Tag Archives: Wilco

Nels Cline: Polyglot Tendencies


Nels1From his work with seminal-alt-rockers Wilco, to his work with his solo band the Nels Cline Singer, to collaborations with a diverse roster of musicians including Julian Lage, Mike Watt, and Thurston Moore, Nels Cline has quietly established himself as one of the most versatile, inventive guitarist around today.  Since first picking up the guitar at age 12, Cline has created a sound that is wholly unique and like no other but that still has the ability to meld and mesh seamlessly into any environment in which he plays, yet at the same time retaining that distinct style that sounds like no other.


 In anticipation of his brand new album, MACROSCOPE, due out April 29, Cline checked in with Honest Tune Magazine to discuss his latest album, his collaboration with Medeski, Martin, and Wood, his musical tool box, and much more.  To help us with this, Honest Tune recruited Felix Lighter guitarist/ singer and noted audio gear /effects head Paul Skozilas to help us dig deep with Cline.


Honest Tune:  I think there’s a lot of personality to the way you play guitar, more so, than most contemporary guitar players. Can you attribute that to any aspects of how you learned to play?

 Nels Cline:  Good question! I have no clue, actually. Maybe it has something to do with all the various interests/directions that have attracted and inspired me over the years coupled with what I didn’t learn. I had no significant guitar instruction coming up and absolutely no training in guitar technique. I have had a bit of a chip on my shoulder about this most of my life. But at times I have been able to see the value of being able to embrace my so-called primitive tendencies. My playing may in some way embrace certain degrees of sophistication combined with a love of rawness and the emotional potential of that. So perhaps this explains some degree of musical personality that you are hearing? My ultimate goal is just to keep up with and participate fully in whatever is happening when I am playing.


Nels3HT:  Has it always been that way? Was there a maturation process?

 NC:  Absolutely. I was certainly not a prodigy, (have you listened to me on recordings?) and I still find music to be challenging and generally difficult. I have now been trying to play the guitar for over 40 years and I am still daunted by what I perceive of as my shortcomings, yet I have so many wonderful opportunities to play with so many gifted individuals I just keep pressing forward and try not to let insecurities derail me. I think that the long haul has been a sort of automatic maturing process. I am not very disciplined when it comes to studying and practicing, and as stated before, I was never instructed in technique.


HT:  As a musician involved in multiple projects do you cater your tonal palette to each project, mentally assigning and/or potentially excluding certain styles, modes etc. before you show up?

 NC:  In some instances yes. For example, playing with Wilco I tend to eschew “flashy” playing even though my head is usually buzzing with 16th notes. Learning economy in playing has been valuable and not all that easy for me! Another example for you might be tone choices with different music’s. With Wilco and with, say – Joan Osborne, with whom I recently recorded, the brighter sound of true bridge pickup is often what the music seems to be asking for. I tend to shy away from trebly sounds in my own music in spite of all that strident distortion you may associate with me. Using these other tones is also a challenge at times, and these parameters tend to affect how I play, not just the tone with which I am playing. In the duo I play in with guitarist Julian Lage, we specifically chose to limit our palette to effect-less electric and acoustic guitars, and this can be freeing – not confining. It then becomes all about note choices, dynamics, and articulation in very direct yet subtle ways. I like all of the above! The guitar – particularly the electric guitar – is a malleable instrument, perhaps more than any other. This is may be why someone like me with such polyglot tendencies loves it so much.


Macroscope_LP_front-webHT:  What did you assign or exclude on MACROSCOPE?

 NC:  When writing and structuring music for my own band (The Singers), I tend to follow what the compositions seem to require. Nothing is excluded except what I deem unnecessary to make the composition sound right. If you listen to all of our records over the years, I think you may come across virtually every guitar style and sound except for maybe ragtime and bluegrass. This is not intentional. The songs exist to both create moods and feelings as well as to explore the musical languages and relationships between the band members (and our periodic guests). So really anything goes except for what doesn’t work in a particular moment on a particular song. Sorry if that’s vague.


HT:  On the tech side I think a similar question could be asked. Any intentional limiting or reconfiguring to your arsenal between projects or is more like bring the whole tool box to every job?

 NC:  I bring the whole tool box to recording sessions when possible, but “live” with my own band and with the various improvisers I play with I must limit the repertoire to pieces that are played on one guitar (my Jazzmaster) because of traveling limitations. This said, I use electric 12-string on much of MACROSCOPE – more than usual – and I think I may have been intentionally creating the necessity to include it on my travels. So I am going to just suck it up and pay the overage and bring a 12-string on future Singers gigs. Also, I have “an electric guitar in decent working order” on my equipment rider, which is to open up the possibility of playing songs in open tunings like “Thurston County”. If we are traveling in a van with no flights, I can bring 2 or 3 guitars easily, but that happens less and less these days. As for pedals, though I own zillions at this point, I have a fairly consistent compliment that I bring out for everything. The only variation is wah-wah or no wah-wah – the new Singers material requires it, and I also brought it out for the recent gigs with Medeski, Martin, & Wood – plus I have decided to bring a Univibe-type pedal for The Singers even though it is rather cumbersome size-wise. I usually have a size limit on what I bring out so it can all break down into my not-so-big road case. Oh well, this new Singers stuff is asking for that sound, I feel.


Nels5HT:  With that how did you approach your latest album MACROSCOPE?  What was the process as you began working on it?

 NC:  Hmmm…there is no really interesting or singular “process”. I have some songs. I am bad at self-editing. I write them out, the band learns them. We record them. Then we see what works but usually include pretty much everything! On MACROSCOPE, as with much of Initiate, there was a deliberate attempt on my part to sort of “warm things up” mood-wise, use a lot of percussion, refer to or reflect my love of certain sonorities and harmonies that could be identified as relating to the music of places like Brazil and/or West Africa. I knew that I wanted Yuka (C. Honda) to play some electric piano, and since we were recording most of the record at Fantasy Studios in Berkeley, CA, I could get Zeena Parkins to come play on some things – a dream team! I had written a massive, dark, troubling piece for Zeena called “Ghost Ship” which in no way fit on the record mood-wise or length-wise, so it’s not there, but we recorded it and I may mix it and throw it out there as a download possibility. But almost everything else we recorded is there on the record, from fuzzed-out garage rock to ethereal balladry. Making musical sense may not be my strength. Whether this is a “process” I do not know.


HT:  How did the “process” this time compare to your previous albums?

