CULTUREWEEK » Andrew Weber

Gentleman Caller Gentleman Caller Vs. The Elephant

Andrew Weber — Thu, 02 Oct 2008 02:33:12 +0000

At first listen, the newest release from Bloomington band, Gentleman Caller, didn’t do anything for me. Not one of the fourteen tracks on “Vs. The Elephant” stuck out from the rest. The entire forty-five minutes of the album sailed by unremarkably.
It wasn’t until the fourth or fifth run through when musical hooks or catchy one-liners began to demand my attention; the first was the sixth track titled ‘War Drums.’ During the chorus, lead vocalist Kenny Childers gets some help from band-mate Una Winterman. Her voice is a nice contrast to his and the result is very agreeable to this listener’s ears.
Many lines throughout this album hint at a love recently lost. In particular, the last track on the album, ‘Dead Language,’ strikes me as a musical therapy session with cathartic lines like “Please don’t get me wrong, I am still thankful, I got a notebook full of songs and heart no longer hateful.”
I think the reason this album was so slow to grow on me is due to the first track entitled ‘The Locusts.’ The opening line of the song, “She’s ten kinds of crazy and I’m at least nine different kinds of gone/I’ve been singing in the shower and drinking in the car” struck me as a bit cliché and forced. Childers’s voice is extremely bland; it sounds more like he’s talking than singing throughout most of the song.
However, even this song began to grow on me after awhile. Towards the end of the song, Childers diverts from his monotone approach and breaks into a quasi scream, “I’m waiting on this furniture to get swallowed up by the flood/and I’m familiar with this casket, I’ve been sleeping there for months.” Throughout, Childers is backed up by some pleasant “Ooo la la la, Ooo la la las.”
After listening to this album for the last week, I am still unsure who the elephant is, but I know the winner is Gentleman Caller.

Overall rating: 6/10
Standout Tracks: War Drum, Dead Language, A Tennessee Sky (As it Dies)

The Dandy Warhols Earth to The Dandy Warhols

Andrew Weber — Sun, 07 Sep 2008 01:35:04 +0000

Do a quick Google search for the sixth album from The Dandy Warhols, Earth To The Dandy Warhols, and you may read some pretty unfavorable reviews from the likes of Pitchfork, Q Magazine and Rolling Stone. They called it too long, and at over 70 minutes, who can blame them? They said it was too bogged down with electronic gunk and buzzing mayhem, and they said that the space theme suggested by the title and first two tracks, The World Come On and Mission Control, goes nowhere.
To all these criticisms and more I say…who cares? Earth To The Dandy Warhols may have its fair share of experimentalism—I’d say half of the 14 minute closing track Musee D’ Nougat could be lost without being missed—but at the same time it has some “dandy” dance beats and respectably rockin’ guitar. The third track, Welcome To The Third World, balances the narrow divide between Hot Chip and Prince. With lines like “Hey girl, you dance pretty good for a almost white girl” and “Your lips they sure do match my wallet” and a beat that is making me dance in my chair as I type these words, the result is nothing short of dance floor gold.
Songs like Now You Love Me and Talk Radio provide a guitar-centric change from the rest of the largely electronic album. The track And Then I Dreamt Of Yes features that hallmark Warhol whispering-into-a-megaphone sound that returning DW fans will immediately recognize.
While the outta-this-world concept may be largely lost after the first couple of tracks, I still hear a vaguely spacey sound all the way through. Many of the songs feel cavernous, empty and at times adrift, which seems pretty space-tastic to me.
Despite the fact that there are a plethora of Warhol haters out there right now, I still say this is an excellent album to kick off the new semester. Just put on Welcome To The Third World at your first party and make some room for dancing.

