Drew Grow and the Pastors’ Wives make their home in Portland, and meld together a scuzzy, squally blend of rebellious gospel/folk that at times possesses the radiant buoyancy of Edward Sharpe and the Magnetic Zeroes, and in quieter moments the seeping warmth of M Ward or intelligent, lovely meanderings of Elvis Perkins. It’s wild and sharp and smart. Their album is so unrelentingly good, top to bottom, that I feel like it holds me down with no air from the time it cues up until it fades out and I restart it. I must have listened to it at least ten times through in the last week.

First garnering notice around the Pacific Northwest for the series of 7″ singles they released on the Amigo/Amiga label, they’ve gathered those songs together finally onto one ace album. Every song is so different, but this one immediately grabbed me:

Bootstraps – Drew Grow and the Pastors Wives

Before I even listened to the album, I read this marvelously visceral review in the Seattle Weekly, and I instantly wanted in on this action. I even wrote the reviewer a fan email. She says:

“Two weekends ago, I had one of those rare, game-changing live music experiences, the kind when you’re watching a band and your chest swells up big and red and raw like a great frigatebird during mating season and there’s a lump in your throat and an ACME anvil could fall on the person next to you and you probably wouldn’t even notice the blood spatter because HOLY FUCKING SHIT this band is amazing.

These are the sorts of experiences that turn people from casual listeners into lifelong music fans. But as you get older and rack up thousands of shows in your mental music arsenal, these moments become increasingly rare. And in 13 years of show-going, I’ve never felt this way about a performance from a band I wasn’t familiar with until I saw Drew Grow and the Pastors’ Wives at [the] Doe Bay [Music Fest].”

Drew Grow & The Pastors’ Wives @ Doe Bay 2010 (photo credit Hilary Harris)

After listening to this album enough times to see the sterling streak of quality all the way through, the wild weirdness of it, all laced with the smart, smart songwriting, I think I need to see these guys live. They are touring this fall – more dates as I have them.

For now, stream the whole self-titled debut album here (out on vinyl LP and mp3 download, Sept 14 on Amigo/Amiga Recordings), and since you know I am a lyrics gal, I recommend reading all the lyrics they have posted on their Bandcamp page as you listen.

The first three songs are all completely different, but this track 1-2-3 sequencing here is the most solid I’ve heard in a good while.

Finally, from that same festival, I just came across this breathtaking live video via from the Seattle blog Sound On The Sound. In the middle of the forest rife with twilight mosquitoes (bastards), this is a rousing acoustic version of the final song on the album — the anthemic and heartening “It All Comes Right.”

The communal pouring-out of spirit from about 3:30 onwards reminds me of The Head And The Heart video that I posted last week, which is somewhat fitting because both bands played the festival, and The Head And The Heart told me to listen to Drew Grow in the first place.

I think we got ourselves a solid musical brethrenhood here.

The Doe Bay Sessions – Drew Grow and the Pastors’ Wives
from Sound on the Sound on Vimeo.

[top photo credit Aya Sato]

Back in the freshness of springtime, I came clean before you all with my newfound affection for the TV show Friday Night Lights. Shy as I was about falling for any sort of TV drama, I was converted (to the cult of Tim Riggins, thank you) over Thanksgiving last year, when a friend loaned me all the seasons I’d missed and I gorged myself not only on the solid plotlines and character acting, but also/mainly the absolutely impeccable music.

Within the first few episodes I heard not only the arcane opening track from my favorite Ryan Adams album, but a Daniel Johnston cover, the Avett Brothers, a rare acoustic mix of a great Killers song, and plenty of new artists who sent me googling lyrical snippets. Oh, and don’t forget, the show is liberally laced with music from the terrific Explosions In The Sky. Just get right out of town – this was fantastic [listen].

I decided then and there that I completely loved whoever this kindred spirit was out there, picking all the music as if they had crawled inside my own head, my own record collection. When I found out it was a kickass female doing this music supervisor’s job (in a mostly male-dominated industry), I loved it even more.

Said kickass female music supervisor for the Friday Night Lights series is one Liza Richardson, longtime DJ at the inimitable KCRW radio station in Southern California. She also works on music in films (The Kids Are All Right and Eat, Pray, Love are two recent projects she was involved in), was invited to be the first DJ at the Academy Awards, and even got to do one of those cool Apple commercials. Her musical tastes run in all the same veins mine do, and I was excited to talk with her about her job, how she stumbled into it, and what she loves about soundtracking all those wrenching small-town Texas moments.