 NC:  It’s always pretty much the same. The earlier Singers records took so little time to record – we always ended up with extra time, and when we recorded Draw Breath we had so much time left we recorded a whole other improvised record that I wanted to dedicate to the late great Howard Roberts (never released). Initiate was really different in that I had the fewest number of finished songs, I had a desire to play some new/different styles and moods than usual (trying to dial down the whiteboy angst factor a bit), and I wanted Devin and Scott to really weigh in and help with the arranging/direction, but this seemed to ultimately make things a bit more arduous. So even though we worked/rehearsed for about five days leading up to the recording session (a record amount of rehearsal time for us), that session took every minute of the allotted three days to finish and it was pretty stressful. I attribute this more to my own rather scattered leadership than to the material, actually. MACROSCOPE is our first record with Trevor Dunn, and it was really relaxed. The only glitch for me was how hard it was for me to relax when soloing. Sometimes my neuroses get the better of me, and also playing in headphones seems to be getting harder instead of easier for some reason. But the process was basically the same as always with the difference that Josh Jones and Zeena came in on the first sessions, which was really fun.


HT:  Where do you draw your inspiration from musically?  What are you listening to right now that may have impacted your music?

 NC:  Inspiration is everywhere. But for the last couple of years or more I keep finding myself drifting back to my beloved early Weather Report jams, Herbie Hancock Septet, and the Tony Williams Lifetime. The latter band had a later iteration after the legendary first trio with John McLaughlin and Larry Young and before the fusion god version with Alan Holdsworth that made a record in 1971 called “Ego”. My brother and high school friend Michael Preussner and I used to listen to this record religiously, and it is criminally underrated to my mind. Anyway, the emergence of vintage footage of live gigs by these bands on YouTube has been blowing my mind for years now, so there’s that. Check it out.  But also I am currently inspired by the newest record by the band my wife is in called Cibo Matto – the record is Hotel Valentine, and I just love it. When the going gets rough I can always put on a Deerhoof record to cheer me up, or play something like “Canto de Iemanja” by Baden Powell. When I want have my mind quietly blown I can also listen to Jim Hall, Paul Desmond, Jimmy Giuffre. Frankly though, I don’t listen as much as I did when I was younger (and I don’t listen in ear buds like many who trade as much as I). I feel like I need to get back to more attentive listening.


HT:  What does MACROSCOPE say about you as a musician, and how does it fit into your large body of work?

 NC:  I think I will let others decide that one.


 Nels4HT:  Does you solo work impact what you bring to the table with Wilco, and if so how do you see MACROSCOPE impacting what you do with Wilco?

 NC:  I really am not sure. I play in various situations. I strive to be prepared, articulate, to not suck! How these various music’s cross-pollinate may be subtle and/or beyond me. I really find that I try to play and develop ideas that come out of my head/ears and wonder where it came from or how it all fits together later. Would I have ever written something like the ending section of “The Wedding Band” had I not played with Wilco? I don’t know. That simple melody/progression came to me one morning while half asleep and I got out of bed and wrote it down. My feeling about it was simply that it expresses happiness and/or celebration. The repetition is meant to induce a bit of trance, like a happy ritual. But the content and the inclusion of lap steel on it has already been called “Americana”. Ultimately, such distinctions are of no interest to me. And when I go back to playing with Wilco, I play Wilco music. I feel no need to interpolate some aspect of my improviser brain/style on that music. As such, MACROSCOPE may have no impact at all on what I do with Wilco, or it may be happening and I won’t know it!


HT:  What was it like to get together with Medeski, Martin, & Wood and create an album’s worth of music and improvisation live in front of audience?

 NC:  Playing and improvising (and later, touring) with those gentlemen was and is so natural and almost effortless. They understand how to play and listen, and it’s really like we all find ourselves on the same odd and wondrous planet as soon as we convene. In short, it was a blast and an honor.  


HT:  What’s on the horizon for you over the next couple of months?

 NC:  After this mini-tour with The Singers – and I must mention that Cyro Baptista is coming out with Scott, Trevor and me – I have duo gigs with Julian Lage at Canadian jazz festivals (our duo record is finished and will be out on Mack Ave. in the Fall), some recording in New York City with Mike Watt and Greg Saunier and a guitarist friend of Watt’s named Nick, recording with Anthony Braxton, a concert in Japan with Yoko Ono Plastic Ono Band at Fuji Rock, my week in August at The Stone (NYC) wherein I play two shows per night with many different musicians to sort of re-tell my musical story in composition and improvisation, I have a few gigs here and in Austria with Ben Goldberg/Unfold Ordinary Mind, and a duo set in Austria (Saalfelden) with Marc Ribot.  That’s all I can think of at the moment.

The Autumn Defense To Release Fifth and Tour

autumndefense-4501-353xThe Autumn Defense announced they’ll release Fifth, their latest project, on January 28. The group, which features Wilco’s John Stirratt and Pat Sansone, will also tour around the record in 2014 with eight shows scheduled at the end of January. The band will make stops at Highline Ballroom in New York City as well as an appearance at Austin’s SXSW Festival in March.


Tickets for the shows  will go on sale November 6 at Noon. The first single for the new album, “None of This Will Matter” is available to stream here.



The Autumn Defense 2014 Tour Dates

January 23 Provo, UT—Velour Live Music Gallery January

24 Salt Lake City, UT—Urban Lounge January

28 Seattle, WA—Tractor Tavern January

29 Portland, OR—Mississippi Studios February

1 Los Angeles, CA—Bootleg Theater February

11 New York, NY—Highline Ballroom March

11-16 Austin, TX—SXSW


Wilco light the furnace in Birmingham

Sloss Furnace
Birmingham, AL
May 11, 2012



Before heading to the other side of the pond for a European jaunt and still basking in the glory from The Whole Love (2011), Wilco made a brief trek across the Southeast that would eventually culminate in a near pole position spot for the third edition of the Hangout Festival.

On this, the second of the five date run, the critically lauded Windy City sextet triumphantly took  Birmingham, making up for a — whether by happenstance or purposeful — three year hiatus that has caused their Magic City resident faithful to make short road trips to receive doses of the band’s live show.

Birmingham is a city known for many things. It is a city with roots that are as deep as they are regretful. In regards to music however, it is a city that is filled with unpredictable yet highly tasteful music fans.  Naturally when this smart and strong opinioned collective got wind that Wilco would be making a stop in their town, they welcomed the band with open arms and a very sold out Sloss Furnace venue.

