popwreckoning

The band’s on the evening’s bill may not be ridiculously large rock bands that fill amphitheatres or obscure lo-fi basement rockers that hipsters buy ironic tees from. But none of that stuff mattered to the bands nor their fans packed into the Beaumont Club. The people there weren’t there because the radio or Urban Outfitters told them they had to be there. Everyone was there because they genuinely loved these bands and that feeling made this one of the best concerts I’ve been to in a long time.

Three-piece Barcelona started things off with a set that dropped several jaws. Beautiful harmonies laced with rolling piano riffs and a great drum beat made this band the surprise ace in the hole. They had a sound that was in between Coldplay and Keane, but without the huffy lack of vocal control that Chris Martin sometimes experiences and without the cheesiness that Keane is prone too (remember that song about a crystal ball? ugh). I recall seeing Barcelona awhile back at an acoustic set and finding them decent, but unmemorable. However, since then they have really solidified and after their fantastic final number, “Come Back When You Can,” I think they did a good job making sure that everyone would still remember them long after that performance.

Copeland was next and the Florida group continued the piano-based rock awesomeness. Singer Aaron Marsh opened the set on guitar, but seemed much more at ease when he moved to the piano and it made a great difference in the quality of the performance. The tension in his shoulders disappeared as he wrapped his legs around the piano bench and rocked back and forth for a few numbers. This helped loosen him up enough that when he came back to guitar. In fact, when he returned to guitar for a few numbers, on a song ironically called “Careful Now,” he had thrown caution to the wind so much so that he broke a string.

This turned out to be a really good thing because while tuning a new guitar, Marsh did something special to fill the silence.

“Questions, concerns, comments? Let’s do birthdays. Who has a birthday now? You? This will be a special birthday song,” said Marsh and then he began a beautiful acapella birthday song, “Light the candles. It is the special light inside you everywhere you go.”

It was a great set with a good mix of songs (yes, they did play “Brightest”). There were some impatient people in the crowd that I don’t think connected to the moodier sound of Copeland, while waiting for the bubbly headliners. I, on the otherhand, only regretted that the set was over so quickly.

Finally it came time for headliners Relient K. They must have some of the most loyal fans that I’ve encountered and I am proud to say I am one of them. Heck, they were my first concert ever.

Tonight’s performance could not have come at a better time for me. I had a rough week, but Relient K never fails to make me smile and I’m sure everybody at the show would agree. I mean, how can you not smile when a band pays tribute to “The Office” or covers songs like “Under the Sea” or “The Subway Commercial“? And while, they have their goofy moments, Relient K counters with some very heavy moments, too such as encore song “Curl Up and Die”

Lead singer Matt Thiessen did say he wasn’t feeling well, so he did cut out a few times on the vocals, but the other band members and the audience singing every single word did a fine job filling in the gaps.

Relient K had many special treats in their set aside from the many covers. The arrangement was shaken up for “Must Have Done Something Right” and my favorite surprise was when Copeland’s Aaron Marsh returned to sing “Let It All Out,” one the most beautiful and passionate numbers of the night.

The band just released a new album about a week prior to this show, but they still played a lot of their old songs. After already playing 18 songs, the band returned for a three song encore: “Curl Up and Die,” “There Was No Thief” and “Who I Am Hates Who I’ve Been.”

They didn’t play some staples such as “Sadie Hawkins Dance,” but it didn’t matter. I couldn’t have asked for a better set of songs…although, I was in my khaki pants.

Band info:
Barcelona: myspace
Copeland: website | myspace | You Are My Sunshine review | interview with: Aaron Marsh | @ slowdown
Relient K: website | myspace | interview with: Matt Thiessen | @ granada

Devendra Banhart and band will be playing U.S. tour dates this November in celebration of the release of What Will We Be , his sixth full length release. This is his label debut for Warner Bros.

What Will We Be has a sunny, breezy feel making it perfect for performances to warm up in the cold fall and winter weather.