INTERVIEW: LIZA RICHARDSON, FRIDAY NIGHT LIGHTS

Fuel/Friends: Do you specifically emphasize regional or local music in setting the West Texas feel? (the Gourds, Explosions in the Sky) or are you going for an overall atmosphere of folks (American Catapult, AA Bondy, or Ryan Adams) who aren’t from Texas, but feel like they could be?

Liza Richardson: I do try to focus on Texas music, I mean I went to college at SMU in Dallas and I was in radio for four years after college in Dallas – that’s where I learned to DJ, that’s where I started really learning about music and I’ve brought that to my work with Friday Night Lights, happily. But there’s so much music like Townes Van Zandt and Roky Erickson, two examples of musicians that I’m fanatical about but have never been able to convince everyone about. Song selection is a process, and I’m not the boss — I present ideas and they get chosen by editors and directors. So I really do try, but ultimately it’s up to them and they’re gonna pick what feels good and what feels right for the show. There’s a wider audience than Texas.

But I was successful at getting artists like Butch Hancock, Uncle Walt’s Band, and Jimmy Dale Gilmore who are great Texas artists, who aren’t widely known outside of Texas but are great Texas unsung heroes. I think Texans appreciate when I am able to get all these cool Texas artists in, and and it’s a good feeling. For example, we used the Cashmere Stage Band, which is this cool recent reissue from the Seventies. We used that at a pep rally where you heard like an exciting big band thing, and it was actually this high school band from the 1970s from Houston. Stuff like that is so cool for me.

F/F: Have you ever seen any negative effects from a song or artist you’ve highlighted –like a “flash in the pan” phenomenon– or is any exposure usually good exposure?

LR: Do you mean where I had a regret for putting it in? The only regrets I have are songs I don’t put in (laughs). Sometimes songs get on the show that have been used a million times before on other shows. But that’s the music supervisor’s curse, I guess. I mean it’s not so bad, sometimes I need to get over that. But all music supervisors want to be distinctive and creative, but you have to always remember what’s best for the show. I mean, for example, using “Political Scientist” by Ryan Adams was my idea, and fit perfectly. You recognize that song but not many would.

F/F: Is it kind of like every show using Jeff Buckley’s “Hallelujah,” perhaps? There seems to sometimes be a challenge to find something that resonates emotionally but feels fresh.

LR: Thank you! Yes! Exactly, like that. Or Gary Jules’ version of “Mad World.”

F/F: What do you perceive to be the differences between DJing and music supervising?

LR: Ooh, totally different. Not much in common with each other at all. When I am DJing, I’m not thinking about the big picture, I am thinking about how much this song rocks on the radio. But with music supervision, there might be songs I don’t personally like so much, that I would never play on my show, but they work great as part of this show. It’s two totally different ways of thinking. DJing is the most ephemeral, but then I also always say TV is ephemeral compared to film, because television moves quickly and you have a new episode each week. There’s a different level of creative commitment.

F/F: Do the characters ever suggest music? Have the show’s writers ever worked around a specific song you found and wanted to use?

One time for Landry’s band, Crucifictorius, when Devin was auditioning and Landry was down and out about Tyra, she suggested they needed some Flaming Lips, “She Don’t Use Jelly.” Well, that was written into the script and it was a really good idea and it stuck. A lot of songs that are written into the script might not make it – things change, budgets change, so I wasn’t sure if we’d be able to afford that Flaming Lips song. But happily, it all worked out. I had lined up other songs as alternatives, like I had something worked out with The Pixies, which doesn’t seem like it would be less money but it was. I had the challenge of finding other bands with that anthemic indie feel, where I could work with publishers and get a deal that we could agree to.

That’s an example of what I do all the time. I mean, there might be a karaoke scene where they want to sing “American Girl” by Tom Petty , but there’s no point in spending all that money for that one song. My job is to find something cheaper for karaoke that’s still funny or sweet or still fits. There’s tons of that.

F/F: It sounds like a treasure hunt but with a lot of negotiating.

LR: Yeah, on something like that it can be difficult to start creatively with trying to find the right song to fit the scene. I will often start by calling the publishers that I have relationships with and asking them to look at their catalog, telling them, “okay here is my budget,” and then having them come up with their ideas. That way, if I only have one day to do this I don’t get screwed. I take what they give me and then go with those ten ideas and go with whatever ideas I think are the best. It’s one way to do it. It’s called pre-clearing the songs. I know that every song I get from this publisher will be clearable, they already know that they don’t need artist approval, it will fit in my budget, there’s no negotiation. We have to consider all those things before we even get to licensing.

