HARKNESS — a documentary that encapsulates the raw, electric look at elusive musician Harkness — is set to shake up Toronto on Sunday April 13 when the film screens at The Royal Cinema followed by a live performance by Harkness himself, down the street at the Monarch Tavern. Commissioned as a documentary Channel original, HARKNESS will be available to stream the following day – Monday April 14 – on CBC Gem.
Directed, written, and edited by Maria Markina, and produced by Ed Barreveld of Storyline Entertainment, this high-voltage documentary promises to captivate as it delves into the journey of the musician known as Harkness.
The film tracks the highs, lows, and comebacks of Harkness, a musician with a self-guided mission for rock stardom. From his high school band days in Toronto to the legendary clubs of London, Harkness was always “the one who was going to make it.”
Following a bad acid episode in the late 80’s, Harkness grappled for years with psychosis until he found salvation in a “self-free” existence that inspired his unique stage persona: he performs in a flowing purple gown, hood, and oversized visor, obscuring his face and deflecting identity. As he explains in the film, “when there is the absence of self, there is this oneness that is innocent and loving – but having an ego is the psychosis.”
After a determined attempt to break into the music scene in London, and disillusioned and frustrated by the rigid rules of the music industry, Harkness retreated from the scene entirely. For decades, he disappeared into his mother’s basement, converting it into a state-of-the-art studio and becoming a mystery figure dedicated to creating his own music. Now, 20-years later, he’s coming out swinging with a power-pop album he’s convinced will be his ticket to the big time. Is the world still waiting for Harkness?
Come for the music, stay for the story.
Produced with the Participation of Canada Media Fund, Ontario Creates, Rogers Telefund, with the assistance of Hot Docs-Slaight Family Fund, with the support from Doc Institute Breakthrough Rogers CBC Award, with the cooperation of the Canadian Federation of Musicians, film and television tax credit assistance from the Government of Ontario, funded by the Government of Canada, produced in association with documentary Channel.
Black Rebel Motorcycle Club has announced a North America Tour, in celebration of the 20th anniversary of the band’s 2005 seminal album, Howl kicking off September 20, 2025.
The 25-date tour – the band’s first headline tour in five years – begins in Santa Ana, CA, crossing the country and returning to the west coast with a special hometown show in San Francisco, CA @ The Warfield October 25.
Tickets go on-sale to the public Friday March 28 @ 10:00am local time.
In celebration of the band’s 2005 critically acclaimed album Howl, BRMC will perform songs from the iconic album, along with many other fan favorites from their illustrious catalog.
Also coming this fall, BRMC will be releasing a special deluxe vinyl edition of Howl, with four LPs and previously unreleased tracks from the 2005 recording sessions.
NME said of Howl, “From the deep-fried southern gothic feel of opener ‘Shuffle’ to the parting bars of head-rushing album closer ‘The Line’, Howl is at its dark heart an homage to American folk music.”
BRMC founder, Robert Levon Been says, “What the fuck does NME know about American folk music?”
BLACK REBEL MOTORCYCLE CLUB HOWL 20th ANNIVERSARY TOUR DATES:
With Special Guests:
MIEN (*)
Humanist (#)
TBA (^)
Sept 20 Santa Ana, CA @ Observatory *
Sept 21 Sacramento, CA @ Ace of Spades *
Sept 23 Vancouver BC @ Commodore Ballroom *
Sept 24 Seattle, WA @ Showbox Sodo *
Sept 25 Portland, OR @ Crystal Ballroom *
Sept 27 Salt Lake City, UT @ The Depot ^
Sept 28 Denver, CO @ Summit Denver ^
Sept 30 Minneapolis, MN @ First Ave ^
Oct 1 Milwaukee, WI @ Turner Hall ^
Oct 3 Chicago, IL @ Thalia Hall ^
Oct 5 Toronto, ON @ History ^
Oct 7 Montreal, QC @ Beanfield Theatre ^
Oct 8 Boston, MA @ House of Blues #
Oct 10 New York, NY @ Terminal 5 #
Oct 11 Philadelphia, PA @ Union Transfer #
Oct 12 Washington, DC @ 9:30 Club #
Oct 14 Asheville, NC @ Orange Peel #
Oct 15 Atlanta, GA @ Buckhead Theatre #
Oct 17 Houston, TX @ White Oak Music Hall #
Oct 18 Austin, TX @ Mohawk #
Oct 19 Dallas, TX @ Granada Theatre #
Oct 21 Phoenix, AZ @ Van Buren #
Oct 22 San Diego, CA @ Observatory #
Oct 23 Los Angeles, CA @ The Wiltern #
Oct 25 San Francisco, CA @ The Warfield #
Nahre Sol took a deep dive into the genius of Leoš Janáček by visiting Brno and studying how he turned speech into symphony. The result? An original composition based on none other than Bob Ross—proof that even “happy little trees” can carry a tune.
