http://castingfortwo.com/post/138736266016
Showing posts with label portland. Show all posts
Showing posts with label portland. Show all posts
Friday, February 5, 2016
CÂLISSE on CASTING FOR TWO
http://castingfortwo.com/post/138736266016
Tuesday, September 29, 2015
Introducing Câlisse and the Birth of the New Portland Label Almabrain
The story of how a chord was struck between the band and producer Jason Driver, leading to the formation of a label while recording their debut record.
Summer was nearing the end of its peak. The sun had long since set by the time I pulled onto a side street just blocks away from the Doug Fir Lounge.
In my lap were the directions to a small studio nearby called Fur Vault PDX. Yet, from looking around, there weren’t any signs indicating that this was my destination. It wasn’t until I shuffled across the intersection of SE 10th and Sandy that a group of people standing in front of the designated address became visible. Assuming positive intent, I walked up to them.
A tall presence made his way toward me.
“Hi, you must be Joanna. I’m James and this is the band, Câlisse,” he extended one hand as the other waved to the rest of the group. Turning, he walked toward two older members within the group. “And these are my parents. They’re in town visiting, we’re just finishing up.”
The other bandmates playfully teased lead vocalist James Collette about needing parental guidance for the interview. Their exchange seemed genuine though, as if I had stumbled into a few friends hanging around for the night.
His parents said their goodbyes and promptly left. Everyone began to introduce themselves, putting faces to the names I’ve known only through email: Morganfield Riley as guitarist, Karen Moore on keys and backing vocals, and Rob Iggulden as the band’s drummer. The only exception was bassist Kevin Hoffman who joined us later in the evening. Without much immediacy but with the same friendly disposition, the founder of the band’s label, Almabrain, and their producer/engineer came forward.
“I’m Jason Driver, or JD. Whichever you prefer. Glad to finally meet you,” he shook my hand. Moving inside, we walked through a dimly lit maze of walls strewn with art until we finally came to the studio: Fur Vault PDX.
“The cool thing about Portland is, everyone’s in a band,” Collette says. He jokes, “I’m actually doing a triangle solo project."
“Don’t forget the Zephyr,” Riley adds and everyone laughs. “But seriously. If you’re only in one band, you’re slacking!”
When the laughter dies, the questions begin. Who is Câlisse and what’s the band’s goal? Iggulden smirks after everyone pauses to chew on the question.
“I’m curious too,” he jokes.
Riley answers amid the group’s hesitant giggles. “I don’t think there were any expectations to what we’re supposed to be, but only because of how we started. James had these songs worked out on his acoustic and they were full-fledged songs. Then, he wanted to record this album. I started helping him with some of that.”
Collette and Riley were introduced through a mutual friend last year, initially because both were scoring films at the time. Despite a slow start to the friendship, they gradually grew to respect one another’s work.
Their single “Omnibrain” was the result of their first collaboration late last year, using the equipment Collette had in his home at the time. There was more at stake, however, than two friends simply playing music together. The duo eventually came to realize their shared desire to create something more. They had the material, but they needed some sort of foundation.
“That was the first song we started and the reaction went really well,” Riley continues. “We were both like, we should continue this, and soon it became a collection of songs.” The pair turned their focus toward creating a full-band sound, a decision which led them to the formation of Câlisse and, subsequently, to producer Jason Driver.
Câlisse formed in October 2014 when the duo enlisted Karen Moore, a longtime friend of Collette, to cover a series of songs by Neutral Milk Hotel. At the time, Moore played the part of backing vocalist. Eventually, when the group began to grow serious about recording, Collette approached schoolmate Rob Iggulden to be the band’s drummer. Despite his hectic schedule as a student nearing graduation and playing drums for local band Future Historians, Iggulden agreed.
“We got lucky. We all enjoyed working together,” Collette says.
With the band missing only a bassist, Kevin Hoffman came along at the right time. Having spent time in New Orleans, he was still fresh from moving back to Portland in early spring when he was approached by Collette. The two had known each prior to Hoffman’s trek to Louisiana and had kept in touch throughout his stay.
Together, the five-piece created a unique sound influenced by the elements of alternative rock intertwined with the emotional urgency in Collette's vocals. The next step was to find an affordable studio and jump-start the recording process.
