Jake Swamp and the Pine Brought the Outdoors to Brighton Music Hall

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By Tanvi Shah

jake swamp and the pine

“I feel amazing, I had an absolute blast. The space was perfect — I got to bring my recorded songs to life with a full band and have my fans experience the record in a new way,” said Drew of Jake Swamp and the Pine about his headline show at Brighton Music Hall on June 2nd to celebrate the release of his latest album Simpson & Banks. *As an important note, no one in the band is named Jake — so if your name isn’t Jake either, you can buy a Jake Swamp and the Pine Not Jake hat.

What started out as a couple of guys meeting on Craigslist, bonding, and forming a band, turned into an album that pays homage to where Drew and Stu started their duo — Drew used to live on Simpson Ave, and Stu on Banks St in Somerville, paving the way for the title of this album. 

As one of Jake Swamp and the Pine’s self-proclaimed biggest fans, I hadn’t seen Drew perform in this capacity before — I had seen him perform as a duo with Stu, as a trio, solo with his kick drum and harmonica, and with Ben Cosgrove. This was my first time seeing him with a full band, and it was Amazing. The band members consisted of Jonathan Ulman from STL GLD on drums, Rachael Wolff from The Wolff Sisters on electric guitar, Josh Gold from the Adam Ezra Group on keys, Bev from Copilot on bass, and of course Drew on acoustic guitar. We were privy to some mandolin shredding thanks to Stu, who popped out on stage as a surprise guest and played some of the older Jake Swamp and the Pine songs to honor where they started and the direction Jake Swamp and the Pine is moving in. (Hint: in a trio/full band and Americana folk rock vibe) “The outdoors brought to your ears” is the official slogan for Jake Swamp and the Pine 🪵

Before we get into how Jake Swamp and the Pine rocked the stage, I have to mention the two supporting acts of the night, Grace Givertz and Julie Rhodes.

Grace, accompanied by her friend Madison Duffy on violin, took us through her folk vibes, with powerful vocals and introspective lyrics. There was even a change of instruments from guitar to banjo (Grace) and violin to bass (Madison). They also performed a cover of Clean because, like many of us, Taylor Swift inspired Grace to sing. 

After Grace Givertz’s performance, we got ready for Julie Rhode’s Brandi Carlile tribute set. At any point , there were at least 10 people on stage, including Wyndoran, Matt Zappa, The Wolff sisters, Rachel Jayson, and Nicole from The Devil’s Twins. Julie’s raspy vocals did Brandi’s songs (including ‘My Song’ and ‘Raise Hell’) justice with the crowd dancing and passionately singing along. 

Once we were done crying to Grace Givertz and yell-singing for Julie Rhodes, it was time for Jake Swamp and the Pine, and boy did Drew make an entrance. He stormed out with his rockstar demeanor and kicked off his set with the first song on Simpson & Banks — ‘Drive, Drive Drive.’ Drew wrote the song during the peak of the pandemic, when he felt stuck as an artist and scrounging for inspiration. In fact, Drive, Drive Drive had started the conception of Simpson & Banks, so it’s fitting that Drew started his set with the song. “One of my core memories of my music journey is when the audience at Brighton Music Hall yelled and sang the words ‘drive, drive drive’ with me,” he reflected.

Simpson & Banks dropped on streaming platforms back in December, but Drew was happy that he took his time to plan the album release show 6 months later. “There’s more time for people to get familiar with the album, digest it, and sing the lyrics along with me,” he noted. Drew also wanted to make sure the album captured the vibe he wanted — hanging out with friends, going on a hike, driving on 93-N, singing into a wooden spoon on a Sunday morning. The essence of nostalgia and moving forward in life is woven in the lyrics, melodies, and song titles throughout the album. 

Drew wanted the show to start out with a folk rock vibe with the full band, then flow into taking it down a notch with just him on stage, then adding Stu to the mix. Finally, he brought the energy back up again with the full band, which led to their big finish. Strangely enough, this flow is very similar to Taylor Swift’s Eras Tour. Unfortunately, Jake Swamp and the Pine has always timed releases with Taylor Swift’s music announcements and drops — ‘Empty Stomachs and Bloodshot Eyes’ clashed with the drop of her latest album, Midnights, AND the Outside the Studio (Live) EP coincided with the release of Fearless (Taylor’s Version). Luckily, when Drew performed ‘Empty Stomachs and Bloodshot Eyes’ solo at Brighton Music Hall, Taylor Swift did not steal his thunder again.

