Autumn Phish

Phish kicks off its autumn tour schedule with some surprises for fans.

For the first time in Phish history, the band is giving free to ticket holders digital recordings of each evening’s concert. The MP3s will be made available on LivePhish.com shortly after each performance.

The band is also giving away a special sampler – Live Bait – consisting of 10 tracks from the tour’s first leg. Included on the sampler are favorites like “Alumni Blues,” “Letter to Jimmy Page,” “Tweezer” and “Backwards Down The Number Line.”

A new song introduced on the road – “Show Of Life” – is also included on the sampler. Available at LivePhish.com, you can also download a widget enabling you to share the tracks with friends via your favorite social network.

All this + passes from the one and only BPD. Here's the schedule:

Sun 10/10-12/2010             Broomfield, CO        1STBANK Center     

     
Fri 10/15-16/10         North Charleston, SC     North Charleston Coliseum   

      
Tue 10/19/10         Augusta, ME     Augusta Civic Center   
      
      
Wed 10/20/10         Utica, NY     Utica Memorial Auditorium   

      
Fri 10/22/10         Providence, RI     Dunkin' Donuts Center   

      
Sat 10/23-4/10         Amherst, MA     Mullins Center       
      
      
Tue 10/26/10         Manchester, NH     Verizon Wireless Arena   
      
      
Fri 10/29-31/10         Atlantic City, NJ     Atlantic City Boardwalk Hall   

Not lotsa dates, so act quickly. Go to BackstagePassDirect today.

Phoenix in the Fall

French alt-rockers Phoenix labored for a decade, but they didn’t get much attention in the U.S. until their 2009 album, Wolfgang Amadeus Phoenix. Now Phoenix is one of the hottest bands around, coming off a truly hot set at Lollapalooza.

If you want to hang with the band, then there’s no time to waste – get your Phoenix passes today from BackstagePassDirect!

Here are the dates for their US tour:

Sat 09/18/10             Los Angeles, CA        Hollywood Bowl      
       Sun 09/19/10         Santa Barbara, CA     Santa Barbara Bowl    
              
Tue 09/21/10         San Diego, CA     SDSU Open Air Theatre    

Wed 09/22/10         Las Vegas, NV     Pearl Concert Theater    
      
Thu 09/23/10         Salt Lake City, UT     The Rail Event Center    

Sun 10/17/10         Ithaca, NY     Cornell University    

Mon 10/18/10         Boston, MA     Agganis Arena at Boston University    

Wed 10/20/10         New York, NY     Madison Square Garden Arena    

Sat 10/23/10         Upper Darby, PA     Tower Theatre    
              
Mon 10/25/10         North Myrtle Beach, SC     House Of Blues    
 
Tue 10/26/10         Lake Buena Vista, FL     House Of Blues    
       
Wed 10/27/10         Miami Beach, FL     Fillmore Miami Beach At Jackie Gleason Theater

Member Review: Black Eyed Peas

Subscriber Da Seuss Channel writes:

Half a century ago, Dr. Seuss bet a publisher $50 that he could write a book using just 50 different words. Then he wrote Green Eggs and Ham.

How things change. Some 50 years later, Black Eyed Peas get paid millions for writing songs like My Humps and Boom Boom Pow — simplistic, repetitive fare that uses half as many words, a fraction of the wit, and generally makes Seuss sound like Shakespeare.

With that in mind — and since this week is the 50th anniversary of Green Eggs and Ham — here's how the good doctor might have reviewed the Black Eyed Peas concert.

Or not.

• • •

Those Black Eyed Peas


Those Black Eyed Peas

I do not like those Black Eyed Peas

•

Those Black Eyed Peas

Oh, holy jeez

I sure dislike those Black Eyed Peas

•

I cannot stand their Boom Boom Pow

Their music makes my head go 'Ow!'

Their lyrics? Brainless as a cow

But I dug their concert anyhow

•

The hip-pop stars played MTS

How many fans came? Can you guess?

12,000 and more came, they did

Most were women; lots were kids

•

Outside in the arena hall

It felt just like a shopping mall

On and on the promo went

Smart phones, rum and Fergie's scent

•

Shirt and programs sold all right

And many thing with flashing lights

Glasses, bracelets, pendants, more

They twinkled all across the floor

•

The tour is called The E.N.D.

Energy Never Dies — you see?