Check out Banhart Live at Jools Holland.

Tour Dates:
Nov. 16 – Vic Theatre / Chicago, IL
Nov. 17 -  The Ark / Ann Arbor, MI
Nov. 19 – Higher Ground / Burlington, TX
Nov. 20 – Berklee / Boston, MA
Nov. 22 – Town Hall / New York, NY
Nov. 24 – Electric Factory / Philadelphia, PA
Nov. 25 – 9:30 Club / Washington, D.C.
Nov. 27 -  Queen Elizabeth Theatre / Toronto, ON

Devendra Banhart: website | myspace

The Brighton, England band, known as Brakes to me and most everywhere except America, is known under the moniker Brakesbrakesbrakes stateside. Despite the “difficult to say five times fast” name they have when they come visit us, I found singer/guitarist Eamon Hamilton and bassist Marc Beatty to be extremely nice guys, as you shall read in the following exchange between us. In the first half of my interview with them prior to them sound-checking at D.C.’s Black Cat on October 5, they tell me about recording their latest album Touchdown in Scotland, and we have a brief segue into fairy tale land. Have a read!

Mary Chang, PopWreckoning: I am here in Washington with Marc and Eamon, two members of Brakes, or Brakesbrakesbrakes as they are known in America, a name I don’t really like…
Marc Beatty (bassist for Brakesbrakesbrakes): Neither do we.
Eamon Hamilton (singer/guitarist for Brakesbrakesbrakes): Yeah, You’ll have to speak with the Philadelphian funk rock band’s [Brakes] lawyer about that. (all laugh) There you go. But we didn’t want to be “Brakes UK,” because that would have been “brakes uck”.
MC: You mean like the Charlatans.
EH: Yeah, we could have done that, I suppose.
MB: I think anyone who likes us over here [in America] knows us as Brakes anyway.
MC: Yes, right.
EH: In Britain, when you’re doing your driving test, there’s an emergency stop you have to do, when you have to put on the brake at the end. And the [instructor] guy goes, “brakes brakes brakes!” So you see, that has some…well, that’s the only story we can salvage from the depths of our hatred… (laughs)
MB: I dunno. My driving instructor never said that.
EH: Did he not?
MB: No, mine slapped the windscreen instead.
EH: Oh haha, not “brakes brakes brakes”?
MB: No, he said “brakes, now!”
EH: “Brakes, now” eh? (all laugh)

MC: Welcome to Washington. We’re very happy to have you guys here. Have you played in Washington before?
MB: No, first time.
EH: I have with British Sea Power [his previous band].
MC: Do you remember which venue?
EH: Here, actually. We played with the Libertines, it was just after Pete [Doherty] had left. And err, who was the other band? I can’t remember.
MC: So this must have been seven odd years ago then.
EH: Oh wait, I think it was the Living Things.
MC: Oh yeah? I saw them here in June.
EH: I didn’t like them much.

MC: Your latest studio album, Touchdown, was released in April. I read that you recorded it in Scotland. Quite a hike from Nashville, where your last album [The Beautific Visions] was recorded. How did you like recording there, versus Nashville?
EH: Well, we’ve always recorded in musically rich places. Well, London…(scoffs)…well yeah, London’s musically rich? (looks over at Marc)
MB: London, Brighton.
EH: London, Brighton, you know, places with great musical heritage. And then we recorded in Glasgow, home of Teenage Fanclub, one of our favorite bands. And the Delgados. You know, everything. So it was just brilliant!
MB: I lived there at the time, so it was convenient.
MC: Is that how you guys decided to record in Scotland?
MB: Yeah, sort of. And also because Fat Cat [Records, their label] has ties with Paul Savage who produced the album. He has a studio up there [Chem19] so we liked the idea of recording there, it seemed like a good thing to do.
EH: And we also used Norman Blake of Teenage Fanclub, he made a compressor that we used for the album. Then he said what we were doing with it sounded good…
MC: Oh yeah?
EH: …and then he took it away again. (looks semi-crestfallen)
MB: Took it away!
MC: That has historical value now!

