joked about wanting to catch the prior night’s club activity. But perhaps that was the point: His piece, A Shadow in Time, was designed as, in his words, “a funeral mass” and “calling home” to David Bowie, the epitome of cool. Perhaps fitting given it was he who refused the rites of burial and all that remains of him scattered in particles to the winds around Bali. Thursday: Kino Šiška Lifecutter (Photo: Lana Špiler) The oldest cinema in Ljubljana, the space has been converted into a concert hall on the lower levels. The structure reminds me of multiple cavernous concert halls I’ve descended into throughout my life, though it feels more in shape like an actual music venue than the various rectangular configurations of previous experience. The act first noted on the bill is a Slovene artist by the name of Lifecutter, who immediately gave off an imposing, spooky vibe appropriate for fall with his dithering samples and incongruent rhythms. That set the mood for the first 15 minutes of the set, building up a dark tension in the room. Had he cut off his set at 20, 25 minutes, it would’ve been a solid performance. But it lasted 45 minutes. The latter half of the set was filled with familiar techno and house patterns, grooves that ultimately did little to inspire the imagination. It roused the crowd into dancing, certainly, but I kept wanting him to go back to what he was doing at the beginning of his set. He did ultimately return there in the closing minutes, but by then, the impact was measurable. Monday: Cankarjev Dom The opening act of SONICA 2018 was Tristan Perich, of renowned One-Bit Symphony fame. Utilizing a single synth, he did a buildup of multiple looping patterns that in theory should allow the listener to drift in and out. But it felt similar after a while, as if he were running through the motions of what a synth set should sound like. There was hope that it would build up to something, but it didn’t go where I would’ve expected. Thursday: Moderna Gallerija Below are notes taken verbatim from an occurrence on Thursday at Moderna Gallerija, the Museum of Modern Art, near Tivoli Park. No context given. Use your imagination. * #3: Hunch! * #2: Hey, someone I can relate to * #4: Speaks better than #1 * #5: Has a pulse to the ground * #1: Unsure about what they’re saying * #6: Ljubljana needs less techno * #8: Jazz is bad jazz is bad * #7: A key to… all over the place? * #9: Those are certainly four words Friday: Cankarjev Dom The headline act was a new piece called Sacred Horror in Design by Iranian musician Sote with German visual artist Tarik Barri and a couple of Iranian partners. The structure of this long, winding set piece at first harkens to the emotional minimalism of Jerusalem in My Heart. But it’s not that simple, really. There is a pain, a sadness that circulates and shifts throughout the piece, whether in the background imagery or when the traditional Iranian instrumentation is distorted through various effects. It’s something that you can feel there. Even the moments where fear is meant to be invoked, it comes through as anguish. The tapestry brought about by Barri’s visuals served as an assertive complement to Sote’s composition. Whether through simple tears or bleeds that cut through the imagery or invocations of Persian-Islamic culture, the melancholy that is powering this piece shows. Saturday: Mestni park Tivoli Marco Barotti’s Swans (Photo: Lana Špiler) While wandering through Tivoli Park looking for ducks, I accidentally stumbled upon Marco Barotti’s sound installation, Swans, overlooking the pond. I stood there for a few moments, trying to make sense of the tiny spectacle, but it felt strangely monotonous. I moved on to find a small number of ducks in the pond and an old man struggling to feed them (only to be thwarted by pigeons). Wednesday: +MSUM Following Sauvage was a DJ set by James Ginzburg. For the most part, the crowd just ignored him and either stood around, ate at the little cantina next to the gallery, or smoked outside. Perhaps it was for the best: the set felt like second-hand James Ferraro or OPN with a side of Deafheaven. --- Instead, its strangeness comes from a calmness about it that accepts its minor absurdities. The prevalence of graffiti everywhere with little more than a shrug. A goofy meme referencing a short film when a new train opens to Italy. An anecdote of a taxi driver nonchalantly taking a tourist around the city as riots were occurring. Photo: Ze Pequeno This isn’t bad, mind you. It grants the opportunity to question things. --- Friday: Pritlicje In which a thing may have happened (among others). Thursday: Kino Šiška Giant Swan (Photo: Lana Špiler) To close the night, Giant Swan took to the stage… and then one of them immediately jumped off it. Taking an aggressive stance with the crowd, a drum & bass set soon followed. The setup they had was definitely one you would find among anyone who came from Brighton or Bristol. The energy they injected into their set certainly merited a comparison to Fuck Buttons, and unlike my previous experience with a live set of the latter, the crowd actually got into it. Much credit to that, a rarity in such settings. I just wish I could feel the same about the music. While I was hoping for the bombastic energy and tension-building that I’ve seen many a good Brighton and Bristol act pull off, what I got was the other type of music I hear from those cites: Meandering repetitions that never quite get out of their groove. I failed to understand their appeal, but at least the crowd was happy about it. Make of that what you will. Saturday: Klub CD The work was eerily reminiscent of the works of both The Caretaker or (especially) Tape Loop Orchestra. The first act, which Basinski claimed was comparable to a New Orleans-style funeral march, brought about a different angle. It wasn’t really a body going home. It was the body, the self going home, turning inward in ways that one couldn’t anticipate. Perhaps that is what looking at things in retrospect does to you. Understanding the purpose, the meaning of things that have come before. Many laid down to understand what was happening to them. Others, like