Formerly known as Sloss Furnaces, the retired pig iron-producing factory that has lost the plurality in its name over the years has become a historic park, concert venue and destination for  ghost hunters. On this night, it would be the host for the Jeff Tweedy led band of six.

As a concert venue, Sloss is a quite remarkable place to see a show. Its twin smokestacks serve as an ominous reminder of the air quality that preceded the early 1960s Clean Air Act and the surrounding neighborhood still bears semblance to the indentured servitude-like living situations that were known as “home” to the blast factory’s African American workers.

All of this factors into the state of mind of a concertgoer when attending one of the few and far between shows that are played at Sloss, creating a vibe that is both retrospective and open. Boasting a vast stage and finely tuned sound system, performers have adequate space to rock out while, more often than not, the musical offerings take all in attendance to a mysterious and remarkably special place.

Sounds from the stage started from the band’s support, Purling Hiss, who gave an energetic but short thirty minute warm up.

As noted, the highly anticipated and subsequently highly praised The Whole Love was released last year and the Friday night performance certainly reflected its freshness and the band’s favor for their most recent release. However, in spite of this obvious affinity and much to the chagrin of the more seasoned and critical fans in attendance,  the band left plenty of room to run the discography gamut.

Beginning the night with “One Sunday,” the tone for an easy and relaxed night of music was set, a settled mood Tweedy for which front man Tweedy is known. This said, that mood would zigzag in tempo as the show progressed.

Quickly sliding into fan favorites, the ensemble demonstrated the litany of aptitudes that are found within the now stable-since-2004 band. Songs like “Poor Places,” “Spiders(Kidsmoke),” “Handshake Drugs” and “California Stars” stirred the devoted Sloss multitude, but all came with zero observation from Tweedy who opted to leave all commentary to the good time comments of the jeering fans.

After “Shot in the Arm” and before blasting into “Wilco(The Song),” Tweedy interacted briefly with the crowd by proclaiming, that the crowd was “definitely the best audience on the tour so far.”  Forgetting to consider that there was only one show that preceded the night in Birmingham, the crowd lapped it up,  reciprocating with a heavy round of applause interspersed with howls.

Wilco would end the set with an appreciated performance of Yankee Hotel Foxtrot‘s  “I’m the Man Who Loves You,” but the voluntary sing-along participation from the fans during the entirety of the show earned them a highly unique three song Being There (1997) encore — made up of “Kingpin,” “Monday,” and “Outtasite(Outta Mind)” — that cemented the extraordinary abilities that multi-instrumentalist Pat Sansone and heroic guitarist Nels Cline have brought to the table since their Wilco induction in 2004.

On its whole, Wilco fans that came out to enjoy a good night of Rock & Roll got exactly what they bargained for.  The cool breezes of Alabama’s night air complimented an exceptional rock mix by Wilco’s stage crew and complete with the atmosphere that Sloss Furnace inevitably brings, this show was on that  Birmingham’s Wilco faithful will remember for a lifetime.



 Click the thumbnail(s) to view more photos from the show by Andi Rice



Wilco to make brief stop in the Southeast prior to European tour


Still reeling from The Whole Love, the album that scored quite high on Honest Tune‘s annual top albums of the year list that came out in January, Wilco has been spending quite a bit of time on the other side of the Atlantic.

Returning stateside after a date in Croatia at the end of March, Jeff Tweedy and company will hit the road again in May, briefly touring the Southeast — making stops in Arkansas, Alabama, Mississippi and two stops in Florida –  before once again returning to Europe.

As is common, Wilco is currently taking song requests through their website, so head over and get your in. Furthermore, get tickets while they are still available since most of these gigs are taking place in relatively small venues and are bound to sell out.

Tickets for the Alabama and Arkansas dates went on sale on 2/24 and tickets for the Mississippi and Florida dates go on sale on 2/25 at noon.


Wilco Southeastern Spring Tour Dates

10 May 2012 / Fayetteville, AR / Arkansas Music Pavilion

11 May 2012 / Birmingham, AL / Sloss Furnaces

12 May 2012 / Jackson, MS / Thalia Mara Hall

14 May 2012 / Tampa, FL / Morsani Hall

15 May 2012 / Miami Beach, FL / The Fillmore Miami Beach at The Jackie Gleason Theater


11 FROM 2011 – Team Honest Tune’s Top Albums of the Year


It has been another fine year in music, so good that it would have been a disservice to follow the tried-and-true top 10 format. Instead, Team Honest Tune has decided to recount the Top 11 of 2011. And given the varied interests of our writers and editors, we have compiled individual lists that will surely pique your interests.

From Wilco to Mastodon to Bad Meets Evil, these lists cover a lot of ground. Please kick back and dig in – you will surely come across some gems that you may not have heard.

We hope you enjoy our Top 11 of 2011 lists as much as we enjoyed putting them together.

Cheers to a great 2011, and the promise of an even better 2012!


Tom Speed – Editor in Chief

1)      Wilco: The Whole LoveHere, America’s greatest band continues to do what they do best: experiment with effects-laden  art-rock (“Art of Almost”), thrive in meandering pastoral jams (“One Sunday Morning”) and provide scrumptious pop songs (“I Might”). The Whole Love is not so much a departure from their recent work as a culmination of it.

2)      Portugal. The Man: In The Mountain In The Cloud – For their major label debut, the psych rockers plow forward with aplomb.

3)      Blitzen Trapper: American GoldwingRootsy rock with irresistible hooks and deft musicianship make the latest release from Blitzen Trapper a keeper.

4)      North Mississippi Allstars: Keys To the KingdomThe Allstars turned in their most poignant (yet still rocking) set of songs this year, ruminating on life, death and the party on other side.

5)      My Morning Jacket: Circuital – Not MMJ’s best record by a long shot, but the fact that even a let-down of a release can make a significant mark and continue to swell their fan base is quite a feat.

6)      Jimbo Mathus: Confederate Buddha – Jim Dickinson called him the “singing voice of Huck Finn,” and for all the musical mischief Mathus conjures up on a consistent basis, the moniker is apt. That’s nowhere more apparent than on this latest release.

7)      Jason Isbell & The 400 Unit: Here We RestSince his departure from the Drive-By Truckers, Isbell’s songwriter has remained strong, while his sound has swayed more and more toward the soul and gospel sounds found herein.