MC: So what was it like working with Paul Savage [of the Scottish band the Delgados and also a famed music producer]?
EH: He’s a legend. He let us do everything.
MB: He was really easy to work with. We had about three weeks, and it was a little bit rushed, but we got on really well. Really outgoing.
EH: He cooked us some amazing meals.
MB: Yeah, that was probably the best part of it!

MC: So how would you say that the making of this album different than for The Beautific Visions?
MB: We took our time.
EH: It was rushed, but less rushed! (laughs)
MB: The first album was done in 1 week, the second album took us 2 weeks, and this third one took us three weeks…sort of natural progression really.
MC: I take it you guys work well under pressure?
MB: Yeah, yeah, definitely.

MC: It’s been three years since the second album.
MB: Has it been that long? (sounds surprised)
MC: Did you feel different pressures / inspirations in the process of making Touchdown?
MB: There were a lot of factors. We changed labels [from Rough Trade Records to Fat Cat] and because it had been quite a bit of time since the last one. We had a bit more time to write the second one, which was really pressured. We sort of…we pulled it off but it was tough. We had a bit more freedom with this one, so we could think about it a bit more.
EH: It was really great to be offered another album, really.
MB: Yeah yeah. We had a bit of a dark year. It had been over a year before that when we’d done some demo-ing.
EH: In the dark tower!
MB: Yeah, we wrote songs in a cold barn in Oxfordshire. In a tiny room…write that down that I’m pointing to this…(laughs while gesturing to small U-Haul truck in the Black Cat parking lot)
EH: Yeah, like 10 foot by 12 foot space.
MB: One strip light. Really tiny place.
EH: And it was freezing cold.
MB: And we got really pissed off at each other. And then after that we took some time off. I forget how long…
EH: We were still gigging in between. Yeah, how long was it…
MB: Hmmm…
MC: Easy to lose track of time when you’re gigging all over the place?
EH: Yeah. It wasn’t long enough though. When we got back together, we still fucking hated each other. There should have been a punchline here, shouldn’t there? (all laugh) I shouldn’t have said that, should I?
MB: The important thing is we get on now! We’ve come through the dark times.
EH: Yeah, we came away from the dark tower. Luckily, Rumpelstiltskin let down his golden hair, and we climbed down and now we’re in the fields.
MB: Wait a minute, I think you’re mixing up your fairy tales.
MC: Rapunzel?
EH: Rapunzel! That’s it! (all laugh)

We then narrowly miss getting hit by a car leaving the parking lot that almost did not slow down when it came right up by us. But there’s more to this interview, much more. Stay tuned for part 2 of this interview with Marc and Eamon coming soon!

Photo: Mary Chang

Brakesbrakesbrakes: website | myspace | BrakesBrakesBrakes Announces October North American Tour, Plans for Single and Live Album | Fat Cat Records Tour Featuring the Twilight Sad, Brakesbrakesbrakes, and We Were Promised Jetpacks @ Black Cat, Washington DC

If Folk Rock had a face, it would look something like Orenda Fink. Her embodiment captures her talent as though the wind breathed it into her. With writing as powerful as her voice, it’s no wonder her latest endeavor simply entrances. It takes strength to hold a soul down and cause them to listen, and this is a journey like none have seen in quite a while. Ask The Night is as real as it gets and as mysterious as you want it to be.

As Orenda’s second outing as a solo artist, on top of this being her second project of 2009, Ask The Night is a stand alone work. Taking conflicting emotions to task, Orenda has managed to siphon through the unrequired words and filled her journey with simple concepts that speak volumes.

“Why is The Night Sad,” begins with an ominous foreboding, forcing you to question your own night and how it might resemble hers. Her gentle and soothing voice reminisces the humming of the “Shins.” Taking you from room to room and opening all the chests with her own lock and key, Orenda manages to unfold a mental wound that seems universal.