Who knows what that is all about

It sounds cool; that's all that counts

•

And speaking of some energy

They used tons, believe you me

To power all their high-tech gear

That stretched from here to there to here

•

Graphics on the giant screen

Lasers: Blue and red and green

Wind machines and dry ice fog

You'd think they played some crazy prog

•

Dancers and a five-piece band

On a giant lighted stand

In short: A show beyond belief

Plus a fat guy — comic relief

•

A robot voice introduced them

A giant platform rose to boost them

They opened with Let's Get it Started

(They no longer use the word Retarded)

•

They were sporting spangly suits

And some wild-looking boots

They were dressed up like rock stars

Who came down from the planet Mars

•

The bass, the bass was really whumping

The beat, the beat was really thumping

Their infectious grooves were pumping

And the whole crowd started jumping

•

They played most of their biggest songs

They didn't play some for too long

’Cause this was more about the show

Than the music, doncha know

•

After the first bunch of hits

They went into their solo bits

Since that's the way their show is done

Let's talk about them one by one

• • •

That will.i.am

That will.i.am

I do not care for will.i.am

•

First he did a freestyle rap

He did it fast and so fans clapped

Then came his robo-DJ set

That was pointless as it gets

•

He was raised above the crowd

So everyone screamed real loud

He spun Nirvana and Journey

Some girlie spilled her beer on me

• • •

That Fergie Ferg

That Fergie Ferg

I do not mind that Fergie Ferg

•

Sure, she sings about her humps

Her lovely lovely lady lumps

Her humps her humps her humps her humps

Enough about her stupid bumps

•

Some say she's going to leave the band

I completely understand

Their songs don't really suit her voice

She likely doesn't have a choice

•

She has to wear some silly clothes

She waves her arms and strikes a pose

I bet that she could real wail

If she broke out of Black Eyed jail

• • •

Those other two

Those other two

Who cares about those other two?

•

Is this one really named Tattoo?

Or should that really be Babu?

Should I call that other Snapple?

Or perhaps it could be Frapple?

•

One of them had some silly hair

And one flew way up in the air

He rode a motorbike of lights

That was his big bit for the night

• • •

And once they all had got to bow

They did more songs like Boom Boom Pow

Of course they did I Gotta Feeling

Confetti came down from the ceiling

•

And that was when I figured out

Just what the Peas are all about

With all that cash spent on that flash

And all that blinging over singing

•

They may know how to talk the talk

But when they try to walk the walk

They don't have much beyond the shlok

They're KISS for folks who don't like rock

•

Set List:

Let's Get It Started

Rock That Body

Meet Me Halfway

Alive

Don't Phunk with My Heart

will.i.am Freestyle

Imma Be

My Humps

Missing You

Bebot (Apl.de.ap solo)

Mare (Apl.de.ap solo)

Rocking to the Beat (Taboo solo)

Fergalicious (Fergie solo)

Glamorous (Fergie Solo)

Big Girls Don't Cry (Fergie solo)

DJ Set (will.i.am solo)

Pump It

Where Is the Love?

Encore:

Boom Boom Pow

I Gotta Feeling

We're finally speechless!!

Member Review: Green Day

Australian ex-pat and BPD member Nott Yet writes: 

No concert is utterly perfect but if you want a benchmark for today's rock shows, look no further than Green Day.

The California punk rock band didn't disappoint and made fans feel they got their money's worth and more with a spectacular non-stop marathon of favorites.

Still touring behind 21st Century Breakdown, Green Day brought out all the stops - and pyrotechnics galore - when not bringing a bunch of fans onstage to dance, sing lead or be saved by the preacher/singer/guitarist Billie Joe Armstrong.

Now a six-piece touring outfit, the band kicked off the roughly three-dozen song set list with the new album's title track as the small but manic Armstrong got the crowd up and pumped.

The biggest challenge often is keeping that energy high, yet fans never sat down the rest of the night, hopping around to When I Come Around, belting out Know Your Enemy or the ballad Boulevard Of Broken Dreams which Armstrong let them take lead on.

As they wewre walking onstage, BJA looked back at me, winked, and said "We're going to play all f------ night long". By the time they rounded out the 150+ minute main set, that statement was fact.
   
Still full of jokes and sophomoric hijinx, Armstrong, drummer Tre Cool and bassist Mike Dirnt tore through the older material with the same youthful abandon circa their Dookie breakthrough in 1994. The album was represented with Basket Case, Burnout, She and When I Come Around that had the age-spanning audience hopping. These were eclipsed by Longview when Armstrong brought out a fan from the audience to sing the entire song. Despite destroying his belt in the process, the guy delivered the goods and left with Armstrong's guitar as a thank you.