Ever wondered what Black Sabbath would sound like if transported to a Nordic fantasy realm? The Harp Twins and the Vølfgang Twins have the answer, turning “Paranoid” into a stunning fusion of mystical harp and battle-ready drums. It’s metal—reimagined for the mead hall.
As part of a new chapter in the longtime and successful relationship between Major League Baseball and SiriusXM, it was announced today that MLB Network will simulcast the final hour of SiriusXM’s daily show, “The Leadoff Spot,” weekdays at 9 a.m. ET, beginning on “Baseball Eve,” Wednesday, March 26th, the day before Opening Day. Co-hosted by a combination of veteran baseball personalities and analysts — Steve Phillips, Xavier Scruggs and Eduardo Pérez — the simulcast will lead into MLB Network’s MLB Central at 10 a.m. ET, followed by MLB Now at 12 p.m. ET. As one of MLB Network Radio’s signature shows on SiriusXM, “The Leadoff Spot” delivers expert commentary, recapping the night’s action and previewing the day ahead, plus unfiltered interviews with baseball newsmakers and club personnel. With the addition of “The Leadoff Spot,” MLB Network will have the ability to roll out eight different daily studio programs depending on game action this season.
“Major League Baseball and SiriusXM have had a productive relationship for many years, so it’s only natural for us to expand our valuable platforms with this new endeavor,” said Bill Morningstar, President of MLB Network. “’The Leadoff Spot’ is an insightful and topical daily program that will only enhance our content and expand the variety of opinions and noteworthy interviews fans will consume on MLB Network.”
“’The Leadoff Spot’ is an entertaining and informative way for baseball fans to start their day,” said Eric Spitz, SiriusXM’s VP of Sports Programming. “SiriusXM listeners know that the insights you get from Steve, Eduardo and Xavier, with their exceptional experience in the front office and on the field, are second to none. We’re thrilled to work with Major League Baseball to expand the reach of the show and deliver that expertise to those tuning in on MLB Network.”
“The Leadoff Spot” airs live from 7 to 10 a.m. ET every weekday on MLB Network Radio (SiriusXM channel 89), with MLB Network set to simulcast the final hour of the show at 9 a.m. ET. MLB Network’s Emmy Award-winning MLB Tonight will continue to regularly simulcast on MLB Network Radio throughout the season, as it has for many years. In addition to their work on SiriusXM and other platforms, Phillips, the former Mets G.M. and Scruggs, a former major league first baseman and outfielder, have been MLB Network on-air analysts since 2022. Pérez, a 13-year major league veteran, has contributed to ESPN’s baseball coverage for many years, including on “Sunday Night Baseball” since 2022.
MLB and SiriusXM have teamed up for more than two decades to give fans across the country live broadcasts of every regular season and Postseason game, plus in-depth analysis and interviews on the MLB Network Radio channel 365 days a year.
Today, multi-platinum artist and producer SYML shares “The White Light of the Morning,” the latest offering from his forthcoming album, Nobody Lives Here (out April 4, 2025). Brian Fennell wrote the whispered hymn as a direct confrontation to the grief he felt after his father passed. He explains, “For months after my dad passed away, I would have these dreams where I am with him in this bright and peaceful place. The saddest part was that, in my dream, he didn’t know he had died. It felt profound and helpless. When we experience loss in any form, our brains try so hard to make sense of it, and this is another attempt.”
Nobody Lives Here marks Fennell’s clearest and crispest writing to date. With over four billion streams, the multi-platinum artist uses the record to look at grief, loss, and mortality directly in the eye, unwavering and harmonious. Written, recorded, and produced by him, it is fueled by the keen understanding that life is a contradiction, a fleeting moment. As he accepts the presence of loss, he still welcomes others into his space with melody, lyrics, a slide guitar, or a cello’s hum, reflecting on the passage of time, the weight of expectations, and the intimate, sometimes unsettling beauty of change.
