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Pitchfork Fest 2014 came and went in a flash. Literally. Peruse our photo editorial from the weekend, courtesy of our photo editor, Ellie White, who snagged highlights from all of our favorite shows over the three day extravaganza situated in Chicago’s beautiful Union Park. Our personal faves from the spectacularly-curated lineup this year included sets from the ever-brooding black-metal gents of Deafheaven; glam goddesses in black, the Dum Dum Girls; headliners Beck (whose set topped the best of the fest list for me, hands down without question), Neutral Milk Hotel and Kendrick Lamar (though Danny Brown–who won best hair of all time with his forest green ombre–and Earl Sweatshirt battled it out for best rap performance in our opinion); a stunning, once in a generation set from shoegaze pioneers Slowdive (Rachel Goswell’s dress looked like sexy, glimmering armor); a wildly exuberant performance from Tune-yards –whose addition of African Dance inspired backup choreography had everyone in a frenzy; Boundary-pushing electronic music from The Haxan Cloak and Factory Floor (um, can we please hear it for that badass drummer??); Intelligent ambient down-tempo from heartthrob Jon Hopkins and a performance from the Range that could put anyone else’s obsession with and knowledge of rap jams to shame. Oh and I think everyone is officially in love with FKA Twigs and Neneh Cherry.
Honorable mentions include Majical Cloudz, whose keyboard broke after the second song. As a result, lead singer Devon Walsh performed an array of songs sung acapella (at one point standing up on a chair to belt out Magic, leaving the entire audience in tears), stand up comedy and audience-participation fueled beat boxing. At the end of the set, keyboardist Matthew Otto, so adobrably contrite and just adorable in general, had us all count down from 10, and then proceeded to smash the defunct synth to smithereens for all the world to see. A lifelong dream of his come true, he proclaimed.
All in all it was an amazing, sunny weekend full of cantankerous, gorgeous, feisty, live performances from some of the very best and brightest talent that exists in music today. We can’t wait to see what the fine folks over at Pitchfork have in store for next year. In the meantime, read on and enjoy.
We often hear about SXSW from the perspective of music journalists, but the yearly music extravaganza wouldn’t happen if it weren’t for the bands that relentlessly play show after show, often in the midst of a longer tour. We took to the Instagram accounts of some of our favorite musicians to get a glimpse of what SXSW is really like for the musicians that truly make the whole thing come together. The captions are their own.
Two Pussy Riot riot members getting kicked out of Pussy Riot for supposedly abandoning the groups “leftist anti-capitalist ideology.” Kicking girl gang members out of the girl gang seems very anti-girl gang… [/box][/fusion_builder_column]
Let us discuss how babelike the Dum Dum Girls looked during their performance on Late Night with David Letterman. So many maneating-gothess vibes. We’re definitely channeling this video this weekend. [/box][/one_half_last]
LES venue The Living Room may be moving to Williamsburg… so it can re-close in nine months to make way for another Duane Reade? [/box][/fusion_builder_column_inner]
[/fusion_builder_column][fusion_builder_column type=”1_2″_last][box type=”shadow”] Skaters‘ laid-back response to a shitty review of Manhattan in Vice:
Every Thursday, AF profiles a style icon from the music world. This week, in honor of the release of Too True, we’re profiling Dum Dum Girls. Front-woman Dee Dee Penny translates Dum Dum’s 60’s girl garage band sound into a rocker chic aesthetic, choosing dramatic silhouettes like bell-sleeved mini-dresses and all-over lace. The band’s rotating line-up has always followed suit, often donning all-black or all-white garb for a cohesive stage presence. Dum Dum Girls are so renowned for wearing zany patterned tights that artists have made them motifs for screen-printed show posters. You’ll often see the girls sporting chic accessories as well, from wide-brimmed hats, bold necklaces, and platform boots to the quintessential leather jackets and dark shades. And no Dum Dum Girls look would be complete without tasteful black liquid liner and vibrant lip color.
Anyone who’s worked in retail can tell you what a headache Christmas carols can be. You’re working eight hour shifts surrounded by irate customers who forgot the meaning of holiday cheer in a rush to get presents for their shitty boyfriends and picky sisters. These people have no regard for the fact that you’re stuck in a mall neatly folding the pile of t-shirts they just demolished instead of out getting sloshed with your friends or exchanging gifts with your loved ones. And all the while, that awful Mariah Carey song is just blaring. Over and over and over again.