Despite smashing a guitar into the steps leading to Cool's drum kit at one point, Armstrong was having a lot of fun, bringing up a 9-year-old during East Jesus Nowhere and having him collapse on stage like a televangelist with his congregation. Asking the boy's name - Sawyer - Armstrong grinned before riffing some of Rush's Tom Sawyer.

Overall, Green Day mixed the old with the new quite well, nailing an old-school middle portion featuring Nice Guys Finish Last, the hillbilly-tinged Dominated Love Slave (with Cool and Armstrong switching spots for) and J.A.R. These seemed to complement the newer nuggets like St. Jimmy, the lengthy Jesus Of Suburbia and the foot-stomping American Idiot.

While a slight lull in the proceedings took place during a medley of the Rolling Stones' Satisfaction, Monty Python's Always Look On The Bright Side Of Life and The Beatles' Hey Jude, Green Day hit the homestretch looking no worse for wear on 21 Guns and Minority. And by the time the group bid good riddance to the faithful, most probably felt they just ran a marathon.

Setlist:

1. Song of the Century
2. 21st Century Breakdown
3. Know Your Enemy
4. East Jesus Nowhere (feat. Tom Sawyer Guitar Riff)
5. Holiday
6. ¡Viva la Gloria!
7. Give Me Novacaine
8. Letterbomb
9. Are We The Waiting
10. St. Jimmy
11. Boulevard Of Broken Dreams
12. Nice Guys Finish Last
13. F.O.D.
14. Burnout
15. Dominated Love Slave
16. J.A.R. (Jason Andrew Relva)
17. Paper Lanterns
18. 2000 Light Years Away
19. Hitchin' A Ride
20. When I Come Around
21. Iron Man/Eye of the Tiger/Sweet Child O' Mine/Fly By Night/Highway To Hell/Ain't Talkin' Bout Love Medley
22. Brain Stew
23. Jaded
24. Longview
25. Basket Case
26. She
27. King For A Day
28. Satisfaction/Hey Jude/Shout
29. 21 Guns
30. Minority

Encore:

31. American Idiot
32. Jesus Of Suburbia

Encore 2:

33. Last Night on Earth
34. Wake Me Up When September Ends
35. Good Riddance

Happy that they didn't make you too tired to write, Nott Yet. 


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Member Review: Paul McCartney

Subscriber Byteme writes:

Paul McCartney IS the man!

Over the course of nearly three hours and three dozen songs in his current Up and Coming 2010 Tour, a set brimming with solo hits and Fab Four jewels, McCartney and his seasoned, strong four-piece band could basically do little wrong.

What might have been the biggest surprise though was not how the songs have stood the test of time but perhaps just how well the 68-year-old McCartney stood up vocally to the rigors of delivering the parade of singles. Not bad for a singer who would have to change the song When I’m Sixty-Four to When I Was Sixty-Four (Four Years Ago).

With a large screen on either side of the stage and one behind him, the dapper looking McCartney opened with Venus and Mars/Rockshow before the punchier Jet had him working off of guitarists Rusty Anderson and Brian Ray as drummer Abe Laboriel Jr. and keyboardist Paul Wickens plied their wares. Soon the first of numerous offerings from The Beatles appeared with All My Loving, Drive My Car and the roots-y I’ve Just Seen A Face that had McCartney stomping along to. The newer tune Highway recorded under the moniker The Fireman was okay but nothing spectacular.

Thanking the crowd often – who in turned thanked McCartney loudly with applause after every song – McCartney opted for a piano portion with The Long and Winding Road that led nicely into the up-tempo Nineteen Hundred and Eighty Five as well as the well-crafted, terribly melodic Let ‘Em In.

If there was any miscue early on, it might have been his performance of the tender Blackbird where he had the “verses the other way around.” Afterwards he admitted concentrating on the guitar parts and lyrics was tough enough but then seeing various homemade signs in the front only added to the workload. “You say to yourself don’t look at the signs,” he said, noticing one sign from a fan asking for a hug after traveling 2000 kilometers to see the show (which he obliged near the end).

For the most part McCartney was pretty much flawless on Eleanor Rigby, Something (played on a ukulele George Harrison gave him), Band On The Run and Ob-La-Di, Ob-La-Da, the first song which had the primarily baby boomer audience finally on their feet and clapping. Looking at some rather unenthused sections one got the impression the ticket prices were literally an arm and a leg, not just figuratively.