8)      Iron & Wine: Kiss Each Other CleanSam Beam becomes less introspective and expands his musical palette even further with this collection, and it feels something like a rebirth.

9)      Ryan Adams: Ashes & FireRemember when Adams “quit” music? Yeah, we knew it wouldn’t last too. He hasn’t missed a beat and this post-Cardinals collection benefits from tasteful playing by top-notch studio musicians, including Adams’ wife Mandy Moore on vocals, Noah Jones on keyboards and Cardinal Neal Casal on guitars.

10)   Shannon McNally: Western BalladMcNally used a Kickstarter campaign to raise the funds to head to New Orleans and record with Mark Bingham. The two collaborated on the songs here, which propel her self-styled “American Ghost Music,” including the title track that was based on an Allen Ginsberg poem.

11)   11. Alabama Shakes: Alabama Shakes – It’s only an EP, but the emergence of the Alabama Shakes this year was such a jarring and joyful introduction that it deserves to be celebrated with the giddy anticipation of knowing there is so much more to come.

Josh Mintz – Managing Editor

1)      Dawes: Nothing Is Wrong – Simply put, Dawes unleashed the catchiest blend of great harmonies, songwriting, and solid musicianship released in 2011 on their sophomore effort. Americana at its very finest, Nothing is Wrong is a diverse batch of songs with a common thread running through them – the human spirit. With songs that cover nearly every emotion — love, loss, hope, despair — I’ve listened to Nothing Is Wrong too many times to count in 2011.

2)      Bon Iver: Bon Iver – As good as I thought For Emma was, the self-titled follow-up is better. Justin Vernon came back with a more polished effort that delivers across the board, from his still-haunting vocals to instrumentation that really shines.

3)      Ryan Adams: Ashes & Fire – A no-frills, back-to-business album full of the best aspects of Adams. Here’s to hoping that he stays out of retirement for good this time.

4)      Iron & Wine:  Kiss Each Other Clean – From the opening squeaks and squonks of “Me & Lazarus,” it’s clear Sam Beam has come a long way from his stripped down, acoustic days. There are few whispers here, as he’s incorporated the best elements of previous albums, mixed them together, and created what would probably have been the year’s best release in any other year.

5)      Fleet Foxes: Helplessness BluesRobin Pecknold and company pulled no punches on a sound that really brings folk rock to a new level. It’s easy to get lost in the swelling, reverb-filled harmonies and guitar picking on songs like “The Shrine/An Argument.”

6)      The Jayhawks: Mockingbird TimeOh, they’re back, and in a big way. With the original line-up reunited, it’s like the band never missed a beat, let alone nearly two decades. Mockingbird Time is a triumphant return to the forefront of Americana for the Jayhawks.

7)      Tedeschi Trucks Band:  Revelator – The album fans have been waiting for ever since the slide guitar genius and blueswoman got hitched, and it doesn’t disappoint. Taking elements of the diverse music backgrounds and influences of the players, Revelator is a great building block for a “young” band.

8)      Jason Isbell and the 400 Unit: Here We Rest – In most cases, an album that features violin and later dives into barrelhouse piano means complete lack of focus, but few can spin a tale like Jason Isbell, and his way with words ties the diverse musical styles together. If the album was a tad more focused, it would have been stellar.

9)      The Decemberists: The King Is Dead – R.E.M. may have hung it up this year, but The Decemberists are there to carry the mantle (Peter Buck even shows up on the album). The King Is Dead is the fork in the road where Americana and Indie rock meet, and the songs get better with every spin.

10)   Bad Meets Evil: Hell: The SequelKanye and Jay-Z may have released the more heralded rap collaboration of 2011, but there isn’t a better lyrical delivery than Eminem’s, and Royce da 5’9″ keeps up as well as anyone. Whether you like hip-hop or not, Marshall Mathers has ridiculous verbal skill and it’s on full display here.

11)   Death Cab for Cutie: Codes and Keys – There’s something to be said about consistency, and Death Cab is consistent as it gets. Codes and Keys may be more straight-forward rock than previous releases; instead the listener just gets a fun group of songs.


Jamie Lee – CD/DVD Reviews Editor

1)      Tedeschi Trucks Band: Revelator – The talent is overwhelming in Susan Tedeschi and Derek Trucks, and the couple recruited a crack collective this year to produce a stunning collection of blues and soul songs. If you only listen to one song from an album on this list, make it “Midnight in Harlem.”

2)      Drive-By Truckers: Go-Go Boots – Comprised of tracks recorded during the sessions that also produced 2010’s The Big To-Do, Go-Go Boots rises above the band’s recent releases with astute songwriting and further confirmation of the recently-departed Shonna Tucker’s essential contributions to this band.

3)      Jason Isbell & the 400 Unit: Here We Rest – Three albums into a solo career after parting ways with the Drive-By Truckers, Jason Isbell continues to hone his craft. Here We Rest is the most refined collection he has delivered with support from the 400 Unit. Isbell continues to confirm his status among the songwriting greats.

4)      Wilco : The Whole Love – Wilco have been nothing but consistent since their breakthrough Yankee Foxtrot Hotel, but The Whole Love is the most inventive album since that release. The icy dissonance of the opening “Art of Almost” is tempered with the closing 12-minute acoustic opus “One Sunday Morning,” bookending one of this year’s best.

5)      Mastodon : The Hunter – These Atlanta, Georgia headbangers known for sprawling prog-metal scaled back on The Hunter with glowing success. “Curl of the Burl” is so good, it will make you want to get a neck tattoo.

6)      Death Cab for Cutie: Codes and Keys – Noted by Ben Gibbard as the happiest album that his band has put out, Codes and Keys ripples with a sonic clarity and tonal depth that makes it a worthy addition to the Seattle quartet’s canon.

7)      James Justin & Co.: Dark Country – James Justin Burke followed up his debut, Southern Son, So Far, with an album that confirms his ascent to the frontlines  of a new wave of Americana. Melding folk, bluegrass, and good old rock and roll, Burke can turn a lyric with the best of them.

8)      Booker T. Jones : The Road From Memphis – The Road From Memphis dispels any doubt that soul man Booker T. Jones is partial to his hometown of Memphis, Tennessee. Featuring guest appearances from Yim Yames (My Morning Jacket) on the sunny “Progress,” and a stunning collaboration with Matt Berninger (The National) and Sharon Jones on “Representing Memphis,” Booker T. supports his status as a living legend.