“These guys called me to use the studio and booked it for two days. They came in and just rocked it, you know. I get a lot of bands that come in and aren’t prepared for the studio, so they get in here and start choking,” Driver pauses. “These guys came in and they had it together.”
Riley jumps in the conversation: “This was my first initial experience recording in a studio and it was the best. It was seriously awesome."
“We were a good fit,” Driver says.
“JD is artist-friendly and very supportive. We’re working really fairly with one another, which has given us [the band] a lot of opportunity to plant some seeds locally,” Collette says. “We have a lot of potential for making it work.”
“I want to be able to help a band like these guys and support them enough to get out there touring,” Driver adds. His own background involves a history of playing music as well. Although he initially began as an audio engineer, Driver switched professions early in his career and spent time working as a touring musician. Later, after he married and looked for ways to settle down, he returned to engineering. Regardless, his collection of gear naturally grew. This, combined with the small space he rents for his studio, has provided him with the opportunity to remain affordable and artist-friendly over the years.
The transition from musician to engineer changed his perspective on what he looks for when bands come to him for his services. “I really love when bands get that magic live. That’s one of the reasons I really like Câlisse. They came in with a band, they wanted to play it as a band, and I think that’s the most important part: how music becomes a kind of magic that happens between people,” Driver says.
Hums of agreement echo among the rest of the group inside the studio. He continues, “That time I spent as a touring musician helped me to understand that there’s much more to engineering than just turning a knob or putting a mic in the right place. It’s more about getting the band in the right frame of mind so they can relax and play."
Collette sits on these words for a while. His own history of working with smaller independent labels in his native state of Mississippi prevents him from completely agreeing with his producer’s sentiments. “It’s still intimidating because there are so many talented people. You meet all these random people and you remember their music. There’s great music here. No one’s going to rub it in your face either, so you’re seeing it at face value.”
“There’s a lot of opportunity in Portland, for sure,” Iggulden chimes in.
“You take it as either intimidation or motivation,” Driver continues. “I have a lot of bands that come in and want to record a good album, but they don’t have the budget. This is like having some support where we can take some of the production costs and make some money back by selling albums. It’s a better business model as far as long-term growth is concerned. My initial decision to create Almabrain with Câlisse rode on that philosophy. ”
Processing the direction our conversation has taken, Collette interrupts: “When is it wrong for an artist to want to be sustainable? We just want to be able to play music and travel. Most importantly, we just want to continue playing. That’s the cool thing about Jason though. We instantly felt like good friends and we’ve actually become good friends since this started.”
Regarding the topic of business, I ask about the possibility of the band looking to crowdsourcing as a way of funding their efforts. Immediately, I'm met with an almost hostile “no” from Riley.
“We’re eager, but we’ve held off from being too eager to jump out there because we want to be sure we’re putting on the best performance that we can in Portland,” Collette explains, lingering briefly on the topic as a way to justify the outburst. “Like I said, there’s a lot of talented people here. We want to step our game up and earn our keep. We want to show we’re working hard.”
“We’re eager, but we’ve held off from being too eager to jump out there because we want to be sure we’re putting on the best performance that we can in Portland,” Collette explains, lingering briefly on the topic as a way to justify the outburst. “Like I said, there’s a lot of talented people here. We want to step our game up and earn our keep. We want to show we’re working hard.”
From there, the conversation strayed back into a casual tone and humor still remained much on everyone’s agenda as the evening came to a close. The relationship between Câlisse and their producer seemed strong to an outsider walking in that night, almost as if one couldn’t exist without the other. There was definitely a chord struck in the creative process, yet this venture is far from the finish line. The next step is to share the work.
Câlisse’s debut album, 'Farewell, Blacksheep,' is set to be released via Almabrain this November. In the meantime, catch the band performing with And And And and Times Infinity at Dante’s on Wednesday, September 30 and listen to the first single from the upcoming record below.
http://www.vrtxmag.com/articles/introducing-calisse-and-the-birth-of-the-new-portland-label-almabrain/
Wednesday, September 19, 2012
NEW VIDEO: RAGS & RIBBONS "Moving on"
Teaming up with Gunderson Inc. in Portland, OR to provide the backdrop for their gorgeous new video, Rags & Ribbons tell a masterful story for their single "Moving On." Set against the manically twisted and rusted world of railroad ties and steel rails, the group dresses the part and roughs it with the regular crew, turning the already powerful and drifting "Moving On" into nothing short of an epic tale. Watch as the group works to save a mysterious plant in this incredibly well crafted video, a feast for both eye and ear.