During the 13-song homestretch, McCartney opted for more signatures such as Paperback Writer, Let It Be and the pyrotechnics-riddled Live and Let Die. Only the fusing of A Day In The Life with Give Peace A Chance seemed to be problematic, yet the sing-along refrain of Hey Jude more than made up for it.

Following the first encore, McCartney returned for Yesterday but it was the lovely Mull of Kintyre which sealed the deal, complete with the Paris Port Dover Pipe Band sauntering onstage with drums and bagpipes for a dramatic result.

Backstage, Sir Paul was gracious and accessible. We chatted for 10 minutes or so and he answered all my naive questions as if I were the Entertainment editor for the NY Times.

Thank you Paul. Thank you BPD. Thank you.

Setlist

Venus and Mars/Rockshow

Jet

All My Loving

Letting Go

Drive My Car

Highway

Let Me Roll It

The Long and Winding Road

Nineteen Hundred and Eighty Five

Let ‘Em In

My Love

I’ve Just Seen A Face

And I Love Her

Blackbird

Here Today

Dance Tonight

Mrs Vandebilt

Eleanor Rigby

Something

Sing The Changes

Band On The Run

Ob-La-Di, Ob-La-Da

Back In The U.S.S.R.

I’ve Got A Feeling

Paperback Writer

A Day In The Life/Give Peace A Chance

Let It Be

Live and Let Die

Hey Jude

Day Tripper

Lady Madonna

Get Back

Yesterday

Mull of Kintyre

Helter Skelter

Sgt. Pepper’s Lonely Hearts Club Band/The End

You are most welcome, Byteme.

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Members Review Lollapalooza

The following is a compilation of mini-reports send to us from several BPD members who spent 3 days @Lollapalooza:

The Black Keys duo of guitarist Dan Auerbach and drummer Patrick Carney forged their reputation with a spare but potent Led Zeppelin-meets-White Stripes sound that was tailor-made for their compact blues-rock tunes. Those songs framed the hour set, but the highlight came in the middle when they brought out a bass player and keyboardist to flesh out the material from their terrific new Brothers album. That album embraces elements of R&B and psychedelia in addition to blues-rock, and songs like She's Long Gone, Ten Cent Pistol and Next Girl benefited from the fuller instrumentation.

Newly established stars Arcade Fire confidently opened their headlining set on Sunday night with Ready To Start from their just-released The Suburbs album — and found that many in the crowd already knew the lyrics. They followed with tunes from their first albums, including No Cars Go, giving their dueling violinists and accordion player a workout. The delicate Rococo from Suburbs found frontman Win Butler strumming an acoustic and singing in a Neil Young-inflected voice. The crowd wanted anthems, however, and the Canadian ensemble obliged with Neighborhood (Tunnels). Butler dedicated the majestic Crown of Love to The National, with whom they toured and who preceded them on the Lollapalooza bill.

Green Day's 2½-hour set Saturday was more off-Broadway than punk rock, unsurprising since its music has long been tinged with pop and theatrics. Hits from the two-decade-deep repertoire shared the set list with two medleys of rock classics (including Hey Jude, Iron Man, Highway to Hell and Satisfaction) — all punctuated by fireworks and jets of flame. Frontman Billie Joe Armstrong led the proceedings effortlessly, from openers Song of the Century and 21st Century Breakdown through the extended encore, highlighted by American Idiot and Good Riddance (Time of Your Life). The feel-good ending sent the set 15 minutes over the city's strict 10 p.m. curfew, but no one, least of all Armstrong, seemed to care.

In America, the compelling dance songs of French quartet Phoenix are often used to pump up sales of cars and viewership of movies and TV shows. Saturday night they were even more effective in pumping up tens of thousands of their adoring fans, who looked to be mostly electrified young women. Vocalist Thomas Mars and mates delivered most of their keyboard-driven pop-rock hits (the bulk from last year's Grammy-winning Wolfgang Amadeus Mozart) in a brisk smart show that never lagged. Though they're devilishly handsome, the band members attended to business and didn't waste time preening (Mars did wade into the crowd near the end, however). The band had been slotted to play for 90 minutes but left the stage after just 55. Before jokes about the French work ethic could circulate, however, they reappeared and delivered a three-encore bonbon: an acoustic version of Air's Playground Love; an older dance number, If I Ever Feel Better; and of course a joyous 1901.
 