I’m of the opinion that not even David Bowie could save “Little Drummer Boy” from being the most annoying piece of music ever composed, and that “Baby It’s Cold Outside” is basically a rape-carol. But that doesn’t mean the whole Christmas catalogue is a lost a cause. There have been a handful of songs (usually lesser known and therefore less overplayed) that can still manage to put me in the holiday spirit instead of making me want to gouge my eyes out with a nutcracker. These are my personal favorites.
The Kinks – Father Christmas: Somewhere along the line, I stopped asking my parents for gifts around the holidays and started requesting practical things instead: a trip to the dentist, a gift card to Target, rent money. These things would keep me alive whereas candles from the Dollar Store would not. So I am not sure if I side with Ray Davies or the antagonistic children who mug him while he was playing Santa, but choosing sides isn’t the point. On the one hand, threatening violence is not cool, children can be terrifying, and machine guns are not appropriate gifts. But what these kids really want is jobs for their dads or the cold hard cash that will allow them to survive their harrowing, impoverished existences, rather than dolls or blocks or whatever. They’re just trying to check some volunteer Santa’s privilege (and ours) by reminding us that there are plenty of folks out there who can’t put food on the table at Christmastime (or any other time). But this isn’t some depressing ballad; the message comes in a catchy rock ‘n’ roll wrapping, its riffs Xmassed up with some cheery chimes that make a nice foil for Davies’ ragged snarl.
Sufjan Stevens – Christmas Unicorn: The thing about Sufjan is that all of his songs are about 10,000% better if you just imagine he’s a singing unicorn. And from the first line of this song, he presents himself as not just any unicorn, but a Christmas unicorn, with a mistletoe nose and a shield and a gold suit. Sounds cool right? But wait: Sufjan as the Christmas Unicorn is actually a symbol for American hypocrisy, out-of-control consumerism, Christians adopting Paganism, Baby Jesus, drug addiction and insanity. But this outlandish gem from last year’s epic (what isn’t epic with Sufjan?) Christmas-themed limited edition six LP vinyl boxset Silver & Gold doesn’t stop there. It goes on for twelve minutes and gets so weird it needs a play-by-play. After the introductory takedown of hodgepodge Anglo-American Christian-Pagan ideals, there’s an expansive instrumental break that falls somewhere between swirly space rock and something you’d imagine playing over loudspeakers at a Ren-faire, flutes and all. About halfway through, the meandering melody grows pegasus wings and starts flapping around all wildly a la those choruses from “Chicago”. And eight minutes in, it becomes a Christmasified cover of Joy Division’s “Love Will Tear Us Apart”. This song is the best kind of holly-jolly trainwreck.
Joni Mitchell – River: Easily one of the most gorgeous songs in Mitchell’s oeuvre (and of all time, pretty much), the power of “River” lies in Mitchell’s ability to evoke nostalgia via her contemplative lyrics and her timeless voice. She’s alone on Christmas due to perceived failures on her part, ruminating on a recent breakup and feeling detached from the festive mood of the approaching holiday. It’s an anthem for any adult’s first Christmas away from home, the first holiday where those carefree childhood days have faded and you can no longer escape all the grown-up responsibilities you have in the simple act of lacing up a pair of skates and taking to the ice. Extra points on the shout out to all the evergreens slaughtered for the sake of Christmas spirit.
The Waitresses – Christmas Wrapping: The Waitresses had two songs. One was the theme song for “Square Pegs” which famously starred Sarah Jessica Parker (before she was famous). And the other is this Blondie-esque narrative about a semi-Scroogey girl having a frustrating holiday/life. See, all year long she’s been bumping into this cutie, and because of her first world problems (like sunburn – ugh!) she’s never actually able to connect with him. The daily stresses keep piling up until she just, like, can’t even with Christmas. I mean, her turkey was all in the oven and she forgot cranberries! But in a fateful trip to the only all-night grocery, she finally finds love; her crush is in the check-out line, having also totally fucked up his grocery shopping. Bright brass and zippy guitar lines are the perfect accent for this tale of bitterness diminished by serendipitous Christmas magic.