Overall rating: 7/10
Standout tracks: Welcome To The Third World, Mission Control, Now You Love me

Lollapalooza 2008

Andrew Weber — Sun, 03 Aug 2008 07:27:13 +0000

Like all good music devotees living in the Midwest, I was faced with a major decision this summer; Bonnaroo (located in Manchester Tennessee) or Lollapalooza (downtown Chicago). Both festivals promise a weekend full of beautiful sun and quality grooves, both are reasonably close for anyone living in Bloomington and both have a little something unique to offer. Bonnaroo has space for tent and RV camping, a huge part of any festival experience and Lollapalooza has the occasional breeze off the lake and some shade, two things Manchester Tennessee has never ever seen. While both festivals may have great experiences to offer, the final decision can only be based on one thing, the lineup. Released first, Bonnaroo’s basic headlining acts were as follows: Metallica, Kanye West, and Pearl Jam. First, I don’t give a shit about Metallica, I could go my entire life without witnessing that spectacular display of teenage angst coupled with middle-aged decay. Second, I hate Kanye West personally and I after hearing about Kanye’s Bonnaroo show which was delayed until after 4:30AM you couldn’t pay me to go see his one of his shows. Finally, I saw Pearl Jam at last year’s Lollapalooza and while they were truly amazing, Pearl Jam alone doesn’t merit the purchase of a ticket.

Now, compare that to the Lollapalooza lineup, released a few months after. Lolla’s top headliners are as follows. Radiohead, Rage Against the Machine, Nine Inch Nails and… KANYE (are you kidding me with this) WEST. Now, I saw Radiohead at their now legendary 2006 Bonnaroo show and I was so impressed with that nearly perfect performance, I will be forever willing to go see as many Radiohead concerts as I can in my life. But the real reason I bought my Lollapalooza ticket only minutes after viewing the lineup is obviously Rage Against the Machine. Having long ago decided that Rage would be one of those bands which I’d never get an opportunity to see; I can’t tell you how excited I am to see this piece of Rock and Roll history. Even though my respect for Tom Morello has dwindled to nearly nothing since the release of the train wreck that was The Nightwatchmen I am still beyond excited see a band I’ve idolized since high school. Nine Inch Nails has never been a personal favorite of mine but I hear they put on a unique show and they play against my friend and yours Kanye West so that one is a no-brainer. Headliners aside there are dozens of world class acts promised. Some (but not all) of the bands I’m excited for are: The Raconteurs, Wilco, Gnarls Barkley, Flogging Molly, Gogol Bordello, Saul Williams, Iron and Wine, DeVotchKa and our home team favorites Margot & the Nuclear So and So’s.

With so many bands it will be impossible to see all of them. This is why the schedule, released a few months after the initial lineup, is so important. After tempting us with the promise of so many great bands, it is finally time to see which acts will conflict with each other and which may have to be painfully missed. Following is my personal schedule for the weekend which I have prepared as if I were invading Normandy and not Grant Park.

Friday:
1:15-2:15: Rouge Wave
3:15-4:00: Louis XIV
4:15-5:15: Gogol Bordello
6:15-7:45: The Raconteurs
8:00: Radiohead
-What I’ll have to miss: Mates of State, Grizzly Bear, Bloc Party, Cat Power
-What hurts the most: Bloc Party: I’d love to see them but they play against the Raconteurs and my Jack White loyalty runs deeper than almost any other act.

Saturday:
12:15-12:45: Margot and the Nuclear So & So’s
3:30-4:30: DeVotchKa
4:30-5:30: Explosions in the Sky
6:30-7:30: Broken Social Scene
8:30: Rage Against the Machine
-What I’ll have to miss: Wilco (plays opposite Rage), Brand New, Toadies.
-What hurts the most: Toadies: technically, because Toadies is playing from 7:30-8:30 I do have time to catch their show. However, I’ll be using this time (and perhaps some of Broken Social Scene’s act) to try and get a halfway decent spot for Rage’s show.

Sunday:
Because I’ll be physically and mentally depleted after Rage Against the Machine rocks my face off and because there isn’t a whole lot playing, I plan on taking it easy on Sunday morning, simply cruising around and checking out some bands I haven’t heard of or may otherwise not have seen.
4:15-5:15 (some of) Iron & Wine
5:00-6:00: Saul Williams
6:15-7:15: Gnarls Barkley
7:15-8:15: The National
8:15: Nine Inch Nails
-What I’ll have to miss: Flogging Molly, Blues Traveler, Girl Talk
-What hurts the most: Missing a chance to storm the AT&T stage and slap those stupid gasses off Kanye West’s face.

-Remember, this list is only the bands I plan on seeing, you should check out the Lollapalooza website for a complete schedule and more information!

-Whatever festivals you have planned this summer, stay hydrated, have fun and remember, no one likes crowd surfers.