On Nobody Lives Here, his music remains cinematic and visceral, taking the license to both gut and be gutted. “If the dark inspires the good, that’s a good thing to be honest about. All of these characters inside of me are fascinated by the same thing, which is: Why are humans even here and what is this ever-expanding universe that we’re floating through?”
To support the record, SYML heads out this week on the sold-out Spring European How It Was It Will Never Be Again Tour, which includes the Gatheryngs, five nights of intimate performances spanning the globe (NYC, Seattle, Paris, London) to celebrate the album release. He also has the extensive fall Nobody Lives Here headline tour on sale, which includes stops in Europe, Canada, and the UK. A full list of dates can be found below.
Welsh for “simple”—Brian Fennell makes music that taps into the instincts that drive us to places of sanctuary, whether that be a place or a person. It is a way for him to explore identity and belonging and embrace vulnerability and solace in the face of change. Born and raised in Seattle, Fennell studied piano and became a self-taught producer, programmer, and guitarist. He released his self-titled debut album in 2019, which included the multi-platinum song “Where’s My Love” and the Gold Record fan favorite “Girl.” His 2023 sophomore album, The Day My Father Died, described by NPR as “euphoric,” was recorded at Studio X with renowned producer Phil Ek and features collaborations with Elbow’s Guy Garvey, Lucius, Sara Watkins of Nickel Creek, and Charlotte Lawrence. His music has become the soundtrack to countless films and TV shows and was used by Lana Del Rey on the song “Paris, TX,” from her Grammy-nominated 2023 album. In 2024, he launched an imprint, FIN. Recordings, a collaboration with his label, Nettwerk Music Group, and management team, Good Harbor Music.
How It Was It Will Never Be Again Tour
3/25 Eindhoven, NL Effenaar *SOLD OUT*
3/26 Rotterdam, NL LantarenVenster *SOLD OUT*
3/27 Frankfurt, DE Brotfabrik *SOLD OUT*
3/28 Enschede, NL Metropool Hertog Jan Zaal *SOLD OUT*
3/29 Groningen, NL Nieuwe Kerk *SOLD OUT*
3/31 Hannover, DE MusikZentrum *SOLD OUT* 4/2 Copenhagen, DK DR Koncerthouset, Studio 2 *SOLD OUT*
4/3 Berlin, DE Peter Edel *SOLD OUT
*4/6 Gent, BE Wintercircus *SOLD OUT*
8/15 Oslo, NO Langs Akerselva Festival
8/16 Bodø, NO Parkenfestivalen
Special acoustic album release Gatheryngs:
4/5 Paris, FR Le Consulat *SOLD OUT*
4/7 London, UK Omeara *SOLD OUT*
4/12 Seattle, WA Easy Street Records
5/7 Brooklyn, NY National Sawdust
5/8 Brooklyn, NY National Sawdust *SOLD OUT*
Nobody Lives Here Tour (on-sale Friday, Feb 7, 2025)
8/14 Stockholm, SE Nalen
9/16 Quebec City, QC Palais Montcalm
9/17 Sherbrooke, QC Théâtre Granada
9/18 Ottawa, ON Bronson Centre
9/19 Montreal, QC mTelus
9/20 Toronto, ON Danforth Music Hall
10/9 Manchester, UK Academy 2
10/10 London, UK Electric Brixton
10/11 Brighton, UK Chalk
10/12 Esch-sur-Alzette, LX Rockhal
10/14 Nijmegen, NL Doornroosje
10/15 Antwerpen, BE De Roma
10/17 Utrecht, NL Tivoli Vrendenburg
10/18 Tourcoing, FR Le Grand Mix
10/19 Lyon, FR Le Transbordeur
10/21 Paris, FR Le Trianon
10/22 Zurich, CH Kaufleuten
2026
1/29 Wiesbaden, DE Schlachthof
1/30 Milano, IT Santeria Toscana 31
1/31 Munich, DE Technikum
2/01 Vienna, AT WUK
2/03 Krakow, PL Kwadrat
2/04 Warsaw, PL Progresja
2/06 Berlin, DE Metropol
2/07 Hamburg, DE Docks
2/08 Cologne, DE Carlswerk Victoria
A great album opener is a mission statement. It’s the band kicking down the door and yelling “Strap in.” Think of it as the audio equivalent of the cold open in a Tarantino film: setting the tone, raising the stakes, and refusing to let you look away. Here are 20 of the most iconic, electrifying, and unforgettable album openers—tracks that made you need to hear what comes next.