The Sonics – Don’t Believe In Christmas: While it seems like any number of bands (especially those on the Burger Records roster) might write a song like this today, it was released in 1965, a decidedly un-scuzzy era for rock n’ roll. It’s snarky and skeptical and goes beyond greedy to straight up entitled, moving about a mile a minute all the while. When you don’t get cool presents or kisses from the ladies, there’s simply no reason to celebrate. Ironically, the single finds its home on an Etiquette Records compilation entitled Merry Christmas, also featuring The Sonics’ singular contemporaries The Wailers and Galaxies. Most of the songs are brilliant originals completely overlooked every December. It makes sense that they don’t play The Wailers’ scathing anti-consumerist romp “Christmas Spirit???” in Saks Fifth Avenue but “She’s Coming Home” and “Maybe This Year” evoke melancholic hope with a slightly psych-tinged execution. That sound carries over into the Galaxies’ unique covers of Christmas favorites. Elsewhere on the record, Santa stiffs The Sonics once again; lead singer Gerry Roslie asks the titular Claus to bring new guitars, money and babes in his sack but gets “Nothin’! Nothin’! Nothin’!”, according to Roslie’s embattled cries. Looks like not believing in Christmas didn’t stop the guy from trying.
John Lennon & Yoko Ono – Happy Xmas (War Is Over): Shortly before the rest of The Beatles started recording Christmas fluff, John Lennon furthered his anti-Vietnam War protest efforts by releasing this 1971 single featuring Yoko Ono and Harlem Community Choir. Lennon believed that coating the political content in sweet, sugary Christmassiness would make his message easier to accept (his Christmessage?). It was not an instant classic, but endures today as a reminder that we should all just get along. It also reminds us that the English say “Happy” instead of “Merry” which shouldn’t fuck with my head as much as it does. The track was produced by Phil Spector (who certainly did not get along with Lana Clarkson, the actress whom he murdered). If you’re going to listen to traditional carols, though, you can do no better than 1963’s A Christmas Gift for You from Philles Records on Spector’s label. There’s even a bearable version of “Frosty the Snowman” by the Ronettes.
The Everly Brothers – Christmas Eve Can Kill You: It’s not just the twangy pedal steel that gives this song its melancholy mood. Its emotionally devastating lyrics are narrated by a sad hitchhiker trying to catch a ride on a frigid Christmas Eve, ignored by drivers in a hurry to get home to their families. The moral of the story is that you should really be kind to your fellow man, especially in the winter, and even more especially on holidays. But let’s also be real – it’s actually dangerous to pick up hitchhikers; they can kill you too.
The Fall – (We Wish You) A Protein Christmas: Okay, so this bizarre offering from The Fall is way more cryptic and terse than say, “Dashing Through The Snow” – what is a Protein Christmas anyway? We may never know. It’s a reference to (and a rewrite of) “Proteinprotection” but, just like a previous episode of Lost, we had no idea what was going on the first time around either and were basically left hanging without answers to the mystery. It might have something to do with DNA, or aliens, or both. But Mark E. Smith’s atonal poetics and Scizophrenic laughter punching through meditative, repetitive bass rhythms make for a great debate winner with your punk friends who think they’re too cool for Christmas.
Sharon Jones & The Dap-Kings – There Ain’t No Chimneys in the Projects: No one’s gonna make a fool out of Sharon Jones. Least of all her mother, with that trifling explanation of how presents wound up under her Christmas tree. Replete with a jazzy sax solo that revisits “Jingle Bells”, this groovy soul number from the prolific funk revivalists takes a cynical look at all the continuity errors in the Santa myth while simultaneously pointing out economic inequalities that don’t simply end with a lack of fireplaces in housing developments.
The Flaming Lips – Christmas at the Zoo: In this hazy, lazy jam from Clouds Taste Metallic, Wayne Coyne sings about freeing animals from the zoo Brad-Pitt-in-12-Monkeys style. Zoos are sad fucking places, it’s true, but something about listening to this song is akin to flipping through and filling in a coloring book with your most psychedelic crayons. Rubbery guitars waver like the bars bent back on peacock cages, trumpets sound like liberated elephants. Coyne’s Christmas obsession didn’t fizzle after the release of the song in 1995; they released a secret Christmas album in 2007, re-recording one of the tracks (“Atlas Eets Christmas”) four years later with Yoko Ono Plastic Ono Band. And then there’s Christmas on Mars, a film Coyne wrote, directed, and starred in with other members of the Lips. It debuted at Sasquatch Festival in 2008.