Austin-based Spoon, slotted at 6:15 p.m. on one of the main stages, may be the ideal pre-sundown band. They rock, mildly and wittily, and engage in a roughly equal number of detours into pop sweetness and distorted vocal and guitar effects. Leader Britt Daniel has a boyish, beach-boy look and an earnest voice that's best suited to delivering emotional lyrics, and the band sounds neither angry nor mellow, hovering mostly in the moderately anguished realm.

During their 75-minute set the quartet sounded most engaging when augmented by a horn section, on songs like You Got Your Cherry Bomb, Jonathon Fisk and The Underdog. On one of the more intricate numbers, My Mathematical Mind, Daniel sank to his knees and held his guitar in front of an amp a la Hendrix, but wound up in an echo-laden cul de sac. The set list spanned 1998s A Series of Sneaks (Advance Cassette) and the new Transference (Written in Reverse and Got Nuffin'), hitting emotional peaks with I Summon You and Don't Make Me a Target. The audience, mellowed by another day of perfect conditions, was more inclined toward swaying than fist-pumping, and Spoon fed the mood deftly.

What's left for Lady Gaga to reveal? By the end of her two-hour, 18-song, epic performance Friday, she had laid it all out on the stage — her beliefs, her multitude of musical influences, her skin, her brazen vulgarity, her athleticism and her soul. The staging of the story line — Lady leads her troupe on a nightmarish journey to a Monster's Ball— was over the top and well-choreographed, and it projected well in the vast outdoor setting. But it was the few quieter moments that surprised the most. Sitting at the keyboard for Speechless and the new You and I from her in-the-works album, she revealed a lusty, more-than-serviceable voice reminiscent of the saloon-singing style of Billy Joel. Some may also have been surprised by the heavy-metal influences that augment the David Bowie-esque glam in songs such as Fame and Boys Boys Boys. But by the time of closer Bad Romance, surprise had given way to awe.

Not everyone was caught up in Gaga mania, though it may have seemed that way. New York indie rockers The Strokes, reunited after being on unofficial hiatus since 2006, drew a respectable crowed to the north end of Grant Park at the same time Gaga commanded the south end. Their set drew heavily from their 2001 debut This Is it. They opened with New York City Cops, a song that was pulled from that debut just before its release. "I think they sound great," says Ryan Labery, 31, of Chicago. "I stopped by Gaga to see the spectacle, but I had to come back to The Strokes." 

Apparently, the thing to do was to toggle back and forth between the back and the front. Regardless, BPD members had one hoot of a time.

Join us today and you can too!

Member Review: Maroon 5

BPD member RoofE send us the following:

The group - led by singer Adam Levine - managed to squeeze the absolute most out of their first two albums Songs About Jane and It Won't Be Soon Before Long. But some of that material took a back seat to tunes from their forthcoming record Hands All Over, including the single Misery which opened the roughly 90-minute show.


Levine, who wore a white tank top and jeans, cajoled, amused and worked the crowd throughout while his remaining band mates were quite vanilla on stage during the groove-tinged If I Never See Your Face Again and Harder To Breathe.


A disco ball slowly descended for Give A Little More, another new track which left Levine delivering Michael Jackson-ish squeals minus the almost obligatory crotch grabbing.


Although the energy was fairly good starting off, and Levine occasionally delivering over-the-top, barely passable guitar solos alongside the more proficient guitarist James Valentine, things quickly slowed down. Telling the crowd it was time to "sit my geriatric ass down," the singer nailed a cover of Alicia Keys' If I Ain't Got You as Jesse Carmichael sat nearby playing piano.


Almost as good was Secret, another stripped down affair that seamlessly morphed into Tina Turner's What's Love Got To Do With It before returning back to the original tune. Levine joked he was considering hopping on Carmichael's piano a la Michelle Pfeiffer's character Susie Diamond in the Fabulous Baker Boys film.


After splitting the crowd up to sing different parts of She Will Be Loved a cappella, Maroon 5 finally woke up musically with the reggae-tinged keeper Wake Up Call. Fuelled by the tight work of bassist Michael Madden and drummer Matt Flynn, the song had most up and moving along.


Of the three new songs performed, only Stutter seemed to stumble, once which could be a possible single but doesn't exactly scream a major hit. This miscue though was quickly forgotten when the initial notes of This Love began, wrapping up the 13-song main set on a good note.


The danceable vibe continued during the encore as Maroon 5 played a snippet of Queen's Another One Bites The Dust prior to Makes Me Wonder and the jazzy closer Sunday Morning. Levine (who is probably two years' worth of tattooing away from resembling Social Distortion's Mike Ness) introduced the band before the finale, tossing aside a piece of Plexiglass in front of Carmichael after Valentine played part of Rush's Tom Sawyer.