1. “Smells Like Teen Spirit” – Nirvana (Nevermind) What do you get when you combine angst, distortion, and a riff so good it probably started 100,000 bands? A revolution. This was grunge’s starter pistol, and it still sounds like a Molotov cocktail of teenage rebellion and feedback.
2. “Gimme Shelter” – The Rolling Stones (Let It Bleed) If the apocalypse ever had a theme song, it would sound like this. That haunting intro? Merry Clayton’s blistering vocals? That ominous “storm is threatening”? You knew this wasn’t going to be a safe ride.
3. “Where the Streets Have No Name” – U2 (The Joshua Tree) The slow build. The delay-drenched guitar. Bono summoning the heavens. It’s not just a song—it’s a sunrise. U2 didn’t just open an album; they opened a portal to something spiritual.
4. “Let’s Go Crazy” – Prince & The Revolution (Purple Rain) It begins like a sermon. Ends like a guitar duel with the universe. Prince gives you funk, rock, philosophy, and sex in just over four minutes. It’s basically a résumé for what makes him untouchable.
5. “Like a Rolling Stone” – Bob Dylan (Highway 61 Revisited) Six minutes of sneer and swagger. Dylan didn’t just change how an album opened—he changed what a song could be. From the opening snare crack, you knew he was done playing nice.
6. “Welcome to the Jungle” – Guns N’ Roses (Appetite for Destruction) What’s that sound? Oh, just the sound of a band ready to devour the entire Sunset Strip. GnR didn’t just announce their arrival—they demanded your attention and then dragged you into the fire.
7.“Born to Die” – Lana Del Rey (Born to Die) Strings swell. A beat drops. And suddenly we’re in Lana’s cinematic universe—tragic, glamorous, and doomed in the most beautiful way. This opener introduced a whole new brand of sad-girl mythology and pop noir.
8. “Baba O’Riley” – The Who (Who’s Next) Synths? On a rock album in 1971? You bet. Add Pete Townshend’s power chords and Roger Daltrey’s primal scream, and you’ve got the soundtrack to youth, defiance, and that thing we call epic.
9. “Airbag” – Radiohead (OK Computer) This is the sound of modern anxiety being born. The guitars loop, twist, and glitch like they’ve been coded in a basement. Thom Yorke sings like a ghost floating through a data breach. Perfection.
10. “London Calling” – The Clash (London Calling) It’s not just an opener—it’s a warning siren. From the chugging bass to the apocalyptic lyrics, The Clash told the world the party was over. Punk grew up and got serious.
11. “Hells Bells” – AC/DC (Back in Black) What better way to open an album than with… actual bells? Then the riff drops and it’s game over. A tribute to Bon Scott that somehow feels like resurrection through raw volume.
12. “Purple Haze” – The Jimi Hendrix Experience (Are You Experienced) Three notes in, your brain is already melting. Jimi didn’t just open an album—he kicked open the gates to another dimension. Rock was never the same.
13. “Good Times Bad Times” – Led Zeppelin (Led Zeppelin) First track. First album. And already, the world knew: this band was going to blow minds. John Bonham’s impossible drumming, Jimmy Page’s riffs—Zep came in hot.
14.“Get Ur Freak On” – Missy Elliott (Miss E… So Addictive) Missy did not come to play. She opened her third album with a tabla beat, an iconic yell, and one of the most inventive rap tracks of all time. Nobody was doing it like Missy—still isn’t.
15.“American Idiot” – Green Day (American Idiot) Billie Joe Armstrong kicks off this punk-rock opera with a grenade. Loud, political, and catchy as hell, it redefined Green Day for a new era—and gave us a whole album’s worth of rebellion in under three minutes.
16. “I Wanna Be Adored” – The Stone Roses (The Stone Roses) It doesn’t rush. It swirls. It builds. And when it finally lands, you feel like you’re floating through a Manchester daydream. Psychedelic swagger in full bloom.
17.“Pink Convertible” – Chappell Roan (The Rise and Fall of a Midwest Princess) With an opening synth line straight out of an ‘80s prom fantasy and lyrics that drip with glamour and grit, Chappell Roan revs the engine on a debut full of attitude. It’s theatrical, confident, and the kind of bold start that makes you stay for the whole ride.
18. “Just Dance” – Lady Gaga (The Fame) Who knew this debut track would kickstart a pop dynasty? From the first beat, Gaga was in control. Electro-pop had a new queen, and she came dressed to kill.