Joey Ramone – Merry Christmas (I Don’t Want To Fight Tonight): This is the only worthwhile selection on Joey’s 2002 Christmas Spirit… In My House EP. It’s got to be one of the few Ramones-related songs that separates “want” and “to” instead of using the stylized “wanna”; I was under the impression that the Ramones had no idea such a thing could be done. Yet here it is, right at the intersection of Christmas cheer and heartfelt pleas to your significant other to end the bickering for once. The reason this song is listenable when the others on the EP are not is mainly because it hearkens back to Ramones glory days, only trading a bit of the usual grit for some shades of Doo-Wop and festive jangle.
Crocodiles/Dum Dum Girls – Merry Christmas Baby (Please Don’t Die): Dum Dum Girls’ collaborated with Crocodiles in a 2009 all-night recording session that resulted in this Yuletide look at love and mortality. Christmas, no joke, is a time when a lot of people struggle with depression, and this song is particularly sweet in that it addresses a lover who seems to have fallen prey to those demons. Real-life couple Dee Dee and Brandon Welchez take turns spreading the cheer in this garage pop jam, which should be enough to rouse even the saddest bopper.
Kishi Bashi – It’s Christmas, But It’s Not White Here In Our Town: In this short and swoony number, the multi-instrumentalist with a heart of gold longs for an idyllic, frost-covered wonderland, the reflections as dreamy and romantic as a tape on rewind. Kishi Bashi’s vocals are extra angelic, layered airily over sweet strings. It could have been a great opener for one of those claymation Christmas specials, maybe one in which the protagonist has to fight to save the town from a snow-less winter. But in a real-life heroic move, the musician donated all proceeds from sales of the snowflake-shaped flexi-disc to Ear Candy, a charitable organization that provides kids with used instruments.
The Pogues – Fairytale of New York: There really aren’t enough Christmas songs with the word “faggot” in them. JUST KIDDING, THERE’S ONE TOO MANY. Kirsty MacColl’s cavalier use of the epithet almost disqualified it from the list, but this song is a fixture on so many lists already because all anyone associates with it is ending up in the drunk tank on Christmas and those triumphant “And bells were ringing!” chorus declarations from Shane MacGowan. I considered including Wham!’s “Last Christmas” or The Vandals’ “My First Christmas (As A Woman)”, decided that the latter did more harm than good and that the former represents the kind of annoying things I hate about Christmas songs in the first place. Incidentally, there is no such thing as the NYPD choir. According to the song’s Wikipedia entry, the NYPD does have a Pipes and Drums unit but they didn’t know “Galway Bay” when they appeared in the video for “Fairytale”, playing the Mickey Mouse Club theme instead.
So there you have it. These songs go above an beyond the cloying carols dripping with good tidings. Whether political or personal, they represent a more thoughtful, far less narrow view of what Christmas is about, embracing the controversial and updating the conventional.
In other news, Iggy Pop wants you to have a happy holiday, or go swimming, or cuddle with his cockateel, or something.
Blouse are very pleased to announce that they will be joining Dum Dum Girls on their 2014 Spring tour. The month-long will take them in a loop around North America, beginning in San Diego in March and ending in San Francisco in April, including stops at SXSW and Dallas’ Spillover Music Festival.
Full dates below.
03/07 – San Diego, CA – Casbah
03/08 – Las Vegas, NV – Backstage Bar
03/09 – Phoenix, AZ – Crescent Ballroom
03/10 – Albuquerque, NM -Sister
03/12-15 – Austin, TX – SXSW
03/16 – Dallas, TX – Spillover Festival
03/18 – Nashville, TN – Exit/In
03/19 – Birmingham, AL – Bottletree
03/20 – Atlanta, GA – The Earl
03/21 – Raleigh, NC – Kings
03/22 – Washington, DC – Black Cat
03/23 – Philadelphia, PA – Johnny Brenda’s
03/25 – New York, NY – Bowery Ballroom
03/26 – Brooklyn, NY – Music Hall of Williamsburg
03/27 – Boston, MA – Brighton Music Hall
03/28 – Montreal, QUE – Il Motore
03/29 – Toronto, ONT – Lee’s Place
03/30 – Ferndale, MI – Loving Touch
03/31 – Chicago, IL – Empty bottle
04/01 – Minneapolis, MN – Triple Rock
04/04 – Vancouver, BC – Biltmore
04/05 – Seattle, WA – Neumos
04/06 – Portland, OR – Doug Fir
04/08 – San Fransisco, CA – Independent
The band, who are currently on tour in Europe, recently released a video for their single “A Feelng Like This.” Watch it here, via Youtube.