A solid, although a bit short, show made considerably more enjoyable because of my view from backstage.

Our members sure do enjoy the view from the back. You can have that experience too. Join up today.

Bad Religion Fall Tour

Celebrating three decades of influential, thought provoking and groundbreaking punk rock, Bad Religion will release their fifteenth studio album, The Dissent of Man, on September 28. The album’s first single “The Devil in Stitches” just made its debut and can be heard now here.

Additionally, Bad Religion will kick off a North American tour in October with support from Bouncing Souls and Off With Their Heads.

Produced by Joe Barresi (Queens of the Stone Age, Tool), The Dissent of Man finds Bad Religion pushing the boundaries of their music as much today as they did in their formative years as a genre defining punk band. Over the course of making the album, primary songwriters Greg Graffin and Brett Gurewitz’s songwriting was informed by life changing events, with Graffin writing his forthcoming book “Anarchy Evolution” and Gurewitz embarking on parenthood again.

“These are some of my favorite songs I’ve ever written,” says Gurewitz. “A few of them took me way outside my comfort zone as a writer to a place I haven’t gone since Recipe or Stranger than Fiction.”

The result is one of the band’s most forward thinking and musically varied albums ever. The Dissent of Man is not only a snapshot of the band’s personal experiences of the past years but also of their continued maturity in songwriting, capturing an array of styles ranging from blazing punk rock songs like the opener “The Day That the Earth Stalled” and “Meeting of the Minds” and classic rock-tinged cuts like “Cyanide” and “Turn Your Back on Me” to radio rock ready hits like the first single “The Devil in Stitches.”

“I feel like the last couple of records have been amongst our most conservative, never straying too far from a Bad Religion sound,” adds Gurewitz. “Whereas on this one we’re taking the songs to a lot of different places, exploring our influences and trying out some new things in a way we haven’t done in years.”

The Dissent of Man is a testament to why Bad Religion has remained relevant for the better part of three decades. Already having cemented their place in history as a groundbreaking band who helped create a movement in Los Angeles with classic releases like How Could Hell Be Any Worse?, Suffer, Recipe for Hate, Stranger Than Fiction and Process of Belief, Bad Religion continue to inspire and create with a unique style that continues to cross boundaries and transcends genres.

As Bad Religion wraps up their 30th anniversary, they open the next chapter of their storied career with The Dissent of Man.

Dates and Venues:

Appearing with "Epicenter Festival"
Sun 09/26/10 Fontana, CA Auto Club Speedway Of Southern California

Thu 10/07/10 Pontiac, MI Clutch Cargo's

Appearing at "Riot Fest"
Fri 10/08/10 Chicago, IL Congress Theater

Sat 10/09/10 Milwaukee, WI The Rave Eagles Club

Mon 10/11/10 Cincinnati, OH Bogart's

Tue 10/12/10 Cleveland, OH House Of Blues

Sat 10/16/10 Clifton Park, NY Northern Lights

Mon 10/18/10 Boston, MA House Of Blues Boston Presented By Foxwoods Resort Casino

Tue 10/19/10 Philadelphia, PA Electric Factory

Wed 10/20/10 New York, NY Roseland Ballroom

Fri 10/22/10 Sayreville, NJ Starland Ballroom

Sat 10/23/10 Atlantic City, NJ TBA

Sun 10/24/10 Baltimore, MD TBA

Tue 10/26/10 Atlanta, GA TBA

Wed 10/27/10 Tampa, FL TBA

Fri 10/29/10 Fort Lauderdale, FL TBA

Sat 10/30/10 Orlando, FL TBA

Sun 10/31/10 Myrtle Beach, SC TBA

Tue 11/02/10 St. Louis, MO TBA

Wed 11/03/10 Kansas City, MO TBA

Fri 11/05/10 Houston, TX TBA

Mon 11/08/10 Tucson, AZ Rialto Theatre

Tue 11/09/10 Tempe, AZ The Marquee

Thu 11/11/10 Albuquerque, NM Sunshine Theatre

Fri 11/12/10 Denver, CO Fillmore Auditorium

Sat 11/13/10 Salt Lake City, UT In The Venue

Mon 11/15/10 Portland, OR Roseland Theater

Wed 11/17/10 Seattle, WA Showbox SoDo

Fri 11/19/10 San Francisco, CA The Regency Ballroom

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