http://popstache.com/video/rags-ribbons-moving-on/
Wednesday, May 16, 2012
LIVE REVIEW: Vibesquad 5/11/12 @ ROSELAND (PDX)
photo cred: Daniel Zetterstrom
Vibesquad once again delivers the usual head banging beats that result in whiplash soreness. Last Friday 5/11/2012, Aaron Holstein a.k.a. "Vibesquad" opened for Bassnectar on their much anticipated "VaVa Voom" Tour. It was their second to last stop before closing out the tour and the sold out Roseland Theater in Portland, OR felt like a earthquake was in process.
Vibesquad's music defies typical genre labels and covers tempos from hard low-riding Krunkadelics to mid tempo barnstormers. The crowd was pouring in when Vibesquad initially hit the stage. The lower level was about half full when he began his set. By the third or fourth song the place was packed with people fighting for dance room. The transitions between the hard hitting dirty mash-ups to the slow methodical bass lines were seamless.
photo cred: Daniel Zetterstrom
The only criticism I would have towards the show was the lack of stage production. I understand we are all there for the music, but some visual art goes a long way especially at a electronic show. Let's face it the signature heart shaped Vibesquad logo just doesn't cut it! However, make no mistakes about it....your sound and delivery on Friday night was epic! It's not every day you get to feel like your inside of a UFO.
- BLAKE MCINTOSH
Wednesday, May 9, 2012
Sophie Barker wraps up her U.S. tour with two shows in Portland on May 5th – OMN/Stumptown Bliss live streaming from Music Millennium on Saturday
OMN and Stumptown Bliss will be streaming Sophie Barker’s Music Millennium In-store appearance at 5pm on Saturday, May 5
Though her sound and some of her songs aren’t new, Sophie Barker’s newest album, Seagull, is.
Perhaps most recognized as the voice from Zero 7′s hits “In the Waiting Line” and “Destiny,” which Barker also co-wrote, Barker has kept a fairly low profile, mostly collaborating with other artists over the past decade. But that doesn’t mean she’s been taking it easy.
Managing all her own affairs, she also somehow made time to record an album, promote it, and organize a tour, which wraps up here on the West Coast this week. Luckily for us, she included Portland on the tour. Barker and her small “outfit” for the tour performs not once but twice, this Saturday, May 5th, first at Music Millennium for an in-store performance and later that night at the White Eagle Saloon for the full show effect (and over-21 crowd).
Barker’s wistfully airy voice is not only recognizable from her previous engagements, but also extremely soothing in an almost-Enya-esque way. It should come as no surprise that many of her lyrics tackle deeper subject matter such as the meaning of life and being thankful for what you have. “We need to give, and love – and do it over and over again,” she says.
Sophie charmed OMN with her British accent and no-nonsense attitude during her few free moments in L.A. as she talked about Seagull, finding her current band mates in her own friends, and working with Zero 7.
The title of your album is Seagull. What’s the significance of that title?
It was four or five years ago, just before the world had its massive economic crash. I was in my late thirties, going through all sorts of transition, wondering, “Where do I place myself?” Going through these major changes, metaphysically, emotionally… I was laying, looking out the window, watching the seagulls coming in from the sea and I was thinking about it from this bird’s eye view, how they are adapting to all the changes in the world, and how nature always takes over [in those kinds of crises].
The economic crisis still happened [but "Seagull" stuck].
Watch “Say Goodbye” from Seagull:
Listening to the album, there is definitely a familiarity, a similarity to “In the Waiting Line,” but it’s also evident that there are other influences. Do you feel like you have a “sound?” How would you describe it?
It’s like, acoustic-progressive-modern-rock… in a way. It’s been sort of a musical journey over the past four decades and there are tinges of Zero 7 – we’re all from the ’70s – there’s country, like on Maybell, Motown influences, like on Bluebell. Earthbound was kind of vignettes of songs, just me and the guitar; me trying to understand what I was doing, needing to get something out there.
It took me a while to find the right producers; I went through many outfits in the process.
And now you’re playing almost exclusively with your good friends, is that right?
Yes, that’s absolutely right.