9)      Foo Fighters : Wasting Light – Life after Nirvana only gets sweeter for David Grohl who can’t help but churn out heavy rock and roll with new twists and turns and lasting appeal.

10)   Fucked Up : David Comes to Life What happens when a Canadian hardcore band writes a rock opera? David Comes to Life, a feral collection that surpasses its ambitious concept and features the most melodic compositions this collective has ever nailed together.

11)   The Deep Dark Woods: The Place I Left Behind – Mellow, textured and pastoral, the fourth album from these Canadian folkies is a dreamy song set that emanates a rustic feel.  It is good enough to make you want to pull a Thoreau, and head out into those Deep Dark Woods.


David Shehi – Live Music Editor

1)      My Morning Jacket: Circuital – In my estimation, 2011 was the year of the Jacket and Circuital was the centerpiece of it all. In true Kentucky fashion – and by my conveniently leaving out Tennessee Fire – Jim James and company have achieved the coveted status of Secretariat with this, their third jewel of the MMJ Triple Crown. Succeeding side projects including Monsters of Folk and Carl Broemel’s trip down solo lane, Circuital finds and showcases the band matured and in its finest hour – with the polished and focused feel of Evil Urges coupled with the experimentation and coming of age of Z.

Circuital is explosive at times and refined at others; all the while, it maintains a warm, inviting and personal appeal that is just as suited for a stadium as it is a large club. From the anthemic “Victory Dance” opener through the introspective “Outta My System” and the ominously celebratory “Holdin’ on to Black Metal,” this forty-five minute effort has solidified what many a Kentucky boy dreams of … My Morning Jacket has won the Belmont and completed what, at one time, was a very unlikely trifecta.

2)      Gary Clark, Jr.: The Bright Lights EP – While it seems sort of odd to place an EP on a “best of” list, this EP is simply too good to omit. It opens with chilling licks from the intensely gifted Clark on guitar, but subsequently exposes Clark the songwriter. The opening track, “Bright Lights” is worth the price of admission alone, but the remaining twenty or so minutes prove that Clark is no longer just some cat that will be known around Austin. The Bright Lights EP is big; it begs chills and grabs attention.

3)      Bright Eyes: The People’s Key – Call it a guilty pleasure, but accomplishing songwriting that is this personal and anthemic is quite the accomplishment. With the Bright Eyes moniker now being retired, Conor Oberst has left an indelible mark with this “all grown-up” collection of gripping vocals, that come with an undertone of redemption and just the right amount of self-loathing and anger to keep the Bright Eyes patrons’ thirst effectively quenched.

4)      Warren Haynes Band: Man in Motion – To put it bluntly and at risk of sounding like captain of the obvious, Warren Haynes has always grabbed me as an impressive player. This said, his playing has also grabbed me as being a tad overbearing. Then there is Man in Motion, Haynes’ homage to slow cooked soul with a deeply southern twist. Though Warren definitely maintains his position as conductor, he sounds as comfy in the backseat — behind horn splashes, hearty backing vocals and a pocketed groove — as he ever has at the helm. With a supporting cast that was as well thought out, the chemistry is organic and doesn’t possess even a hint of orchestration.

5)      Eddie Vedder:  Ukulele Songs –  It is funny, but at face value, the idea of an album that features an aging “grunge” rocker and his ukulele – an ostensible instrument if not in the hands of Jake Shimabukuro -  simultaneously seems both idiotic and endearing. After listening, it is clearly the latter. If you are bargaining for an album that has a 20-something year old dude dancing on a barstool and scrawling “Pro-Choice” on his arm during the “Porch” improvisational bridge, you have come to the wrong place. The album is not stripped down or unplugged Pearl Jam. It is stripped down Eddie Vedder and is chock full of the deep Vedder voice crooning lovelorn and pained lyrics that are unmistakably Vedder-penned (sans “Dream a Little Dream”). Ukulele Songs is juxtaposition in its finest hour … painful songs sung over the happy instrument that Tiny Tim made famous.

6)      Tedeschi Trucks Band: Revelator – While the duet of husband and wife power blues couple, Derek Trucks and Susan Tedeschi, is nothing really new in regards to the live setting, this album solidifies them as an ensemble and incorporates the large band and full sound for which they are known, albeit appropriately subdued for a studio release. It also lets their enthusiasts know that these players are no longer for hire… they have a full-time job.

7)      Jim Lauderdale: Reason and Rhyme – When I first popped in this record, my immediate response was not positive. It has a deep twang and seemed more fit for the “never leave Nashville club” than for the road of an unwavering hippie’s CD player. But contempt prior to investigation has not been my thing for a while, and the fact that Robert Hunter was the man behind the lyrics led me to the conclusion that I, not Jim Lauderdale, was the one who was missing something. By spin number three, I was thoroughly captivated and the realization that this album was not only some of Hunter’s best recent writing, but that it had a feeling of “Ripple” revisited – and was being sung by the most suitable voice – slapped me across my biased space-face. It has not left my car’s disc changer since.

8)      Paul Simon: So Beautiful or So What –  I am not sure what I was expecting when I popped in Paul Simon’s first album after a five year break, So Beautiful or So What, but what I got was quintessential Paul Simon. It is as though Simon has taken what has worked best from all eras of his illustrious career. Whereas on Surprise, there seemed to be a forced attempt of breaking free of the chains of Graceland, on this record, it seems that Simon just went in and was who he is and what is best is its beautiful familiarity. Elementally, it draws from Simon’s admitted  love of world, gospel and R&B music but what is most pleasing is the way that he continues to have the unique ability to blend the diverse ingredients into the catchy, spry pop sound for which he has become  a legend.

9)      Greensky Bluegrass: Handguns –  If there is one complaint about this album, it is that its title track doesn’t open the proceedings. Nitpickiness aside, this is Greensky’s culmination piece, an arrival album if you will.  The effort seizes on the hard-won experience of a group of guys who have been hard at work and evolution for a decade now.  The stellar and non-competitive musicianship behind the golden voice of Paul Hoffmann stays true to the group’s improvisational roots and begs the phrase, “long live the dobro.”

10)   The Wood Brothers: Smoke Ring Halo – Smoke Ring Halo is the kind of album that I will just randomly start humming when doing mundane tasks. The production is pristine, best evidenced by the tonal capture of Chris Wood’s heavy bass plucking and Oliver Wood’s southern cooked vocal flavor. Smoke Ring Halo is refreshing with its song diversity – some foot-stomping and fun (“Shoofly Pie”), others thought provoking and nostalgic at others (“When I Was Young”) – Chris and Oliver Wood have avoided what could have been an easily taken direction by not simply continuing in the direction of 2006’s critically lauded Ways Not To Lose.