Perhapst releases self-titled album this August

Andrew Weber — Sun, 03 Aug 2008 06:37:00 +0000

Music fans are in for a real treat this month as the prolific John Moen releases his long delayed solo project, Perhapst. While Perhapst marks Moen’s debut as a solo artist, he is far from a stranger to the indie rock scene. Moen has served as the drummer for Elliot Smith he also drummed for Stephen Malkmus & The Jicks and is currently the drummer for The Decemberists. For a musician who has primarily served as a drummer, Moen proves surprisingly eclectic and versatile playing nearly every instrument on the self-titled Perhapst album with the exception of some guitar contributions from former band mate and Stephen Malkmus (of Pavement fame). Moen was clearly paying attention during his time spent in the company of musical legends such as Smith and Malkmus as he seems to have inherited their penchant for well crafted pop hooks. Tracks such as “Hyper Planets” also contain a hint of Elliot’s Smith’s sorrowful dreamlike vocal styling interspersed with melodic OOOs, Ahhhs and BA BAs. Moen has said that the Perhapst album has been nearly finished, only needing professional engineering and mixing for more than three years or around the time he gave up his role as one of Malkmus’ Jicks to join Colin Meloy and the rest of the Decemberists in the 19thcentury. While most of the album is indie rock as usual, there are a few surprises along the way such as the last track “Aren’t You Glowing” which features twangy steel guitar. Also, on tracks such as Maryanne, Moen forgoes the blue-eyed soul approach and dons a sexy high falsetto voice much to this listener’s appreciation. Throw in some standard folksy acoustic guitar and some harmonica and you’ve got a solid rock album that we should be thankful got to see the light of day.

Overall Score: 8/10
Stand out Tracks: Hyper Planets, Blue Year, Caution, Harbour, Bornless One

The Impossible Shapes release new album this July

Andrew Weber — Tue, 01 Jul 2008 16:57:34 +0000

Bloomington-based group The Impossible Shapes release their eponymous album this month which was recorded at the Art Hospital and released under the label Secretly Canadian.

The album opens with the very promising track Hey! which features some catchy guitar and an equally catchy HEY! refrain. On this track, lead singer Chris Barth possesses a barely contained exuberance and childlike wonder which approaches that of Tim DeLaughter, lead singer of The Polyphonic Spree. All this adds up to a solid opening song.

Unfortunately, the album is unable to maintain this energy throughout its entirety. While Hey! is not the only upbeat track on the album, many songs on The Impossible Shapes are far more subdued. On most of the album the vocals retain the childlike quality observed on the opening track Hey! except now, far from energetic, the singer sounds as if he is singing sadly and quietly from the corner of the studio. The result is something similar to the sound of Mercury Rev (listen to the track Infinity’s Lips to hear what I’m talking about). While this far away and whimsical approach works for Mercury Rev, I’m afraid it doesn’t for The Impossible Shapes. The vocals seem to become smaller and smaller until they get left behind, forgotten and quickly become background noise rather than a melodic message to the listener.

As for the rest of the band, I don’t have many complaints; The Impossible Shapes have been honing their craft and tightening their act for a decade now and it shows both on the albums and in concert.
Overall Rating 3/10

Standout Tracks: Hey!, Our Secret Operation, Let The People Build What They Will

Tracks that didn’t do it for me: Make Art, Boyosphere, Tie Me Up, Infinity’s Lips

MBD’s sophomore savors

Andrew Weber — Sat, 31 May 2008 23:41:15 +0000

Sufjan Stevens’s head-cheerleader, or “Illinoismaker,” Shara Worden releases the sophomore album from her project My Brightest Diamond this month.

Her new album, A Thousand Shark’s Teeth, follows her 2006 debut Bring Me the Workhorse.

It is evident immediately that ATST has much more of a classical, orchestral influence than its 2006 counterpart. Every track on the album has a surprising amount of string arrangement and instruments such as the French horn, bassoon, and clarinet and perhaps a marimba can also be heard throughout the album. In fact, Shara Worden’s evocative, pack-a-day voice is one of the only things that tie this album to the former.

The album still manages to maintain a pop feel and employs plenty of guitar, bass and drums for the less adventurous listener. Fans of Björk and Beth Gibbons (Portishead lead singer) will have no problem diving right into the works of My Brightest Diamond; it manages to straddle the divides between classical, R&B, opera and indie rock artfully. The question at hand is; does ATST match up to Bring Me the Workhorse?