Burrowing deeper into Ask The Night you find treasures of pain and pleasure. Some of which is left to interpretation with lyrics like, “Love of a man that didn’t belong..” from “Sister” and “In Rooms of silence, we just join in…” from “That Certain-Something Spring.” But not to leave us a deep curiosity, she also wraps around the logic of truth and simplicity, allowing us permission to say to ourselves “Now pain is the only word I need to know.”

With so much self evaluation, one would think it would need a rest stop of sorts, and that is truly what her track “The Garden” resembles. It’s a transition into clarity and hope. It reminds us that Fink is not all about just pain and suffering, she lets us know that it’s just a part of the grand scheme, and “If you lose your home, and you lose all you’ve worked for, if you lose it all, it’s alright.” The violin sways in like a savior soothing the soul in rough times as a banjo fills in where it was born to go.

Song placement in any LP is so very important as it is not only an artist wanting to display, but also for the listener to receive the complete story without fragments. Ask The Night has that and more, taking us from one place to another with clear transition and motivated vocals. Orenda Fink says at the end of this journey “It’s so sad to watch the world go bad” but invites us all to ask it together, and simply stare at the moon, and ask the night.

Tracklisting:
01. Why Is the Night Sad
02. High Ground
03. Sister
0 4. That Certain-Something Spring
05. The Garden
06. Wind
07. Alabama
08. The Mural
09. Half-Light
10. The Moon Knows

Orenda Fink: website | myspace

KC/Lawrence’s Old Canes celebrated his Saddle Creek debut and his second studio album, Feral Harmonic, with a CD release show at Lawrence’s Jackpot Saloon.

Old Canes features Chris Crisci (of the Appleseed Cast) and friends on various instruments.

Following a short intro Old Canes played through songs off both albums: “Bird Courage,” The Last Collapse,” “Both Falling Bright,” “Blue Eleanor,” “Trust,” “Face It,” “Next Flood,” “Then Go On,” “Sweet,” “Life Is Grand,” “Taxi on Vermont,” and “Flower Faces.”

There was a lot to love about the show from the diverse instrumentations, amazing drumming, Crisci’s voice, and the audience participation on tambourine. The crowd yelled for an encore, but Crisci admitted he barely knew the lyrics to the last number. Perhaps after the warm home reception, Crisci won’t make his fans wait so long again (I believe it has been about five years since the last Canes show) and return to his hometown soon for another show once he’s a bit more warmed up with his crew and can have an encore prepared.

Catch Old Canes on tour now.

Old Canes: website | myspace

The eighth Eels studio album End Times will be released January 19, 2010, only six months after the latest and highest-charting EELS album, Hombre Lobo.

The new album features 14 tracks largely self-recorded by Eels leader Mark Oliver Everett, aka E, in his Los Angeles basement studio. This is the shortest gap between EELS albums.

The Eels will keep their website updated with more information as it becomes available.

Eels: website | myspace

As of now, you can stream Cartel‘s new album Cycles using Twitter. If you don’t have an account, it takes just a moment to set up. Then go to  http://cartel.culturejam.com.

The album will hit stores Oct. 20. You can watch the new video for the first single “Let’s Go” here.

Cartel is set to head out on tour in support of the album with This Providence and The Summer Set, starting on October 22nd through the end of November.

Cartel: website | myspace

Reviewing this album is bittersweet for me. For one thing, I hate all the hullabaloo that Twilight has brought along with it. It’s taken over so much of the media lately, and I’ve been sick of it since it started. When I saw the list of artists that were contributing to the Twilight Saga: New Moon soundtrack, my heart sank. Not because they were bad, but because they were oh so good, and the fact that they’d jumped on the Twilight bandwagon irked me so much. Secretly, I was hoping that the soundtrack was really really bad.

But I was proven wrong, because it’s so good.

Like, really good.

As of right now, I’m separating the soundtrack from the film, because the soundtrack will surpass the quality of the film no doubt. And I’ll take you through Alexandra Patsavas’ musical masterpiece piece by piece, as it’s the only way I can do it justice.