F/F: Has licensing gotten successively easier as the show has gone through four seasons and gathered more fans and a reputation for good music?

LR: Oh yes, definitely. People love the show, they’re convinced of the show’s quality. But it’s not a money show, songs get replaced when they make it to DVD. NBC can clear for different musical options per song – a two year term, a five year term, an all-media term, and then at some point they’ll figure out their licensing strategy, and which term they’re going to pick up. Friday Night Lights is a two-year term. So let’s say for a Bob Dylan song, perhaps for all-media it would cost $40,000, a two-year term on that is more like $4,000-$6,000. There are some artists like the Velvet Underground and they weren’t interested in the two year term. They were only interested in the full term, so they passed.

In the beginning when we first announced our two-year term, a lot of bands were all worried about where licensing was heading and how we were all doomed, but as we went along we realized that a lot of bands were fine with the two-year term because it wasn’t exploitative, we weren’t going to use their song forever. In a way it’s not a bad deal – they get great exposure. More and more young bands don’t mind that it’s a two-year term.

F/F: So the songs on the DVDs aren’t always the same ones in the first run of the show?

LR: Not always, no, unfortunately. In fact, I’m glad you saw the Ryan Adams clip – unfortunately they can’t afford to buy all of the music we put in the initial series, there’s no way. It would cost millions of dollars. In the actual show there’s a ton more music, but they replace it – there’s a company we use called Five Alarm Music, a production library music house, and they’re in charge of finding things that we like that will be okay, that will fit in as well as they can. In one season, we did really well at getting a lot of songs through to DVD, I can’t remember if it was season one or season two, where they kept a lot, but other seasons we’ve had to rip a lot out.

F/F: Is that hard for you? Is it like making a mix tape for someone and then finding out later that six songs were cut and replaced?

LR: Oh, it’s so heartbreaking. I mean, I don’t have to do the re-musicing, so I just try to forget about it. I get my final air copy of the season, and that’s what I have to keep! I find that the music still works, and honestly it’s just a great show so that comes through, always.

F/F: What music are you excited about these days? Are there artists that you’d love to use on the show?

LR: Hmm, okay, well here’s a couple – Band of Horses, New Pornographers, maybe The National, I think we should be using these artists. I think we should be using this artist named Jonathan Tyler, even though he may not be hip and cool, but maybe for the football stuff and the strip club – just straight up rock and roll. I’d like to use the Dead Weather, and there’s these guys called Kings Go Forth, they’re new but they sound very vintage R&B, party kind of vibe. I’d love to get that sort of music onto FNL.

F/F: I’ve talked to students when I’ve spoken at colleges who are interested in getting into music supervising. If this were Career Day, what would you say? Is there a recommended tactic, or is it true that everyone just seems to get into this in a different way?

LR: Yes, everybody has their own story for sure. If you’re in college, well – if someone is making a film, be the music supervisor on a friend’s film. I would also suggest trying to get an internship in radio or something in music – sometimes letters or resumes sent to me from strangers will impress me. It’s tricky, there are so many ways in. It’s not a high-paying job, so there’s turnover.

When I first started in music supervision, I was shocked at how my KCRW radio experience had nothing to do with anything in this world. I couldn’t get a job, even though I was pretty happy with what I’d accomplished in radio and KCRW is a fairly well-respected tastemaking station. I had to develop this as a whole new career, and just work my way up. I’ve been doing radio for over twenty years, and music supervision for only ten. For me at this point, radio is the greatest hobby in the world.

[top photo credit Salvador Farfan, Texas photo credit David Kozlowski]

There’s a winsome, lonely, rough-hewn folk loveliness to this song from The Roadside Graves. With a violin weaving alongside the ragged vocal croon (actually, in this case, I think we have to call it a fiddle), this song conjures up a moment of wondering and waiting for a woman. It walks into the middle of a story that could have taken place anywhere in the last sixty years. Recommended if you like Deer Tick or Dylan, it ends too quickly, this song. I hit play again.