The short answer is no. A Thousand Shark’s Teeth lacks those all-important stand-out tracks which make you sit up and take notice. Due in part to the heavy string presence, ATST lacks the intensity of BMTW as found on such tracks as Something of an End, perhaps the single best track from MBD’s debut.

Despite My Brightest Diamond not being able to avoid the sophomore slump that seems to plague so many artists, the album is far from a flop. Shara Worden could have easily replicated the loud, quiet, loud formula used on her first album and generated a duplicate of Bring Me the Workhorse, a trick we have seen countless times before from other artists. The very fact that A Thousand Shark’s Teeth makes such a successful break from BMTW while still staying true to the artist is respectable in and of itself. While there may not be that great track that blows me away as with BMTW, A Thousand Shark’s Teeth is full of good songs worth dissecting and digesting.

Stand-out tracks: The Ice & the Storm, Apples, Black & Costaud, The Brightest Diamond

Overall Score: 7.0/10.0

Concert Review: Margot and the Nuclear So and So’s

Andrew Weber — Wed, 07 May 2008 20:28:07 +0000

Indianapolis octet Margot and the Nuclear So and So’s made their triumphant return to Bloomington this month witha show at the Buskirk-Chumley. Margot was accompanied by openers Kentucky Nightmare and Maps and Atlases.

The day of the concert, Andy Fry, guitarist and all around cool guy, spoke with me for Cultureweek. “I lived here for seven years, so it’s nice to come back and see Kirkwood and everything; it’s a beautiful time of year to be back.”

Margot and the Nuclear So and So’s have in been classified as anything from chamber pop, indie rock, emo and even sex-folk. Not afraid of the long name, the band’s inspiration for Margot and the
Nuclear So and So’s comes from the character Margot Tenenbaum in the Wes Anderson film The Royal Tenenbaums.

The band was formed by Richard Edward (vocals, guitar) and Andy Fry (guitar) after meeting in a pet store that year, and Margot and the Nuclear So and So’s 2006 debut, The Dust of Retreat, was met with much critical acclaim and quickly earned them a devout fan base. Margot’s sophomore album, Animal! is scheduled to be released July 29 this year on Epic records. . “I think it will be kind of a strange album to be released on a major record label, even though it still sounds poppy and everything,” mused Fry. “I think most songs on the radio today are in such a rigid format so they don’t offend anyone, but that’s not why people listen to music.”

As for post-Animal plans, Margot’s next project will be three separate albums about three separate and total strangers. The people inspiring these albums will be chosen based on submissions of 500 words about their different lives and backgrounds. “It’s one of the most unique ideas I’ve heard in awhile, we’re very excited,” said Fry.

I went backstage after the show and met with Emily Watkins (keyboard,vocals). Of course, most people unfamiliar with the band might assume she was Margot “Probably for the first year we were a band it was just assumed, but it’s pretty rare for people to call me that now. I think I gave enoughpeople evil looks to make them stop doing that.” Watkins laughed. As fortheir upcoming album, Watkins was mysterious. “I don’t think you should knowanything about it,” she said. “When it comes out, listen to it and then listen to it again and then maybe decide what you think, give it some time,
give it some thought. I think that goes to say with any record you should listen to it a couple times whether you love it or whether you hate it.”

The first opener, local band Kentucky Nightmare, performed adequately, considering most of their songs sounded pretty much the same. The following act, Maps and Atlases put on an excellent and headline worthy show, cranking out an impressive number of beats per minute and masterfully complex rhythms. Some readers may have had the chance to see this Chicago band at last year’s foul-weathered Culture Shock, but if you haven’t had the chance to see this experimental band, make a point to do so. Drummer Chris Hainey alone will make it worth the price of admission.

When Margot took the stage, the back curtain opened to reveal a beautiful pastel tapestry with a burning skyline. Several members also took the stage wearing plastic zoo animal masks. Eight household lamps, which turned on and off periodically in time with the music, rounded out the rest of the stage adornments.

The band opened with a song off their much anticipated album Animal! In fact, much of the show’s set came from the band’s forthcoming album; altogether the band played seven unreleased songs. All of these new songs sounded distinct from The Dust of Retreat but still had that eclectic and sorrowful yet upbeat and promising Margot sound. These new songs sound so promising they should make fans even more excited for the July album.