11)   North Mississippi Allstars: Keys to the Kingdom – Sometimes an album can hook you in the first track on the first listen. This is what Keys to the Kingdom does with the opening “This A’Way.” It is the kind of album that you would swear that you heard somewhere before. To quote Bad Blake (Crazy Heart), “that’s the way it is with good ones.”

Tim Newby – Features Editor

1)      Wye Oak: Civilian –  Wye Oak used to live deep in the noise, their fleeting flourishes of sublime beauty hidden between walls of thunderous guitar and crushing distortion.  But on their third album, Civilian – by far their greatest triumph yet – Wye Oak has emerged from the noise. They can still ramp it up and bring those deftly timed sonic explosions, but now those fleeting moments of sublime beauty have taken over the duo’s songs and the results are stunning.

2)      Radiohead: King of Limbs – The King of Limbs is a much deeper, personal, and intimate experience than anything Radiohead has released. Painted on a broad sonic canvas, carving huge swashes of sound through the album’s ever-undulating landscape, The King of Limbs is the sound of a band at the top of its powers that are shaking off the warm comfort of all they have done before.

3)      TV on the Radio: Nine Types of Light – TV on the Radio have softened the edges of the shimmering dance-floor rock of 2008’s Dear Science, into a groove laden, mellow affair that just might be the band’s most mature effort to date.  After years of shredding-guitars, post-punk wonder, and crazed disco beats re-imagined through the band’s adventurous spin, Nine Types of Light, finds TV on the Radio still digging deep into their experimental past creating weird stuttering blasts of joy, but doing so now with a masterful relaxed, confident touch.

4)      Tedeschi Trucks Band: Revelator It’s a simple, no-brainer formula. Take the best young guitar player in the world, add his wife who is a shredding blues-singer (and no slouch on the guitar herself), combine with a 10-piece band of hot-shit players, write songs, record. The result is a mesmerizing slice of ‘70s inspired soul and funk.

5)      Fleet Foxes: Helplessness Blues –  Faced with the unenviable task of living up to all the hype and praise heaped on them following the release of the self-titled debut album, Fleet Foxes – who rely on their lush, choir-like harmonies to create unwavering ambiance – came out swinging on their second effort and show no sign of the dreaded sophomore slump.  Picking up where their first album left off, Helplessness Blues, expands on all the ideas and themes first hinted at on their debut album. The result is deeper, darker, more complex album that is a truly challenging reward.

6)      The Bridge: National BohemianThis Steve Berlin produced effort is far and away The Bridge’s best album yet.  It is the perfect culmination of their previous ten years on the road.  All the elements that they have become known for, a sound born in the backwoods and the mountains, but raised on the streets of New Orleans, led by intense guitar work and heartfelt songwriting are present.  It is an album built as equally upon the intense, psychedelic freak-out of “Sanctuary” or the high energy of “Rosie”, as it is the quiet beauty of “Dirt on my Hands” or “Long Way to Climb”.  With the announcement that the band will be calling it quits at the end of the year, this swan song album is quite simply the perfect capstone to the band’s decade long run.

7)      Dawes:  Nothing is Wrong – A sublime take on ‘70s inspired So-Cal canyon rock, instantly recalls the engaging mellow-mood songwriting of Jackson Browne (who guests on the album).

8)      Low Anthem: Smart FleshSmart Flesh is pure stripped down beauty. A deeply thoughtful album, full of sadness and despair delivered in heartbreakingly beautiful harmonies that demand the listener to be engaged.  Recorded in an abandoned pasta factory in Rhode Island, Low Anthem translated the vast, emptiness of their recording environment into a perfect sound that relies as much on the silence and space in between each and every slow, fading note as it does the rich, moody, texture found at the heart of each song.

9)      Bombadil: All that the Rain Promises – After a nearly two year forced hiatus due to bassist Daniel Michalak’s health issues, Bombadil is back. All That The Rain Promises stays true to the band’s uniquely addictive take on folksy-Americana, Piedmont blues, and rocking gypsy rag-time. Bombadil’s genius has always been in how they create complex beauty out of such a simple sound.  All That The Rain Promises is an 11-song musical adventure weaving stories and tales about such diverse topics as bread making, leather belts, ponies, crushes, and the joy of one-wheeled bikes that are full of lyrical twists, odd instrumentation, and immediately unforgettable harmonies, that moves from sparse ballads to quirky rockers, and is quite simply a glorious, welcome return for the band

10)   Wilco: The Whole Love – Another masterpiece in a string of constantly shape-shifting albums that find that band veering from the experimental bent of A Ghost is Born, to the lush country-fried rock of Sky Blue Sky, to the brooding Wilco (The Album).  From the opening Radiohead inspired freak-out “Art of Almost” to the 12-minute acoustic album closing journey of “One Sunday Morning”, The Whole Love merges all those elements they have played with before into one of the band’s strongest albums yet.

11)   Cave Singers:  No WitchThe Cave Singers mine a deeply rooted vein of country-rock tinged with folk that seems to be taking over the Northwest. The band attacks their music with a simple approach, relying on more straight-forward,  bluesy Americana sound that uses loose, basic drumming and dirty, finger-picked guitar ripped from the back-porch to give lead singer Pete Quirk’s voice a dark, shaman-esque quality. Their songwriting that finds the near-perfect balance between pop accessibility and soulful realism, and No Witch treads this razor-thin line with balanced perfection.

Dave Stallard – Contributor

1)      Jonathan Scales Fourchestra: Character Farm & Other Short Stories The term “genius” is not a platitude I bandy about regularly, but it fits here.  Jonathan Scales is to the steel pans what Bela Fleck is to the banjo or David Grisman is to the mandolin – instrumental innovator and brilliant composer – and his Character Farm & Other Short Stories is a mindbender of pan-driven jazz, with guest spots by Jeff Coffin and Kofi Burbridge.  My favorite record of the year for its sheer virtuosity and pure inventiveness.  It’s unlike anything else I heard in 2011.