Chloe [Lander, violin] has been instrumental. Literally! She’s like my soul sister. Yul [Desai] plays guitar. We’ve known each other for 16 years and it took us 16 years to discover that we should work together. It’s just the three of us for this tour; we don’t have the full band. We have a good time, and there is no ego with these people… And when you tour and spend 24/7 with those people, it’s [so much nicer] to like the people you work with.
Absolutely! What do you do when you’re not touring and writing and promoting a new album?
Well, I do everything myself: Managing, admin. It’s pretty much a 24/7 [job]. I’m really proud of it, [the fact that] I’m genuinely independent and that it’s all organic. I am part of the process each step of the way and there is a legacy to leave behind. But there is no time to write songs. No time to just sing when not in the studio.
I’m really looking forward to that, and to find a space to write. Right now I’m using the voicemail on my iPhone to keep ideas… Luckily, I work very quickly, and usually my best vocals come straight out.
That’s very fortunate. Do you still work with Zero 7 at all?
We’ve been in contact over the years; we’re all still friends. But I’m not sure what they are up to. But you never ever know… it would be fantastic to work with them again.
So you’re in the States now?
Yes, we finished the first half of the tour [mainly in the U.K.] and now we’re in L.A. We’ve had an amazing drive [from the East Coast]. Every state is very, very different.
Is this your first time touring in the U.S.?
Yes!
So now you’re going to play some West Coast cities and then going back to London?
Yes, we play L.A [on the 2nd], then San Francisco Thursday, Portland on Saturday, Seattle Sunday and that is, sadly, the end of our tour…
But we are very, very excited to come to Portland. It will be Cinco de Mayo so it will be a really fun time. We’ll have to drink margaritas!
Though her sound and some of her songs aren’t new, Sophie Barker’s newest album, Seagull, is.
Perhaps most recognized as the voice from Zero 7′s hits “In the Waiting Line” and “Destiny,” which Barker also co-wrote, Barker has kept a fairly low profile, mostly collaborating with other artists over the past decade. But that doesn’t mean she’s been taking it easy.
Managing all her own affairs, she also somehow made time to record an album, promote it, and organize a tour, which wraps up here on the West Coast this week. Luckily for us, she included Portland on the tour. Barker and her small “outfit” for the tour performs not once but twice, this Saturday, May 5th, first at Music Millennium for an in-store performance and later that night at the White Eagle Saloon for the full show effect (and over-21 crowd).
Barker’s wistfully airy voice is not only recognizable from her previous engagements, but also extremely soothing in an almost-Enya-esque way. It should come as no surprise that many of her lyrics tackle deeper subject matter such as the meaning of life and being thankful for what you have. “We need to give, and love – and do it over and over again,” she says.
Sophie charmed OMN with her British accent and no-nonsense attitude during her few free moments in L.A. as she talked about Seagull, finding her current band mates in her own friends, and working with Zero 7.
The title of your album is Seagull. What’s the significance of that title?
It was four or five years ago, just before the world had its massive economic crash. I was in my late thirties, going through all sorts of transition, wondering, “Where do I place myself?” Going through these major changes, metaphysically, emotionally… I was laying, looking out the window, watching the seagulls coming in from the sea and I was thinking about it from this bird’s eye view, how they are adapting to all the changes in the world, and how nature always takes over [in those kinds of crises].
The economic crisis still happened [but "Seagull" stuck].
Watch “Say Goodbye” from Seagull:
Listening to the album, there is definitely a familiarity, a similarity to “In the Waiting Line,” but it’s also evident that there are other influences. Do you feel like you have a “sound?” How would you describe it?
It’s like, acoustic-progressive-modern-rock… in a way. It’s been sort of a musical journey over the past four decades and there are tinges of Zero 7 – we’re all from the ’70s – there’s country, like on Maybell, Motown influences, like on Bluebell. Earthbound was kind of vignettes of songs, just me and the guitar; me trying to understand what I was doing, needing to get something out there.
It took me a while to find the right producers; I went through many outfits in the process.
And now you’re playing almost exclusively with your good friends, is that right?
Yes, that’s absolutely right.
Chloe [Lander, violin] has been instrumental. Literally! She’s like my soul sister. Yul [Desai] plays guitar. We’ve known each other for 16 years and it took us 16 years to discover that we should work together. It’s just the three of us for this tour; we don’t have the full band. We have a good time, and there is no ego with these people… And when you tour and spend 24/7 with those people, it’s [so much nicer] to like the people you work with.