Junk On The Highway – The Roadside Graves

These six friends from the small town of Metuchen, New Jersey, have been making music for the better part of this decade. This song comes from If Shacking Up Is All You Want To Do, recorded Winter 2002 in an old Victorian house in Hightstown, NJ, the windows insulated with t-shirts.

The album was recently reissued with six bonus tracks on my friend Justin’s excellent Autumn Tone Records label (Justin writes the Aquarium Drunkard blog, and I find we have similar tastes in music). The Roadside Graves also just released a new EP in the spring called You Won’t Be Happy With Me (wanna bet?), also on Autumn Tone. You can also stream a recent show from them here.

Looks like they close their current tour tonight at The Mercury Lounge with These United States (a nice pairing), but I hope they’ll be back on the road in 2011.

Five years since his last traditional release, Sufjan Stevens came out of the blue last Friday (only hours after my birthday waned, so I think it was probably a gift to me) with a new EP, All Delighted People, available on Bandcamp for only five bucks. Then a few days later, he announced his new full-length Age of Adz would be coming on October 12th from his Asthmatic Kitty label.

A few live recordings of new songs from this album have been circulating since the Castaways shows last year in New York: the second, third, and last songs on the forthcoming release, respectively.

Too Much
Age of Adz
Impossible Soul

Falling into a pleasant rut, I’ve been alternating with the new EP, the live recordings from the Age of Adz songs, and this fantastic KEXP Seattle show from 2005. This is one of my favorite live sets of his that I have. The sound quality is pristine, the delicacy of the songs breathtaking (as always). I wonder if “Casimir Pulaski Day” will ever stop breaking my heart in its existential futility (“…but nothing ever happens”), or if I want it to.

SUFJAN STEVENS @ THE TRIPLE DOOR
KEXP SEATTLE SHOW, 7/23/05

ZIP: SUFJAN STEVENS, KEXP 2005

Don’t forget he’ll be touring “large, elegant” venues this Fall; the Denver stop is on my wishlist.

SUFJAN STEVENS FALL TOUR
Oct 12 – Metropolis Theater, Montreal, QC
Oct 13 – Massey Hall, Toronto, ON
Oct 14 – Royal Oak Music Theater (SOLD OUT), Royal Oak, MI
Oct 15 – Chicago Theater (SOLD OUT), Chicago, IL
Oct 16 – Orpheum Theater, Minneapolis, MN
Oct 17 – Uptown Theater, Kansas City, MO
Oct 19 – The Long Center for the Performing Arts, Austin, TX
Oct 20 – McFarlin Memorial Auditorium, Dallas, TX
Oct 22 – Mesa Arts Center-Ikeda Theater, Mesa, AZ
Oct 23 – The Wiltern (SOLD OUT), Los Angeles, CA
Oct 24 – The Wiltern (SOLD OUT), Los Angeles, CA
Oct 25 – The Paramount Theater, Oakland, CA
Oct 26 – The Paramount Theater (SOLD OUT), Oakland, CA
Oct 28 – Orpheum Theater (SOLD OUT), Vancouver, BC
Oct 29 – Arlene Schnitzer Concert Hall, Portland, OR
Oct 30 – The Paramount Theatre, Seattle, WA
Nov 1 – Kingsbury Hall, Salt Lake City, UT
Nov 2 – Paramount Theatre, Denver, CO
Nov 4 – Hilbert Circle Theatre, Indianapolis, IN
Nov 5 – Bijou Theater (SOLD OUT), Knoxville, TN
Nov 6 – The Tabernacle (SOLD OUT), Atlanta, GA
Nov 7 – Thomas Wolfe Auditorium, Asheville, NC
Nov 9 – The National, Richmond, VA
Nov 10 – Kimmel Center, Philadelphia, PA
Nov 11 – Orpheum Theatre (SOLD OUT), Boston, MA
Nov 12 – Orpheum Theatre, Boston, MA
Nov 14 – Beacon Theatre (SOLD OUT), New York, NY
Nov 15 – Beacon Theatre (SOLD OUT), New York, NY

[photo credit Marzuki Stevens]

Fuck You – Cee-Lo Green

I am somewhat addicted to this, from Cee-Lo’s forthcoming album Lady Killer. I’ve listened to it maybe 20 40+ times on repeat today, finding it so very satisfying to sing along to.

My completely fitting soundtrack for this last-summer-hurrah adventure was the new album from Seattle’s The Head And The Heart, which is quickly becoming one of my absolute favorite albums this year.