2)      Various Artists: This One’s For Him – A Tribute To Guy Clark – So, you take a cadre of America’s best singer/songwriters and get them to record a two disc collection of tunes from, perhaps, America’s best singer/songwriter?   Yes, I’ll take it.  Iconic singers like Lyle Lovett, John Prine, Kris Kristofferson, Emmylou Harris, James McMurtry, and more take their turns on poet/singer Guy Clark’s timeless tunes.  This record is an Americana time capsule, for the scope of its assembled talent and the honor it bestows up on Guy Clark.

3)      Dead Man Winter – Bright Lights: Best way to beat the cold northern nights in Minnesota?  Listen to Bright Lights, the release from Trampled By Turtles front man Dave Simonette and his side project, Dead Man Winter.  This record has the distinction of holding what I believe is the greatest single track of 2011 – “A Long, Cold Night In Minneapolis.”  Somber and aching, it’s exactly what Americana from the Northern climes should sound like.

4)      Various Artists: I Love:  Tom T. Hall’s Songs of Fox Hollow – I’m a dad three times over, and I am a sucker for a children’s record that doesn’t sound like a children’s record. This remake of Tom T. Hall’s classic 1974 recording Songs of Fox Hollow, actually recorded on the farm in Fox Hollow that Hall still calls home, features performances by Buddy Miller, Patty Griffin, Duane Eddy, Jim Lauderdale, and even Tom T. himself.  The record also has garnered a Grammy nomination for Best Children’s Album – kudos to my good buddies Eric Brace and Peter Cooper.

5)      Noam Pikelny: Beat The Devil And Carry A Rail – The best young banjo player in America?  If not the outright holder of that title, Pikelny is most certainly a contender in the discussion.  His most recent solo release showcases his virtuosic abilities on the five string banjo – there are moments during this record when Pikelny’s rolls are mind blowing.  Pikelny is joined on the record by fellow Punch Brothers Chris Thile, Gabe Witcher, and Chris Eldridge, and fellow all-star musicians like Tim O’Brien, Jerry Douglas, Bryan Sutton, and Alex Hargreaves.  This could be the best progressive acoustic album of the year.

6)      Todd Grebe & Cold Country: Until Tomorrow I don’t know where the bluegrass country is in Alaska, but Todd Grebe sure as hell does.  This North Country guitar player took some time off from his duties with Alaskan bluegrass outfit Bearfoot to put together this equally grassy and old country offering.  It isn’t hard to see Grebe pickin’ and singin’ in front of a single mic in the heyday of the Grand Ole Opry – his music rings with vintage country soul.

7)      The Infamous Stringdusters: We’ll Do It Live  – My favorite live record of the year.  We’ll Do It Live so amply showcases the continued evolution of one of the best bands in acoustic music – sure, they are still bluegrassy, but now they jam.  Extended renditions of longtime favorite tunes, dynamic interplay between some of the best pickers in the game, and instrumental runs that lead the crowd into a stratospheric frenzy -  it’s almost as good as being there.

8)      The Deep Dark Woods: The Place I Left Behind Apparently, cold, wintery climates and stunning songwriting go hand in hand.  It works for Dead Man Winter, and it certainly works for The Deep Dark Woods, the best band out of Canada that I have heard in a long, long time.  Though they hail from Saskatoon, I often hear a distinct ripple of my own Appalachia running through their tunes – subtle banjo, an acoustic riff here and there that, though plucked a thousand miles away, just sounds like home.

9)      Girls, Guns & Glory: Sweet Nothings I am firmly convinced that the Northeast is pumping out some of the best alt-country on the scene.  Boston-based Girls Guns & Glory are bound to put Beantown in the same league with Brooklyn when it comes to boot stompin’ honky tonk nouveau.  Singer Ward Hayden is a mesmerizing mélange of Chris Isaak, Dwight Yoakam, and Roy Orbison, and the band rolls with a swagger most often seen wrapped behind chicken wire in a smoky Texas roadhouse.

10)   Danny Barnes: Rocket When is a banjo record not a banjo record?  When Danny Barnes is the banjo player.  At times, this a roots record, at other times a rock record, but at all times it is Barnes as total bad ass, shifting genres and sounds like a chameleon, just as he has done throughout his storied career.

11)   Kenny Vaughan: V Country music’s got a hold on me.  To be honest, I can’t even believe I ripped the title of the first track of this record to kick off this entry, but it’s true – I have been smitten by country music.  Shocking, I know, but I am in love with guitar wizard Kenny Vaughan’s take on the genre.  Vaughan is a maestro on the six string guitbox.  For evidence, just take a listen to the instrumentals on V.  They roll and moan like a dusty country landscape, just like country music is supposed to sound.





Wilco, 9/29/11

The Cobb Energy Centre 
Atlanta, GA 
September 29, 2011 

On the heels of The Whole Love, Chicago based rock outfit Wilco forcefully rolled through Atlanta, playing two sold out nights at The Cobb Energy Center just north of downtown. This night, the second of the two, the show boasted many old favorites mixed in with new classics off the aforementioned recent studio effort.

Wordsmith Jeff Tweedy took the stage with the remainder of the band and began the show with an amazing version of “One Sunday Morning,” a track of music beauty from the new album that is not to be overlooked.

The show rolled on with more new material — including the opening track from The Whole Love–  followed by “…I Might.”

Upon the closing notes of “…I Might,” guitarist Nels Cline was handed a 1957 Les Paul Gold Top to play for the next tune.

As Tweedy approached the mic with a grin, he muttered some words that got the crowd buzzing. With a quick explanation, it was clear to the crowd…this was Duane Allman’s ’57 Gold Top –a guitar that has certainly been making the rounds lately– that was brought to Atlanta for these two shows, on loan from The Big House in Macon, GA.

You could almost see the hair on each of the band members arms stand up as the first notes of “Muzzle of Bees” were struck by Cline, and the passion spewing through the air was nothing short of momentary musically-driven surreality.

The show continued on with a few other appearances of the Gold Top including one in an incredible rendition of “Impossible Germany” that seemingly had every fan in the venue on the edge of their seats.

For an encore, Wilco opted to trudge on with the new>old formula that had worked for them the entire evening  by providing a blissful version of “California Stars” from the Mermaid Avenue album that Wilco released with Billy Bragg in 1998.

The double-rocker closer of “I Got You” and “OuttaSite” had the room out of their seats and screaming for more, but alas, the house lights came up and the show was but a memory.