Absolutely! What do you do when you’re not touring and writing and promoting a new album?
Well, I do everything myself: Managing, admin. It’s pretty much a 24/7 [job]. I’m really proud of it, [the fact that] I’m genuinely independent and that it’s all organic. I am part of the process each step of the way and there is a legacy to leave behind. But there is no time to write songs. No time to just sing when not in the studio.
I’m really looking forward to that, and to find a space to write. Right now I’m using the voicemail on my iPhone to keep ideas… Luckily, I work very quickly, and usually my best vocals come straight out.
That’s very fortunate. Do you still work with Zero 7 at all?
We’ve been in contact over the years; we’re all still friends. But I’m not sure what they are up to. But you never ever know… it would be fantastic to work with them again.
So you’re in the States now?
Yes, we finished the first half of the tour [mainly in the U.K.] and now we’re in L.A. We’ve had an amazing drive [from the East Coast]. Every state is very, very different.
Is this your first time touring in the U.S.?
Yes!
So now you’re going to play some West Coast cities and then going back to London?
Yes, we play L.A [on the 2nd], then San Francisco Thursday, Portland on Saturday, Seattle Sunday and that is, sadly, the end of our tour…
But we are very, very excited to come to Portland. It will be Cinco de Mayo so it will be a really fun time. We’ll have to drink margaritas!
http://oregonmusicnews.com/2012/05/03/sophie-barker-wraps-up-her-u-s-tour-with-two-shows-in-portland-on-may-5th/
Live video: Sophie Barker streaming live from Music Millennium
http://oregonmusicnews.com/2012/05/05/live-video-sophie-barker-streaming-live-from-music-millennium-today-at-5pm/
OMN has been bringing you audio of the Music Millennium in-store shows on our home page for nearly two years, but it’s time to take that experience to the next level. Now we have, thanks to a partnership between OMN, Music Millennium, produced by Stumptown Bliss, a professional, four-camera video of some of the best, most intimate shows of the month, live from Music Millennium. Plus, OMN will be interviewing the artists following their set. Today Karamy Muessig will talk with Barker.
The live stream will kick in 15 minutes before the 5pm showtime.
While you’re waiting, here’s an interview OMN’s Jessica Black did with her earlier in the week.
While you’re waiting, here’s an interview OMN’s Jessica Black did with her earlier in the week.
Tuesday, February 28, 2012
Rags & Ribbons SXSW tour
Fri, February 24, 2012 - Doug Fir - Portland, OR - More info
Tues, February 28, 2012 - Cosmic Pizza - Eugene, OR - More info
Wed, February 29, 2012 - Marilyn’s On K - Sacramento, CA - More info
Thurs, March 1, 2012 - Rockit Room - San Francisco, CA - More info
Sat, March 3, 2012 - Frog and Peach Pub - San Luis Obispo, CA - More info
Sun, March 4, 2012 - Whiskey Richard’s - Santa Barbara, CA - More info
Mon, March 5, 2012 - Diapiazzas - Long Beach, CA - More info
Wed, March 7, 2012 - Tiki Bar - Costa Mesa, CA - More info
Thurs, March 8, 2012 - Bar 11 - San Diego, CA - More info
Fri, March 9, 2012 - The Hut Tucson - Tucson, AZ - More info
Sat, March 10, 2012 - Burt’s Tiki Lounge - Albuquerque, NM - More info
Sun, March 11, 2012 - The Big Spill - San Antonio, TX - More info
Wed, March 14, 2012 - Austin, TX - More info
Thurs, March 15, 2012 - 29th Street Ballroom at Spider House - Austin, TX - More info
Wed, March 21, 2012 - Unit E - Denver, CO - More info
Fri, March 23, 2012 - Muse Music Cafe - Provo, Utah - More info
Sat, March 24, 2012 - The Venue - Boise, ID - More info
Sun, March 25, 2012 - Someday Lounge - Portland, OR - More info
Sat, March 31, 2012 - The High Dive - Seattle, WA - More info
Friday, January 27, 2012
BLACK PUSSY live show review @ doug fir
pics by ChrisT
Our aural fixation with the The Pack a.d. took a brief hiatus last year. If they hit PDX in support of 2010′s we kill computers, we missed it. This year’s recorded release, Unpersons, is straight up heat. The kind of hook laden garage-blues-punk-blahblah hybrid that one listen through made me jones for the live show. Glad we made it.