I wrote about how they “sound like hallelujah” at the beginning of the summer, included another song of theirs on my summer mix, and then happily ran into the band on my birthday last Thursday night on a Seattle street corner. They gave me a physical copy of their insanely catchy album, and I listened to it about eight times through this weekend on the road. When I unlocked the door to my still and quiet house tonight, I found myself hungrily googling any new songs that they might have for me, not on the record (since I’ve kind of already worn a digital groove into it).

What I found was this.

It hit me in a profound way. I’ve heard that The Head and The Heart are complete supernovas live, but this – this felt like a moment almost too iridescent to be privy to by secondhand video. An aftershow in a Tacoma parking garage, it’s everything I love about music and about them.

At three minutes in, the spotlight hits directly opposite the camera, and in a flash they are illuminated all around, lit as if from within — as if this pure music they are pouring out of their hearts and hands and stomping feet is making them (and all of us) shine like the last lightning bugs of summer.

Rivers and Roads (parking garage mix) – The Head and The Heart

I feel kinda speechless.

THE HEAD AND THE HEART TOUR DATES
Aug 27 – KEXP’s Mural Amphitheater Show [w/ Mt St Helen Vietnam Band], Seattle, WA
Aug 28 – Tractor Tavern [w/ Grand Hallway], Seattle, WA
Sep 11 – Berbati’s Pan [for MusicFest NW], Portland, OR
Sep 15 – Downtown Crossing, Sandpoint, ID
Sep 16 – Empyrean Coffee [w/ Denison Witmer], Spokane, WA
Sep 18 – Urban Lounge [w/ The Devil Whale, Future of the Ghost, Matt Hopper], Salt Lake City, UT
Sep 23 – The Crocodile [w/ Fences & Campfire OK], Seattle, WA
Sep 24 – Mississippi Studios [w/ Drew Grow and the Pastors' Wives & Fences], Portland, OR
Sep 25 – The Green Frog [w/ Fences], Bellingham, WA
Sep 27 – The Biltmore Cabaret [w/ Fences], Vancouver, BC
Oct 4 – Silverlake Lounge [w/ Fences], (early show), Los Angeles, CA
Oct 6 – The Rickshaw Stop [w/ Fences], San Francisco, CA
Oct 7 – Sophia’s Thai Kitchen [w/ Fences], Davis, CA
Oct 8 – Sam Bond’s Garage [w/ Fences], Eugene, OR



They are also announcing more dates in the coming months, including — a show at Moe’s in Denver on November 5th (next to the Gothic), which will be presented by Fuel/Friends! Stay tuned here for more information and a ticket giveaway.

My stars — get this album.

EDIT: Another version here.

“You know,” he ruminated in his beautiful cadence, “I still remember the first time I heard ‘Smells Like Teen Spirit’ and Nirvana’s music… I didn’t know I needed it. But once I heard it, I couldn’t live without it.”

Dan Mangan is a Canadian from the fertile Pacific Northwestern coastal city of Vancouver, and makes marvelously crafted, beautifully arranged music. Recommended if you (like me) enjoy Josh Ritter, Luke Doucet, or on this song particularly, the male-female duets of The Swell Season or Damien Rice & Lisa Hannigan.

The first time I heard this song, I listened to it about 10 times on repeat. It is a nuanced waltz between his oaky, rough-hewn voice and her melancholy lilt. This entire album is gorgeous and smart, laced liberally with violins. I’m immersing myself in it lately.

The Indie Queens Are Waiting – Dan Mangan

Dan’s 2009 album Nice, Nice, Very Nice was just re-released last week on the superb Canadian label Arts & Crafts (Stars, Phoenix, Feist, and a whole bunch of other folks).

Listen here: highly recommended.

He is on tour everywhere in the coming months (oh wait, just not Denver). Last month he made it into the top ten Short List for Canada’s prestigious Polaris Prize (alongside folks like Broken Social Scene, Owen Pallett, and Tegan & Sara); he is an artist to watch.

[photo credit Jonathan Taggart]

Joe’s face emanates the same pure, unfettered joy I see here. Go kid, go.

Five months ago, my friend Katie went to see Adam Haworth Stephens (of the San Francisco band Two Gallants) open for Rocky Votolato in Denver. I wasn’t at the show, but was on my computer later that night when an email popped in from her, raving about how amazing the opening act was. I could almost feel her glowing through the internet wires from excitement at this young man and his piercing music.