1. Death Cab for Cutie – “Meet Me On The Equinox”

As far as a Death Cab song, when I first heard this I was a little underwhelmed. But I think they’ve mixed it differently for the final soundtrack, so it’s grown on me a bit. Sure, the hook is a little generic for a Death Cab for Cutie song, but as far as a catchy single to start off the soundtrack, it works really well.

2. Band of Skulls – “Friends”

Track two had a completely different vibe as the songs surrounding it – as it’s more upbeat, and provides a lightness that the soundtrack otherwise doesn’t have. It’s the first of a few very raw sounding tracks on this album, which is something you didn’t get from the first film’s soundtrack. “Friends” isn’t a huge song, but it’s a nice departure from the other big songs on the record.

3. Thom Yorke – “Hearing Damage”

This was the one track I was dying to hear, as I’ve been a huge Radiohead fan for a long time, and it’s hard to criticize Thom Yorke for anything. And yet again, like the song says, Thom, “You can do no wrong… in my eyes.” A great throwback to Eraser from a few years ago, “Hearing Damage” is a dreamy electro track full of ominous synthesizers and tricky drums.

4. Lykke Li – “Possibility”

When I heard that Lykke Li would be contributing a song, I was expecting something similar to “I’m Good, I’m Gone,” for a less intense part of the movie, maybe when Bella isn’t seeing Edward in her head, but this slow ballad is so beautiful. It almost reminded me of “Lover’s Spit” by Broken Social Scene, with the heavy constant piano chord and lo-fi sound.

5. The Killers – “A White Demon Love Song”

This was the only song that didn’t seem to fit so perfectly with the rest of the soundtrack, but that could be the context The Killers bring with them, but I totally dig it as a Killers song. It goes back to Brandon Flowers’ natural crooning vocals without any of the frantic energy he seems to have adopted with Day and Age.

6. Anya Marina – “Satellite Heart”

To tell you the truth, the opening hook to this song sounds so much like another of Marina’s songs “Move You.” But then again, Alexandra Patsavas is also the music supervisor for “Grey’s Anatomy,” which is where I heard “Move You.” But as “Satellite Heart” moves through its verses and choruses, it gets bigger and draws you in more. The violin additions towards the end gave me goosebumps too.

7. Muse – “I Belong To You”

The original version could have easily gone in this version’s place. The remixing didn’t make it any better, nor did it necessarily make it any worse. This is by far the peppiest song on the record, which may mean something that it’s right in the middle. I don’t know, but this song didn’t wow me so much now, mostly because I’ve listened to it so many times since The Resistance came out last month.

8. Bon Iver & St. Vincent – “Rosyln”

Let me tell you, Justin Vernon’s vocals layered with Annie Clark’s and mixed with the understated acoustic guitar and banjo made for the best song on the record. By far. I could listen to it all day. It’s just…wow.

9. Black Rebel Motorcycle Club – “Done All Wrong”

BRMC’s distinctly lo-fi sound here works exquisitely, with the hints of southern rock and blues adds a different kind of sadness to the record, which up until now has lacked the depth that blues can bring. And what’s so ironic is that BRMC was on the season one soundtrack to “True Blood,” another bit of vampire fare.

10. Hurricane Bells – “Monsters”

Similar to “Friends,” “Monsters” is very much an upbeat song, with a hint of hopefulness. As a heavy movie watcher, I think “Monsters” almost sounds like one of those songs that editors layer over a montage, but not a cheesy one. Not quite filler, but not quite a stand-out, “Monsters” is one of the middle-of-the-road songs on the soundtrack.

11. Sea Wolf – “The Violet Hour”

The second happy song in a row, “The Violet Hour” is so dancey you wonder what’s happening in the story where they play this song. It also emphasizes the vocal theme throughout the record – quieter, smaller vocals – which is different from the first soundtrack with Paramore’s Haley Williams’ loud rock-chick vibe and Chester Bennington’s raw shriek.