myself, observed both outward and inward what was happening. A forgotten sadness encroaches. Photo: Ze Pequeno Monday: Cankarjev Dom The second act was Yair Elazar Glotman and Mats Erlandsson, who played a selection from last year’s joint effort, Negative Chambers. Joining them were local musicians Katarina Kozjek, Anastazija Krenn, and Žiga Murko. Now this was something. While Perich attempted to demonstrate something resembling intensity, Glotman and Erlandsson, et al. were intensity. The pull into the ethereal immediately brought to mind the works of Motion Sickness From Time Travel and the like, as well as the modest drawing that creates a sensation of envelopment yet isn’t overwhelming. You’re in a strange setting in these situations because of it. And yet… it felt right. It was something that could set the tone for the festival. Friday: Cankarjev Dom Container Doxa (Photo: Lana Špiler) “The situation remains excellent.” Container Doxa would conclude the night at Linhart Hall. Of the Slovene acts that played throughout the festival, they were the most interesting. They opened the piece with an empty stage, while the members stood in the crowd, imitating birdsong. One by one, the group assembled and delivered a performance as fragmented as their arrival. The bouncing of instrumentation played off of each other very effectively, while an arresting visual display stood at their backs, with Tine Grgurevic reading through a mechanical treatise that played off like a sinister lecture. As some would remark, there are limits to futurism. Container Doxa’s piece hinted at these limitations in terms of the piece. It showed how it’s so hard to walk the line between the pristine cosmopolitanism of futurology and dystopia… and how we lean hard toward the latter than the former these days. --- The 10th running of SONICA Festival in Ljubljana, operated by the Museum of Transitory Art, focuses on the matter of “sensitivity,” and whether it is necessary to oblige to it anymore. The context of our times certainly gives us reason to ask this question. Of course, many here would be uncomfortable to even consider it. SONICA graciously invited Tiny Mix Tapes to attend and to become part of their talks. In turn, I, on my own 10th anniversary of writing for TMT, have been sent to cover… and to talk. I will avoid the trappings of nostalgia tripping as much as I can, though I probably already screwed up in making note of prior cities. Oh well. Not the worst thing that can happen in a festival review. --- Tuesday: Ni v Sloveniji/non in Slovenia É engraçado. Falou esloveno mais bem de italiano. Porque é…? Meh. Culpo Portugal. Thursday: Kino Šiška Aïsha Devi (Photo: Lana Špiler) The headliner of the night was Aïsha Devi. It is worth noting her purpose here at this point: She is representative of the potential not of electronic music (that in and of itself is a different matter), but of SHAPE, the European Union’s attempt at creating a centralized platform for artist development throughout its member states (disclosure: TMT is a SHAPE media partner). While many of the acts this week are connected to SHAPE in some capacity, either as active members or alumni, Devi represents one of its bigger success stories, making a significant impact on the electronic music scene. So it makes some sense to have her around, especially with a new album to tout. Her set at Kino Šiška was a dichotomy of sorts. On the one hand, her music remained the same: A miasmic hodgepodge of dissonance with some foundations of brilliance that screamed missed opportunity. On the other hand, her performance actually worked to her favor, with her jumpy mannerisms and distorted movements working up the crowd. Friday: Cankarjev Dom The return to Cankarjev Dom would also come with an upgrade. In lieu of Monday’s visit to Kosovel Hall, SONICA booked Linhartova dvorana/Linhart Hall, a vast concert stage that was almost certainly double in capacity. It felt like a true concert hall in scope, compared to Kosovel’s lecture-like space. To open the night, Canadian artists Jason Sharpe and Adam Basanta took to the stage in an intense barrage of sound. The post-rock narrative worked to their advantage in this situation, built on call and response between Sharpe’s instrumentation and Basanta’s looping. It’s worth noting the prior descriptions of the concert hall fit well here. Acoustics in a venue tend not to matter as much in electricified music, since the sound is already partially shaped and adjustable. However, in acts such as Sharpe’s and Basanta’s, where a greater emphasis is placed on sound design and manipulation, the acoustics start to matter a lot more. Which is to say that Linhart Hall played as much a role in turning the duo’s sound into its own thing as the effects on display. Saturday: Klub CD As the music shifted to act #2, which was intended as a transmission to the spirit of Ziggy Stardust, of Starman, of the Thin White Duke, and of all his other iterations, the mood changed. There was little chatter in the crowd. People were just drifting. And in that moment, everything felt strangely earnest. There was an inexplicable sincerity projected by Basinski’s music, even as he remained decked out in glam rock attire. It made me think about not just what I was doing in Ljubljana, but also what I have been doing generally. Sometimes you get the clarity you look for in unexpected places. As the loops weaved through and about, I felt an urge to question my actions and roles as a Writer of MusicTM and supporter of the Chicago DIY scene, as well as a passive supporter of DIY scenes everywhere else. Have I done enough? Have I put in enough effort to truly help communities move forward? Has my own hesitance at being a social person, and the insufferability that has permeated much of the social internet, created an unnecessary crutch to prevent me from doing more and actually be a helpful person? These are weird questions to ask in the middle of an ambient performance. But perhaps this was the only time I could really think about anything beyond the scope of this report, really. And perhaps it was necessary. The priorities had changed. http://j.mp/2C3YUhs