With her permission, I turned that email into a post about Adam. He’s been tearing up the touring circuit, wearing down the asphalt all across the US in the last few months, and last Thursday he finally came back through Denver, and I was there waiting with ready ears.

He was, in a word, phenomenally kinetic live. His well-crafted songs from an older acoustic EP sprouted muscles and all sorts of complex shading with the full band backing. The drummer was fantastic, and I pounded my hand against my thigh for almost the whole set. Their badass female bassist threw down solid basslines to anchor the melodies, and Adam sang with howl and conviction. The songs were riveting.

My charming British friend Paul asked me after the set what I was going to write about the show, why I couldn’t stop smiling, why I loved it so much. I told him I felt like I was watching a special artist. NME wrote that Adam “shares the same spirit as a young, reckless Johnny Cash, or a pre-electric Bob Dylan.” To that I would add a most obvious comparison to a twenty-something Neil Young, and of course the youthful intelligence of Conor Oberst (whose Nebraska label Saddle Creek is releasing Adam’s debut solo album). Those are all lofty comparisons. I felt he merited them.

You can download the first song off his new album We Live On Cliffs (out 9/28) for free on his website in exchange for an email address:

STREAM: The Cities That You’ve Burned

He announced at the end of his set, “I’m Adam Haworth Stephens, and, uh, we don’t have any music for sale tonight.” You could hear a groan ripple through the audience. If you’ve seen him live and were won over like we all were, perhaps this out-of-print Vile Affections EP can help tide you over until Sept 28th when the full-length is released. I’ve been listening to this EP a lot lately. If these songs show up on the debut album, it will be so interesting to see how they’ve filled out.

VILE AFFECTIONS EP
Lead In Our Lungs
The Heights of Diamond
Bitter Angel
The Miles We’ve Marched
Your Weight
Going To Germany
Twitch and Tremble in the Breeze (bonus)

ZIP: VILE AFFECTIONS EP

I also hope the new album has this song is on it — it was one of my favorites live:

Second Mind (live at The Independent in SF) – Adam H. Stephens

Adam just announced a tour with The Felice Brothers (”Frankie’s Gun” is still a song of theirs I never ever tire of, and this duet with Conor Oberst makes me deeply happy), which is a superb pairing. I adore The Felice Brothers. GO SEE ONE OF THESE SHOWS.

ADAM H. STEPHENS FALL TOUR

*w/ The Felice Brothers*
Oct 5 – Doug Fir, Portland, OR
Oct 6 – Tractor, Seattle, WA
Oct 7 – Media Club, Vancouver, BC
Oct 9 – State Room, Salt Lake City, UT
Oct 10 – Larimer Lounge, Denver, CO
Oct 12 – Waiting Room, Omaha, NE
Oct 13 – Triple Rock, Minneapolis, MN
Oct 14 – Turner Hall, Milwaukee, WI
Oct 15 – Empty Bottle, Chicago, IL
Oct 16 – Magic Stick, Detroit, MI
Oct 18 – Mr. Smalls, Pittsburgh, PA
Oct 19 – 123 Pleasant Street, Morgantown, WV
Oct 21 – Capitol Theatre, York, PA
Oct 22 – Rock and Roll Hotel, Washington, DC
Oct 23 – Johnny Brenda’s, Philadelphia, PA
Oct 28 – Harper’s Ferry, Boston, MA
Oct 29 – Met Café, Providence, RI
Oct 30 – The Chance, Poughkeepsie, NY
Oct 31 – MHOW, Brooklyn, NY
Nov 1 – Daniel Street, Milford, CT
Nov 3 – Jefferson Theatre, Charlottesville, VA
Nov 4 – King’s Barcade, Raleigh, NC
Nov 5 – The Handlebar, Greenville, SC
Nov 6 – The Earl, Atlanta, GA
Nov 8 – The Social, Orlando, FL
Nov 9 – Club Downunder, Tallahassee, FL
Nov 10 – One Eyed Jack’s, New Orleans, LA
Nov 12 – Emo’s, Austin, TX
Nov 13 – The Loft, Dallas, TX
Nov 14 – Sticky Fingerz, Little Rock, AR
Nov 15 – Proud Larry’s, Oxford, MS
Nov 17 – Headliners, Louisville, KY
Nov 18 – Southgate House, Newport, KY
Nov 19 – The Rumba Café, Columbus, OH

[other photos from the concert last week are on the Fuel/Friends Facebook page]