The Doug Fir. Always a quality hang. Set times are posted. Always nice. 10:30 for The Pack a.d. And the opening act is a band called Black Pussy. With that kid of name it has to be hot or flat out gong show. Anything in between would be a waste.
Frankly, the name Black Pussy combined with the appropriate amount of liquor and immaturity is a conversational goldmine.
“You ready to go down for Black Pussy?”
“I’m just here for Black Pussy”
And on it goes. You can imagine.
So. Black Pussy. Let’s get into it.
This band was hella fun. 6 band members that at first glance look like the smartest kid in my high school physics class, or the kids who dealt that kid weed. Songs like “Marijuana” don’t dissuade my initial impressions. All in all, I was pretty taken by Black Pussy (see, it never gets old for me). They were loud enough to pin my eyes in their sockets and left me telling ChrisT he can stay up front all he wants, I was going to hide in the back. Wicked fun. I’d go see them again. Hell, I’ve paid alot more for alot worse.
The Pack a.d. Here’s the deal. 3/4th’s of their recorded output get me crazy. I’m not sitting through this show with a notepad or hitting a set list into my phone like some kind of wanker. These are they type of shows I use to go back 20 years in age and shave a couple more years off of proper liver function.
As usual, Maya (drums) is engaging, funny, and just plain rock n roll. Becky Black (guitar/vocals) is always on it. I’d like to see her unwound on stage and getting violent. One can dream. In the end, my memories are mainly of my vision shaking and grainy as I enjoyed the show with the rest of the cool kids (cause if you were there, you are). I pretty much know what Boris Yeltsin felt like at vodka tasting, state dinners, and well after breakfast. But, here are some highlights from the new album
“Positronic”
“Haunt You”
“Sirens”
“Lights”
“Rid Of Me”
Totally hope The Pack a.d. catches a little heat. They make my life better.
The woman screaming for “Blackout” during the encore should run for mayor. As usual, that song live is fire. Soundtrack for bad decision making and failed drug tests.
Great. Two bands and a venue that brought it. Thanks.
Our aural fixation with the The Pack a.d. took a brief hiatus last year. If they hit PDX in support of 2010′s we kill computers, we missed it. This year’s recorded release, Unpersons, is straight up heat. The kind of hook laden garage-blues-punk-blahblah hybrid that one listen through made me jones for the live show. Glad we made it.
The Doug Fir. Always a quality hang. Set times are posted. Always nice. 10:30 for The Pack a.d. And the opening act is a band called Black Pussy. With that kid of name it has to be hot or flat out gong show. Anything in between would be a waste.
Frankly, the name Black Pussy combined with the appropriate amount of liquor and immaturity is a conversational goldmine.
“You ready to go down for Black Pussy?”
And on it goes. You can imagine.
So. Black Pussy. Let’s get into it.
This band was hella fun. 6 band members that at first glance look like the smartest kid in my high school physics class, or the kids who dealt that kid weed. Songs like “Marijuana” don’t dissuade my initial impressions. All in all, I was pretty taken by Black Pussy (see, it never gets old for me). They were loud enough to pin my eyes in their sockets and left me telling ChrisT he can stay up front all he wants, I was going to hide in the back. Wicked fun. I’d go see them again. Hell, I’ve paid alot more for alot worse.
The Pack a.d. Here’s the deal. 3/4th’s of their recorded output get me crazy. I’m not sitting through this show with a notepad or hitting a set list into my phone like some kind of wanker. These are they type of shows I use to go back 20 years in age and shave a couple more years off of proper liver function.
As usual, Maya (drums) is engaging, funny, and just plain rock n roll. Becky Black (guitar/vocals) is always on it. I’d like to see her unwound on stage and getting violent. One can dream. In the end, my memories are mainly of my vision shaking and grainy as I enjoyed the show with the rest of the cool kids (cause if you were there, you are). I pretty much know what Boris Yeltsin felt like at vodka tasting, state dinners, and well after breakfast. But, here are some highlights from the new album
“Positronic”
“Haunt You”
“Sirens”
“Lights”
“Rid Of Me”
Totally hope The Pack a.d. catches a little heat. They make my life better.
The woman screaming for “Blackout” during the encore should run for mayor. As usual, that song live is fire. Soundtrack for bad decision making and failed drug tests.
Great. Two bands and a venue that brought it. Thanks.
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