Last night, we AudioFemmes visited Music Hall of Williamsburg to see Dum Dum Girls perform a blistering set for a packed audience. We missed openers Punks On Mars (not too intrigued by that band name, sorry) but caught most of Widowspeak’s set. Below, our innermost thoughts and feelings regarding the spectacle we witnessed. – Eds.
dressed all in white and practically glowing
L: Annie, what did you think of Widowspeak?
A: Well. Here’s the thing: I have a hard time getting on board with singers who sound painfully derivative of someone whom I happen to love, in this case, Mazzy Star. It doesn’t help that Hope Sandoval is still around and making music. In fact, I hear there’s a forthcoming album slated for release this summer. However, independent of the issue of Molly Hamilton’s striking similarities, both sonically and aesthetically, to Mazzy, I have to admit I’m a sucker for dreamy sounding girl-pop.
Widowspeak
L: Oooh, I had no idea Mazzy Star was putting out new material. Yet another reason to look forward to summer. But I digress – we were talking about Widowspeak, and I agree, it is hard not to hear Hope Sandoval when Molly Hamilton opens her mouth. I’d actually seen them before at Glasslands when they opened for Dirty Beaches roughly a year ago. They covered Chris Isaak. I bought the Harsh Realm 7” (white vinyl! I’m such a sucker for that kind of thing) and I think by now I’ve worn the grooves out. I mean I’ve had nights where I put on that title track and just pull the needle back over when it’s done playing, and then repeat that about eighty times. There’s something about the lines “I thought about how it was / I thought about you because / I always think about you” that just gets to me. It’s definitely the kind of obsessive-minded song that makes playing the shit out of it feel totally appropriate…
… Seeing that live and knowing to expect it was a highlight for me, but I think that’s where the band excels – in the quieter, more contemplative moments. I could have sworn they had far fewer members the last time I saw them, and so it was a bit off-putting to have three guys backing her up. But I understand the need to amp up the performance as they are going out on tour with Dum Dum Girls.Speaking of which…..
A: Yeah, real quick: I would definitely give them another chance, and I often feel differently about a band’s sound in general when I hear the studio recording. You can lend me the 7” next time I come over. Anyway, moving on to the Dum Dum girls.
For me, a band’s first impression often sets the tone of the show, so to speak. And when the Dum Dum girls descended the stairs onto the stage of Music Hall of Williamsburg, decked out in white Grecian drapery and a myriad of fishnet-patterned stockings, I knew immediately, that we were in for a good time. Not to mention we were standing a stone’s throw from the hot new bass player, whose name thus far is unknown to us.
L: This bass player. Woah. One of the most gorgeous women I think I’ve ever seen. I was kind of disappointed when I heard their former bass player had been replaced; I thought she was a good representation of someone who isn’t super skinny and is totally sexy and kick ass, and I think it’s nice to see that, especially for people with similar body types. Not that the new bass player was a twig; she did have some booty. Whatever girl crushes I might have had on the band before were cemented when they emerged from backstage – every single one of them looked amazing. I want to go shopping for tights and vintage jewelry with them. Even if they had sucked, I would have been nearly content to watch them bop around on stage for 45 minutes. But then they proceeded to totally melt faces.
A: Before I go on about how hard they rocked out, I must say, there’s something novel, in a heavy kind of way, about seeing a band comprised exclusively of women, play so competently and so beautifully. So many bands out there have one or two female members, who are often just eye-candy more than anything else; Or there are female-led groups who have the requisite enigmatic male bass player, or crazy drummer, etc. It’s really rare to see an all chick band like that who fully embrace their femininity and are completely unapologetic for their girliness, and who write songs about falling in and out of love that aren’t sappy and quaint sounding.