[alwayssummerblog]

MegaPick: Kelsea Ballerini

Kelsea Ballerini’s sophomore album, Unapologetically, dropped today, and it’s truly a masterpiece. It has soared to the top of the iTunes charts and is currently sitting as both the #1 country album and #2 all-genre album. 

my heart in an album sitting at number one nine minutes after release. no words.

A post shared by Kelsea Ballerini (@kelseaballerini) on Nov 2, 2017 at 9:11pm PDT

The album, encompassing tales of heartbreak and romance, tells a story from beginning to end. In the video celebrating release, Ballerini makes a heart-filled statement to explain the record, “Some people think that being vulnerable is being weak. That if you’re emotional, or you’re bold, or you’re honest, then you’re irrational, or you’re intense, or you’re fragile. But I disagree, ‘cause, over the last three years, the biggest lesson I’ve learned is that all we have is our story. We are who we are because of the extreme emotions we feel. Whether it’s failing, succeeding, belly-laughing, sobbing, being young forever, growing up, heartbreak, real love, whatever. It’s all we have. And, so, I challenged myself to feel every bit of it, and then I challenged myself to write about every bit of it. Because, I think, that being vulnerable is being strong. And, if all we have is our story, I wanted to tell mine, Unapologetically.”

If all we have is our story, I wanted to tell mine #UNAPOLOGETICALLY. Available everywhere NOW 💋 https://t.co/Wv8tkB6JXA pic.twitter.com/enlwt64DkE

— Kelsea Ballerini (@KelseaBallerini)

November 3, 2017

The title track, “Unapologetically,” tells the story of going head-on into love and listening to your heart. Ballerini shared the story of writing the song with USA TODAY, explaining that she penned it after meeting her now-fiancé, Morgan Evans, on a trip to Australia: “We wrote the song right after I had gotten back from Australia… I remember just really in my head being like, 'Oh I feel it happening, love is happening,' but I couldn’t really talk about it yet. So before you talk about it, you write about it."

Other favorites from the album include “In Between,” aptly sandwiched at the middle of the album. The track beautifully describes being in her twenties, both clinging to childhood and screaming for the independence of adulthood. It even ends with an emotional voicemail from her mom, adding deeper meaning to the track. In the chorus, Ballerini sings, “sometimes I’m my mothers daughter, sometimes I’m her friend / sometimes I play grown up and sometimes I play pretend / sometimes I’m a princess dressed up all ribbons and all curls / and sometimes I just wanna scream ‘I’m not a little girl’ / Dumb enough to think I know it all, smart enough to know I don’t / Young enough to think I’ll live forever, old enough to know I won’t.”

Another favorite of ours is “I Hate Love Songs,” a hilariously witty track about hating cliché love songs and romantic gestures, while being in love: “I hate Shakespeare and Gosling, and cakes with white frosting, two names in a heart-shaped tattoo / I think cupid is stupid and violets are purple not blue / I hate catching bouquets, the honeymoon phase, and letterman jackets don’t fit / Your eyes can’t hold stars and you’d die if your heart really skipped / I hate love songs, yeah I really do, I hate love songs / But, I love you.” 

Of course, we can’t forget to mention the lead-single, “Legends,” and it’s beautiful music video. Looking back at a relationship with fondness and positive memories has never sounded better.

Get Unapologetically on iTunes here. Ballerini’s headlining Unapologetically Tour kicks off on February 8 in Birmingham and tickets for all shows are on sale now! Head to Ballerini’s website for more information and check out dates below:

Kelsea Ballerini Unapologetically Tour 2018 Dates:

February 8 - Birmingham, AL @ Alabama Theatre February 9 - Chattanooga, TN @ Tivoli Theatre February 10 - Augusta, GA @ William G. Bell Auditorium February 14 - Nashville, TN @ Ryman Auditorium February 16 - Clearwater, FL @ Ruth Eckerd Hall February 22 - Columbus, OH @ Express Live! February 23 - Milwaukee, WI @ Riverside Theater February 24 - Des Moines, IA @ Hoyt Sherman Place March 5 - New York, NY @ PlayStation Theater March 6 - Sayreville, NJ @ Starland Ballroom March 7 - Richmond, VA @ The National March 19 - Portland, OR @ Crystal Ballroom March 20 - Spokane, WA @ The Knitting Factory March 21 - Seattle, WA @ Showbox SoDo March 25 - Santa Barbara, CA @ Arlington Theatre March 27- Indio, CA @ Stagecoach Festival