12. OK Go – “Shooting the Moon”

A typical OK Go song, with Damian Kulash’s soft, dreamy crooning, “Shooting the Moon” is another lighter song on the record. But what makes this song even better is the stark contrast that comes in the last minute of the song with heavy bass and strong distorted guitar riffs.

13. Grizzly Bear – “Slow Life”

Coming off an amazing record, Veckatimest, Grizzly Bear doesn’t lose any of their authentic sound here with the intentionally droning vocals from Beach House’s Victoria Legrand adding to the ominous, woodsy feel of Grizzly Bear’s music. As the song goes on, it builds to the climax which makes it fit perfectly on the soundtrack.

14. Editors – “No Sound But The Wind”

In tandem with their latest release, this marks the beginning of a new period for Editors, losing the heavy Interpol parallels and moving into a rawer, anthemic sound. “No Sound But The Wind” essentially finishes out the record in terms of rock songs, and it is the perfect ending in terms of emotion.

15. Alexander Desplat – “New Moon (The Meadow)”

It’s hard to talk about a classical song in the context of an otherwise indie rock soundtrack, but by itself, this song makes me actually kind of excited to hear the full score. It’s not too long, yet not too short, to give us just the right amount of classical to actually finish off the album.

This went on very long apparently, but hopefully it enlightened you to how awesome this soundtrack is. It moves fluidly through different emotions and different keys it sounds like one of those great mix CDs that you made for your significant other when you were going through a “rough patch.” Even if you hate everything Twilight, give the soundtrack a chance. You won’t be disappointed.

The soundtrack release date has been moved up and will be available Friday, Oct. 16.

New Moon: soundtrack site

Saddle Creek’s newly signed Old Canes begins their fall tour in support of their Oct. 20 release Feral Harmonic today, Oct. 13 in their hometown of Lawrence, Kansas.

Check out one of their new songs:

.“Little Bird of Courage”

Then check them out on tour.

Old Canes is the brainchild of Chris Crisci (The Appleseed Cast), who wrote and recorded Feral Harmonic in his basement studio. On tour, he is joined by Kelly Hangauer (4th of July), Taylor Hollenbeck, Lucas Oswald (Minus Story), John Momberg (Appleseed Cast/Dactyls; drums on the West coast leg of the tour), and Jeff Stoltz (Drakkar Sauna; drums on the East coast leg of the tour).

Old Canes tour dates:
Oct. 13 – Jackpot / Lawrence, KS
Oct.15 – Vaudeville Mews / Des Moines, IA
Oct.16 – Bottom Lounge / Chicago, IL
Oct.17 – Ribco / Rock Island, IL
Oct. 18 – The Video Saloon / Bloomington, IN
Oct. 19 – Beachland Ballroom / Cleveland, OH
Oct. 20 – Bug Jar / Rochester, NY
Oct. 21 – The Space / Hamden, CT HAMDEN, CT
Oct. 22 – Knitting Factory (CMJ) / Brooklyn, NY
Oct. 23 -  Brillobox / Pittsburgh, PA
Oct. 24 -  Southgate House / Cincinnati, OH
Nov. 12 -  Slowdown / Omaha, NE
Nov. 13 -  Hi-Dive / Denver, CO
Nov. 15 – Kilby Court / Salt Lake City, UT
Nov. 16 -  Terrapin Station / Boise, ID
Nov. 18 -  Sunset Tavern / Seattle, WA
Nov. 19 -  Bond’s Garage / Eugene, OR
Nov. 20 – House of Shields / San Francisco, CA
Nov. 21 – The Wire / Upland, CA
NOV. 22 – Viper Room / Los Angeles, CA
NOV. 23 -  Che Cafe / San Diego, CA
NOV. 24 -  Modified Arts / Phoenix, AZ
NOV. 28 -  Mohawk / Austin, TX

Old Canes: website | myspace

Burbank, CA – Beloved Canadian pop-rock icons Tegan and Sara have announced that they will launch their first extensive tour of the U.S. in nearly two years in February 2010. The tour kicks off February 12th in Northampton, MA, and criss-crosses the country before finishing up on April 6th in Salt Lake City, UT. The ticket pre-sale begins this Wednesday, October 14th, at 10 a.m. The password for all pre-sales is “Sainthood.” Tickets will go on sale to the public on Friday, October 16th, at 10 a.m.