L: I agree. I wish it wasn’t such a novelty, but I don’t know if I’ve seen an all female band own a stage like that since Sleater-Kinney. Maybe Warpaint. Honestly though, with all the bands trying to make it big in Brooklyn you don’t often see anyone, male OR female, playing their instruments as well as the Dums did. I’d heard their shows were remarkable but I was floored by how good they sounded, how energetic they were, and how cohesively they jammed as a whole. And I was also in love with their superfans who mouthed along with every word, including a middle-aged dude who was holding a library book the entire time! I want to know what he was reading.
A: Hmmm. I’m gonna guess some sort of self-help book. Maybe something like, “How to change your life in 5 simple steps”
L: Step One – See the Dum Dum Girls. Life-changing for sure.Step Two – Get an e-reader so you don’t have to carry around heavy volumes to rock concerts.It looked pretty thick, though… I bet it was Game of Thrones or something like that. He was adorably geeky.
A: Yeah, you’re probably right. That shit is insanely popular right now. I also liked that guy who was scribbling things down on his teeny tiny notepad like his life depended on it.
L: Maybe he was taking notes for his cool blog.
A: Not as cool as our blog.
L: Never! Although it would be cooler if we could stay on topic.
A: Yeah, we really need to get it together here.
L: Admittedly, I’ve never quite understood the hype surrounding Dum Dum Girls. Their albums are entertaining for a listen or two, but not usually ones I play over and over again. That changed for me with the release of the first few singles from Only In Dreams. Only In Dreams is, in part, a raw chronicle of the emotions lead singer Dee Dee experienced after the passing of her mother. While their previous material was carefree and and even a bit frivolous, Only In Dreams has fathoms more depth, and that thoughtfulness and truth put it over the edge for me in terms of my admiration for the band. I even went back to some of their old material, discovering “Take Care of My Baby” from the “He Gets Me High” single and falling absolutely in love with it.
A: Yeah, I never really got heavily into them. Aside from hearing their songs on random playlists here and there I never listened to much. And although I always liked what I did hear, seeing them live really changed my perception of what they are and what they do. Before I feel like my impression was that they’re kind of like a more pop-y iteration of the Yeah Yeah Yeahs. And while Dee Dee does sound an awful lot like Karen O. in many ways, the songs themselves are decidedly more straightforward–but in a refreshing way–especially to hear live.
L: I don’t know if I hear the Karen O. thing. In terms of performance and in-your-faceness, I’d say they are certainly of the same ilk. But the confessional nature of Dum Dum’s newer tunes is not a place even Karen would dare go. The live rendition of “Hold Your Hand” was particularly moving. Knowing where Dee Dee’s coming from when she sings the words “I wish it wasn’t true but there’s nothing I can do except hold your hand” makes them that much more powerful, but its a sentiment that hits deep with anyone who has lost someone close to them. After playing those last chords Dee Dee kind of looked down at her guitar and swallowed hard and I remember being amazed that she had the courage to write the song in the first place, let alone play it before a huge crowd. It was very poignant. A: I think I actually started crying a little bit during that song, because you could tell she was working so hard to keep it together. My heart really goes out to her, and I’m stunningly impressed with her fortitude and self-composure in the face of such recent adversity. Seeing her perform it was one of the many highlights. The most memorable highlight, however, for me, was the encore, for which they played “Coming Down”. It’s a quieter song, and more sophisticated then some of the upbeat pop-rock stuff they do that seems to be their signature style. I guess I like to be surprised sometimes, even if it comes at the very end of a set. And the added effect of the disco ball lent it a dream-like ambiance that made the encore actually feel like a send-off–which is to me, what encores are all about. In any case, I would definitely go see them live again.
L: I loved “Coming Down” as well. It was perfect as a set closer lyrically and melodically; like watching the last embers of a fire die before it goes out. And I love me some disco ball – it burst to life at the perfect moment, just after the bridge when Dee Dee was really belting it out . My only disappointment of the evening was the realization that I left the records I bought at the show in a booth at Lovin’ Cup, where we stopped to grab a bite afterward. I called the place today but some jerk must have snapped them up. Can’t say I blame him or her, I’d probably do the same thing.
Dum Dum Girls are touring the Northeast through most of February and then head to Europe in March. These ladies are not to be missed. For additional proof of such, check out the video Annie shot of them performing “Rest of Our Lives” from their 2010 debut LP I Will Be.
Ticket Giveaways
Each week Audiofemme gives away a set of tickets to our featured shows in NYC! Scroll down to enter for the following shindigs.