The rest of the set was filled out by favorites from their 2006 debut The Dust of Retreat and included; Paper Kitten Nightmare, Quiet as a Mouse, Vampires In Blue Dresses and Skeleton Key.

The band put on an excellent show to a much appreciative crowd pausing often between songs to exchange quirky banter or to answer one of the many questions or song requests shouted out from the audience. In terms of performance, everyone in the band appeared to be on their game, musically speaking, and Richard’s vocals managed to sound genuine and distinctly unique from the album but familiar at the same time.

Aside from the well- lit tapestry backdrop and on-again-off-again table lamp dance, having eight members in a band ensures that there will be something new and interesting happening someplace on stage at all times. So many people in the band affords them the chance to bring in many different types of instruments including electric violin, slide guitar, trumpets, French horn and an arsenal of percussive tools enthusiastically played by Casey Tennis.

The band played twelve songs quickly followed by a four song encore. The encore was mostly performed by Richard alone on stage with an acoustic guitar and featured (according to him) two new songs which they had never performed for an audience including one called “My Baby Shoots Her Mouth Off”.

On my way out of the show, I noticed something I hadn’t at previous Margot concerts: those attending the concert ranged in age from wide-eyed fourteen year-old girls, to the expected college crowd, to the middle aged and well beyond. A more diverse fan base may indicate that Margot’s appeal could be
spreading beyond the typical hipster vanguard to the general population.

Margot and The Nuclear So and So’s talk to Cultureweek.

Andrew Weber — Wed, 07 May 2008 17:59:17 +0000

To read Andy Weber’s concert reveiw of Margot in concert, check out http://cultureweek.com/?p=160

Cultureweek: How does it feel be to back in Bloomington?

Andy Fry: “Well, I lived here for seven years so it’s nice to come back and see Kirkwood and everything, its beautiful time of year to be back.”

CW: Can you tell us a little more about your new album, what’s it like, what should we know about it?

AF: “It’s awesome. It’ll be out in July, I think it will be kind of a strange album to be released on a major record label, even though it still sounds poppy and everything. I think most songs on the radio today are in such a rigid format so they don’t offend anyone but that’s not why people listen to music.”

CW: I’ve heard a little about a project the band will be working on after Animal! Is released Can you tell readers a bit more about these strangers albums you’ll be working on?

AF: “We’re asking people to write in to us and tell us about their lives, it’s one of the most unique ideas I’ve heard in awhile, we’re very excited.”

CW: So, what’s in store for tonight’s show, any new songs planned?

AF: “There will be a lot of new songs and a few we’ll be playing for only the second time, which should be pretty special.”

CW: What about any covers or something like that?

AF: “We’ve never really played any covers, I mean, sometimes we’ll fuck around and play a bit of Weezer song or something but we don’t really do covers.”

CW: So when you and the band aren’t touring around the country or held up in a recording studio, how do you relax, what do you do in your free time?

AF: “Drink.”

CW: Drink?

AF: “Yeah and you know, listen to records and stuff, just like anyone else I suppose. When you add up all the recording and touring time that’s about 98% of our lives though so we don’t get much free time.”

CW: Have you reached the point yet where fans have started stopping you on the street for autographs or just to say “hi”?

AF: “It happens more in some places than others, if it’s a city we’ve played in a few times, we’ll sometimes get stopped by fans or whatever. We don’t mind when fans stop us on the street and want to talk. That’s why we put our music out there in the first place. It’s never annoying or anything in a place like Indiana because I think people here are bred to be respectful and everything. So it’s never a big deal.”

CW: Thanks for taking the time to speak with me; it’s been a real pleasure!

AF: “Anytime”

The night of the show, I went backstage to meet some of the band; during that time I had the chance to ask Emily Watkins (keyboard, vocals) a few questions.

Cultureweek: How does it feel to be back in Bloomington?

Emily Watkins: “Good, it’s the same weather as when we were here last time I think, it was raining.”

CW: When was that?

EW: “I don’t remember, maybe last fall, I don’t know, it all blends together…it was warm out..ish and it was raining and we played at the Bluebird, that’s all I remember.”

CW: So the new album comes out in July right?

EW: “Uh uh, July 29^th”

CW: Do you want to say anything about it, what should we know?