Twin sisters Tegan and Sara Quin are hitting the road in support of their eagerly awaited sixth studio album Sainthood, which is due from Sire/Vapor Records on October 27th. Sainthood was produced by Death Cab for Cutie’s Chris Walla (who also produced 2007’s critically applauded The Con) and Howard Redekopp (who produced 2004’s groundbreaking effort So Jealous) and mixed by Grammy Award winner Dave Sardy (Oasis, Primal Scream, Marilyn Manson). Tegan and Sara began recording Sainthood in May at the legendary Sound City Studios in Van Nuys, CA, where Tom Petty, Nirvana, and Fleetwood Mac have all recorded. They finished laying down tracks at Seattle’s Two Sticks Audio, owned by Death Cab drummer Jason McGerr.

“Hell,” the first digital single from Sainthood, is now available for purchase from all digital service providers and is currently streaming live on the band’s website www.teganandsara.com. It is the band’s first new song released to fans since July 2007. Fans who pre-order Sainthood on iTunes will receive the track as a free digital download. An iTunes exclusive deluxe version of the album will feature two bonus tracks: “Wrists” and “Light Up.”

As previously mentioned, a triumvirate of books entitled On, In, At, will be released in conjunction with the release of Sainthood. The three-book set, which chronicles different time periods from the past year in the lives of Tegan and Sara, will be available through teganandsara.com. These books are a Must Have item for fans and have been beautifully photographed, annotated and packaged. Check the site for additional details.

To celebrate the release of Sainthood, Tegan and Sara will perform four very special shows: October 25th and 26th at Los Angeles’ Orpheum Theater, and October 30th and 31st at New York City’s Town Hall. The band will also appear on NBC’s The Tonight Show with Conan O’Brien on November 2nd.

Tour Dates:
Feb. 12 – Calvin Theatre / Northampton, MA
Feb. 13 – The Orpheum / Boston, MA
Feb. 16 – Tower Theatre (Upper Darby) / Philadelphia, PA
Feb. 17 – Warner Theatre / Washington, DC
Feb. 18 – The National / Richmond, VA
Feb. 20 – Tampa Theatre / Tampa, FL
Feb. 21 – Sunset Cove / Miami, FL
Feb. 23 – Variety Playhouse / Atlanta, GA
Feb. 24 – Tipitina’s / New Orleans, LA
Feb. 25 – Palladium / Dallas, TX
Feb. 26 – Bass Concert Hall / Austin, TX
Feb. 27 – The Warehouse / Houston, TX
Mar. 02 – House of Blues / Las Vegas, NV
Mar. 03 - Copley Symphony Hall / San Diego, CA 
Mar. 05 – Fox Theater / San Francisco, CA
Mar. 06 – Fox Theater / San Francisco, CA
Mar. 24 – The Orpheum / Minneapolis, MN
Mar. 25 – The Riverside / Milwaukee, WI
Mar. 26 – The Aragon / Chicago IL
Mar. 27 – Royal Oak Theatre / Detroit, MI
Mar. 28 – Lakewood Civic / Cleveland, OH
Mar. 30 – Promo West Pavilion / Columbus, OH
Apr. 02 – The Pageant / St. Louis, MO
Apr. 03 – Uptown Theatre / Kansas City, MO
Apr. 04 – The Ogden / Denver, CO
Apr. 06 – In The Venue / Salt Lake City, UT 

Tegan and Sara: website | myspace | interview with: Tegan pt. 1, pt. 2 | @ terminal 5

Photo by: Dese’Rae L. Stage