One Sunday Morning,  Art of Almost, … I Might, Muzzle of Bees, I Am Trying to Break Your Heart, One Wing, At Least That’s What You Said, Capital City, Misunderstood, Jesus, Etc., Born Alone, Box Full of Letters, War on War, Standing O, Rising Red Lung, Impossible Germany, Dawned on Me, Shot in the Arm, Whole Love, Cali Stars, Hate It Here, Walken, Red-Eyed & Blue, I Got You, OuttaSite


Click the thumbnail(s) to view photos from the show by Ryan Swerdlin

Wilco announce additional summer dates

Wilco has unveiled additonal tour dates to round out their already busy summer plans.

The new dates include stops at The Joint in Las Vegas, Red Rocks Amphitheater in Morrison, CO, Wolf Trap in Vienna, VA, Maine State Pier in Portland, ME and Art Park in Lewiston, NY. Additionally they will play concerts at four East Coast ballparks: Frawley Stadium in Wilmington, DE, LeLacheur Park in Lowell, MA, Keyspan Park in Brooklyn, NY and Dutchess County Stadium in Wappingers Falls, NY.

The band's new concert DVD, Ashes of Ameriican Flags, will be released on Saturday, April 18 at independent retailers nationwide as part of national Record Store Day. The DVD will also be available on that day from wilcoworld.net and nonesuch.com. A broader release through iTunes, Amazon and chain retail outlets will follow on April 28.

A trailer of the upcoming movie can be viewed at http://www.ashesofamericanmovie.com/

Wilco has also recently finished recording their new, as of yet unamed album due outat the end of June.

Full tour dates

5/23/09 Tenerife Auditorium Tenerife, ESP
5/25/09 Teatro Cervantes Malaga, ESP
5/26/09 Teatro Calderon Madrid, ESP
5/27/09 Congress Palace Granada, ESP
5/29/09 Territorios Festival-La Cartuja Seville, ESP
5/30/09 Teatro Circo Oporto-Braga, POR
5/31/09 Lisbon Coliseu Lisbon, POR
6/01/09 Palacia De Congresos, Sala Braque Galicia, ESP
6/03/09 Kursaal San Sebastian, ESP
6/04/09 Auditori Barcelona Barcelona, ESP
6/12/09 Aronoff Center Cincinnati, OH
6/13/09 Bonaroo Festival Manchester, TN
6/15/09 Bricktown EventsCenter Oklahoma City, OK
6/17/09 Abraham Chavez Theatre El Paso, TX
6/18/09 Centennial Hall Tucson, AZ
6/19/09 The Joint Las Vegas, NV
6/20/09 Fox Theatre Pomona, CA
6/22/09 Wiltern Theater Los Angeles, CA
6/23/09 Wiltern Theater Los Angeles, CA
6/27/09 Greek Theater Berkeley, CA
6/28/09 Lake Tahoe Outdoor Arena Stateline, NV
6/30/09 Britt Pavilion Jacksonville, OR
7/03/09 Red Rocks Morrison, CO
7/08/09 Wolf Trap Vienna, VA
7/10/09 Frawley Stadium Wilmington, DE
7/11/09 LeLacheur Park Lowell, MA
7/13/09 Keyspan Park Brooklyn, NY
7/17/09 Maine State Pier Portland, ME
7/18/09 Dutchess County Stadium Wappingers Falls, NY
7/19/09 Art Park Lewiston, NY
7/23/09 10,000 Lakes Festival Detroit Lakes, MN
8/13/09 Oya Festival Oslo, Norway
8/14/09 Way Out West Festival Gothenberg, Sweden
8/21/09 Highfield Festival Erfurt-Hohenfelden, Ger
8/23/09 Green Man Festival Brecon Beacons, UK
8/25/09 Troxy London, UK
8/27/09 Vicar Street Dublin, IRE



Back and Forth With Backyard Tire Fire


When I spoke with Ed Anderson on a spring afternoon, he was at home in Bloomington, Illinois where he called his dog outside to sit with him while we talked. His countrified roots-rock band, Backyard Tire Fire, was at home on break from touring behind Vagabonds and Hooligans, the band’s third studio CD, and third CD to be produced with their hometown buddy Tony San Filippo at Bloomington’s Oxide Lounge.

Continue reading Back and Forth With Backyard Tire Fire

Wilco’s focused Sky at the Aronoff


Procter and Gamble Hall at the Aronoff Center for the Art

Cincinnati, Ohio

June 14, 2007


Starting with the slowly building jazz riffs of "Shake It Off" from their recently released disc, Sky Blue Sky, Wilco played to a packed theater at the Aronoff Center in Cincinnati on June 14.  It was the second stop on their summer tour, and both the band and leader Jeff Tweedy seemed to be in high spirits.

The focus of the evening was material from Sky Blue Sky, and a peaking early point of the performance surrounded the second track of the album, "You Are My Face."  Bounding through "Side with the Seeds," Tweedy and co. quickly upped the ante as they broke into a trio of songs at breakneck speed.

Wilco’s secret weapon, guitarist Nels Cline, enveloped the Aronoff Center’s shimmering sparkle of lights with cascading chords on "Handshake Drugs" and the wistful "Impossible Germany."  Playing alongside an acoustic strumming Tweedy, Cline reached back into a grab bag of distortion and feedback on the new recording’s title track.

Both guitarists reached a summit of punchy electric, frenzied soloing on "War on War" and "Walken."  Tweedy joked with the audience and relented during a silly pause while he put on sunglasses and jewelry thrown towards the stage before summoning the ensemble to launch into "Jesus, Etc." off of the 2002 gem, Yankee Hotel Foxtrot.

2004’s A Ghost is Born was largely reserved for the back end of the evening as Wilco closed their set with the light, breezy "Hummingbird," and then dove into the half hour propulsive assault of "Spiders (Kidsmoke)."  The rapturous applause did not stop, even when the group closed with the radio friendly "Heavy Metal Drummer."

Focused and polished within a moderate level of eccentricity, Wilco’s concert at the Aronoff Center in Cincinnati was a model of grace under pressure and relaxed pacing wrapped inside tension and release, leaving the enthused patrons begging for more.


Setlist: Shake It Off, You Are My Face, I Am Trying To Break Your Heart, A Shot in the Arm, Side with the Seeds, Handshake Drugs, Impossible Germany, Sky Blue Sky, Pot Kettle Black, Via Chicago, War on War, Jesus, Etc., Walken, I’m the Man Who Loves You, Hummingbird

Encore 1: Hate it Here, Poor Places, Spiders (Kidsmoke)

Encore 2: What Light, Heavy Metal Drummer