EW: “Ummm…I think that you should not know anything about it but…just… when it comes out listen to it and then listen to it again and then maybe decide what you think, give it some time, give it some thought. I think it’s really good, I really like it but I think that goes to say with any record, you should listen to it a couple times whether you love it or whether you hate it you should give it some thought.”

CW: Could you tell us a little more about these strangers albums I’ve been hearing about?

EW: “That was a project that Richard started as an idea, he thought it would be interesting to hear people’s stories and see if, from that, he could write a song or more, kinda an experiment to see what people would be like or what they have to say. I don’t know much about it, cause it was started by Richard and we’re all into the idea but I don’t read the letters or anything so I don’t know much more about it.”

CW: How many times have people called you Margot by mistake?

EW: “Not so much anymore but probably, like, for the first year we were a band it was just assumed but it’s pretty rare for people to call me that now. I think I gave enough people evil looks to make them stop doing that.”

CW: Thanks for taking a minute to talk with us!

EW: “Sure, no problem.”

Have guitar, will travel.

Andrew Weber — Tue, 08 Apr 2008 03:49:27 +0000

Mark Kozelek project Sun Kil Moon releases their new album this month, wittily titled April. The album follows 2005’s Tiny Cities which is comprised entirely of Modest Mouse covers, a must have for even the casual fan of either band. Kozelek (of Red House Painters) teams up with Will Oldham and Ben Gibbard for this new album. Fans of either artist will be disappointed, however, as their contributions go unnoticed.

At first glance, April appears sprawling, almost overwhelming, coming in at just under 75 minutes; in fact, five tracks on the album are over seven minutes long. Returning Kozelek fans should not be put off by this. After all, some of the best Red House Painters songs are in the nine and ten minute range. After sorting through this new edition in the Kozelek discography, it becomes clear that in no way does April break any new ground for the band. In fact, any track on this album could be swapped for nearly any on their 2003 debut Ghosts of the Great Highway.

As in the past, Kozelek’s dreamy, Neil Young-inspired voice croons out poignant and at times incredibly personal lyrics over soothing acoustic guitar. These acoustic tracks are often devoid of any form of percussion. The result leaves the listener with an anchorless, wandering feeling akin to being washed out to sea. Occasionally, this hallmark folksy approach is replaced by more driving, electric guitar coupled with a conventional drum set. The two song styles provide a nice contrast which prevents listeners from falling asleep with their iPods still in their ears.

Stand out tracks: Tonight in the Sky, Like the River, Heron Blue

Overall Score: 6.5/10

Like, awesome?

Andrew Weber — Fri, 07 Mar 2008 03:20:28 +0000

If you enjoy rock bands with songs about zombies, harpies, pirates, the Wild West and everything in between, look no further than our own backyard. Raucous bar rockers and Bloomington heroes Murder By Death follow up their acclaimed 2006 album, In Bocca Al Lupo this month with their fourth full-length release, Red of Tooth and Claw. As with previous MBD albums, Red of Tooth and Claw is laden with imagery of beautiful women with loose morals, shady men and hard drinking. The album opens with climatic song Comin’ Home, taking lead singer and guitarist Adam Turla’s Johnny Cash-esque voice to an all new high (or low). The rest of the album brings listeners a variety of adventures through witty storytelling and drastic melody changes. In a clever shout out to devout fans, Red of Tooth and Claw’s final track, Spring Break 1899, fades out with the hauntingly familiar intro from their 2003 album Who Will Survive and What Will Be Left of Them?
Red of Tooth and Claw marks many firsts for this Bloomington quartet. This is their first album under the prominent record label Vagrant; returning fans will notice that this album’s overall sound quality is much higher than past MBD albums. More important than a label change, Red of Tooth and Claw marks the album debut for new drummer Dagan Thogerson. It is clear almost immediately that Dagan is a talented drummer, capable of keeping up with virtuosic cellist Sarah Balliet and the rest of the band. Dagan’s contributions and better recording means all amount to a much more
up-tempo and all around rockin’ album than previous Murder By Death releases. Despite these changes, Red of Tooth and Claw stays true to the hallmark MBD sound that fans have come to love both on their albums and in concert.

Stand out tracks: Comin’ Home, Ash, ’52 Ford, Spring Break 1899
Overall Score: 8.0/10
Upcoming Bloomington tour dates: two shows on March 27th at Rhinos (all
ages) and Fester’s (21+)