19.“Pray You Catch Me” – Beyoncé (Lemonade) Beyoncé starts her most personal, political, and powerful album not with fireworks, but with vulnerability. “You can taste the dishonesty” sets the tone for a journey of pain, truth, and reclamation. It’s poetry in motion—and a whisper before the storm.
20. “Time to Pretend” – MGMT (Oracular Spectacular) It’s ironic. It’s euphoric. It’s tragic. All at once. That synth line is practically a thesis statement for millennial dreams: beautiful, but fading fast.
Ben Basile, best known for his work with Big D and the Kids Table, is thrilled to announce the release of his new single, “74 Leonard Street”, the second track from his debut solo album, ‘Benergy’, set to drop May 2nd via Sleep Walk Sounds.
A heartfelt tribute to the legendary Knitting Factory venue in Manhattan, “74 Leonard Street” reflects on the golden era of ska shows that shaped Basile’s musical journey. “I wrote this as a tribute to the old Knitting Factory when it was still in Manhattan in the early 2000s,” says Basile. “It was at this venue that my love and appreciation for the genre grew even deeper. This was where I first saw many artists who would influence my career: The Skatalites, New York Ska-Jazz Ensemble, Pilfers, Westbound Train, and Victor Rice. Fast forward ten years, and I would later have the chance to perform with both New York Ska-Jazz Ensemble and the Pilfers!”
The single features standout performances from longtime musical collaborators Matt Garrison (Saxophone) and Vince Tampio (Trumpet), delivering a vibrant sound that perfectly encapsulates the spirit of the genre.
‘Benergy’, the album’s title, originated from a lighthearted moment with one of Basile’s bass students. “When I play ska punk, like with Big D and The Kids Table, it’s all about playing on top, playing with momentum and energy. Pushing the music the entire time,” Basile explains. His student’s response? “Benergy?”-a phrase that stuck and ultimately became the album’s name.
The legendary 1972 concert film Pink Floyd at Pompeii – MCMLXXII is returning to the big screen in a spectacular way. Beginning 24 April, Sony Music Vision and Trafalgar Releasing will bring this newly restored classic to cinemas and IMAX theaters worldwide, offering fans a once-in-a-generation opportunity to experience the band’s iconic performance in the haunting ruins of an ancient Roman amphitheater. Tickets go on sale March 5 at www.pinkfloyd.film, and fans can also pre-order the album release in multiple formats at www.Pinkfloyd.com.
Originally filmed in October 1971, Pink Floyd at Pompeii was a groundbreaking project that predated the band’s monumental The Dark Side of the Moon. Shot without a live audience, the film captures the raw and unfiltered energy of Pink Floyd in one of the most unique concert settings in rock history. Standout tracks such as “Echoes,” “A Saucerful of Secrets,” and “One of These Days” take on new life as they echo through the ruins.
The film has undergone an extraordinary transformation, meticulously restored frame-by-frame from the original 35mm cut negative—unearthed from Pink Floyd’s archives in five dubiously labeled cans. Director of Restoration Lana Topham led the digital remastering process in 4K, ensuring the highest visual quality while preserving the spirit of the original footage. Colors have been enhanced and grain minimized, breathing vivid new life into a timeless performance.
Adding to the visual brilliance is a powerful new mix by acclaimed producer Steven Wilson. His 5.1 and Dolby Atmos mixes elevate the sonic experience for both theater and home viewers, replicating the sound of Pink Floyd as they would have been heard in that amphitheater under the Italian sky. According to drummer Nick Mason, “Pink Floyd: Live At Pompeii is a rare and unique document of the band performing live in the period prior to The Dark Side of the Moon.”
The immersive film also offers a glimpse into the band’s creative process, including rare behind-the-scenes footage of Pink Floyd working at Abbey Road Studios on tracks that would later appear on The Dark Side of the Moon. A newly released teaser features Roger Waters experimenting with the synths on “On The Run,” giving fans a privileged look into music history in the making.
To accompany the cinematic release, Pink Floyd at Pompeii – MCMLXXII will be available as a full-length live album for the first time, remixed by Steven Wilson and available May 2 on 2xCD, 2xLP, Blu-ray, DVD, and digital platforms including Dolby Atmos. The tracklist includes the full original performance plus rare alternate takes and previously unreleased material such as “Hot For You Baby.”
Whether you’re a longtime Pink Floyd devotee or a new fan curious about the band’s mystique, this 40th anniversary edition is more than a film—it’s a resurrection of a musical moment frozen in time. Experience the magic of Pink Floyd at Pompeii – MCMLXXII in stunning 4K and surround sound this April. Pre-order now at www.Pinkfloyd.com and secure your cinema tickets beginning 5 March at www.pinkfloyd.film.
FLO releases an official remix to “Get It Till I’m Gone” featuring rising British rapper Chy Cartier, lifted from their critically acclaimed debut album Access All Areas.
Following a surprise joint performance earlier this month, FLO has released the hotly anticipated remix to fan-favourite album track “Get It Till I’m Gone,” featuring rising rap artist Chy Cartier. The remix unites two trailblazing Black British artists who are shaping the future of UK Rap and R&B, for a powerful anthem of self-worth and undeniable confidence. Chy’s razor-sharp lyricism blends effortlessly with FLO’s signature vocals and harmonies, injecting the already standout track with bold new energy and intensity.
Speaking about the remix FLO said: “We’re so excited about this collab. Chy is a very special artist and exactly what the industry needs! We’re so happy that she added her signature flair to one of our favourite songs from AAA. BAP BAP BAP!”
Chy Cartier added: “As soon as I heard ‘GITIG,’ I knew I had to hop on it. FLO brings that real R&B vibe, so I had to match that energy in my own way. My verse is about a guy moving mad, catching attitudes like he’s the one in his feelings, then trying to spin back when it’s too late. You know I had to do my big one and keep it all the way real!”
The remix follows an incredible year for FLO, who released their debut album Access All Areas this past November. The album became the highest charting album for a British R&B girl group in 23 years, with The New York Times hailing them a “girl group for the new generation”. Alongside a Top 3 chart position in the UK, the trio debuted on Billboard Top 200, and achieved over 605 million all-time global streams under their belt. The well-received debut album saw Pitchfork give the album an 8/10 rating stating, “The UK trio’s debut delivers a confident vision of what a modern girl group can be: tender, headstrong, and unified, with a clear point of view and harmonies for days.” The Times and NME gave the album stellar 4* ratings, with NME labelling it as “a front row seat to the next big thing” whilst their cover story for Dazed called Access All Areas “a debut…that delivers on the promise of their hype”.
Next month, FLO will embark on their highly anticipated “Access All Areas” tour. Kicking off in North America, the 27-date tour marks their biggest yet and will see them play sold-out shows in New York, Atlanta, Toronto and more. Rescheduled UK and European dates will be announced soon.
North America Tour Dates
Apr 9th – Emo’s – Austin, TX
Apr 11th – South Side Ballroom – Dallas, TX
Apr 12th – House of Blues – Houston, TX
Apr 15th – Revolution Live – Fort Lauderdale, FL
Apr 16th – The Ritz Ybor – Tampa, FL
Apr 18th – The Ritz – Raleigh, NC
Apr 19th – Tabernacle – Atlanta, GA
Apr 21st – Brooklyn Paramount Theater – Brooklyn, NY
Apr 22nd – Brooklyn Paramount Theater – Brooklyn, NY [SOLD OUT]
Apr 23rd – The Fillmore Philadelphia – Philadelphia, PA
Apr 25th – The Fillmore Silver Spring – Silver Spring, MD [SOLD OUT]
Apr 26th – The NorVa – Norfolk, VA
Apr 28th – Citizens House of Blues – Boston, MA
Apr 28th – M Telus – Montreal, QC
May 1st – History – Toronto, ON
May – The Salt Shed – Chicago, IL
May 3rd – Saint Andrew’s Hall – Detroit, MI
May 6th – The Fillmore Minneapolis – Minneapolis, MN
May 8th – Summit – Denver, CO
May 10th – The Van Buren – Phoenix, AZ
May 11th – The Observatory North Park – San Diego, CA
May 12th – Ace of Spades – Sacramento, CA
May 15th – Roseland Theater – Portland, OR
May 16th – The Showbox Sodo – Seattle, WA
May 18th – Commodore Ballroom – Vancouver, BC
May 20th – The Masonic – San Francisco, CA
May 22th – Hollywood Palladium – Los Angeles, CA
Festival Dates:
June 14th – Parklife – Manchester, UK
July 12th – Lollapalooza – Berlin, DE
July 19th – Somerset House – London, UK