Drew also performed folk rock version of some of his older songs with the full band, giving us a new twist on Chapstick and Change and ‘My Sister’s Old Guitar’. Since this was Stu’s first time performing with Drew in a while, Drew made a last-minute decision to change a classic line of ‘Chapstick and Change’, singing “I’ll make my way home back to Stu (instead of you) no matter the cost.” Drew even hinted at the possibility of re-recording ‘My Sister’s Old Guitar’ with a full band. 👀

Jake Swamp and the Pine’s first headline show at Brighton Music Hall ended with us yelling “One more song” for the coveted encore, ‘Don’t Be Afraid of Sundays’. Thanks to Jonathan Ulman, what started as a bucket list entry a few years ago has become a dream that Jake Swamp and the Pine accomplished on Friday night. Drew’s goal for this show was to give the audience the best evening possible, and I can definitely say the vibes, energy, and music made it one of my best evenings in a long time!

A lot of local artists featured on Simpson & Banks in all capacities, including Josh Gold, Jonathan Ulman, Rachael, Don Mitchell and Auyon Mukharji from Darlingside, Corrina Smith, and Francis Hickey. I asked Jake Swamp and the Pine which other local artist they’d like to work with in the future, and Drew said he’s keen to collab with The Q-Tip Bandits. He loves their stage presence and sound, and would love to combine both their genres — and I’m sure I’m not alone in saying I’d love to hear that too!

“Stream the f*ck out of Simpson & Banks, add it to playlists, memorize the lyrics so you can sing along at my next big show!” is what Drew of Jake Swamp and the Pine left me with. I hope you listen to him and stream Simpson & Banks, buy his new merch (I’ve bought way too much already and it’s great!), and support him at his shows!

 

For What It’s Worth, Miranda Rae Has New Music

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By Tanvi Shah

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“Have a story in mind when you listen to my EP,” Miranda Rae said when she introduced her new 7-track EP For What It’s Worth at her listening party in Nubian Open Studios for the Arts. She officially released the EP on June 2nd everywhere you can find music (it’s even on Tidal!)

Though it’s been a second since Miranda Rae dropped a project, it doesn’t feel as long because she’s been performing all around Boston and even a bit further in the past few years. Miranda Rae won Boston Music Awards’ R&B Artist of the Year in 2020 and was nominated for R&B Artist of the Year in 2021. She also toured with Chris Walton in early 2023 and has been performing here and there at High Street Place, for BAMS Fest’s S.O.U.Lstice at the Commons, and most recently at Dorchfest.

When asked what For What It’s Worth was about, she responded, “Love.” As she explained, “All my songs are love songs.” In line with that theme, the For What It’s Worth listening party at NOSA was clearly set up with an ambience of love in mind; there were candles, rose petals, fairy lights, pink and purple lighting, and a station where we could write little appreciation notes to and for Miranda.

Miranda Rae had originally planned to release For What It’s Worth in 2021 but life happens, and during the past two years, she revamped the already-recorded songs. She said she connects with the songs and lyrics now even more than when she wrote them. 

The first track on For What It’s Worth is “stoneheart,” the beginning of the love story, which starts with the line “there was a time when I believed everything was true.” The next track is “pieces” (the clear fan-favorite from our reaction and us singing along to the “Oooh-ooooh-ooooh-ooooh-ooh what should I do?”), that highlights loving yourself from the line “Can someone please help me and love me to pieces?” The 3rd track, “over it,” is the song that surprised Miranda the most because it’s a different sound from what she usually does. 

Once we get halfway through the EP, we reach “remorse,” which is Miranda Rae’s favorite song because it focuses on the theme of women taking accountability for their mistakes, evident from the line “I’m the one who hurt you,” which isn’t seen often in the music realm. What started as a topic that her friend gave her for fun turned into a song that illuminates two unique vocal tones of Miranda Rae’s — in fact, her friends couldn’t believe she’d sung the whole song. The follow-up to “remorse” is “ease.” Miranda says it discusses “adult things,” so we’ll leave it at that. “sure” makes its comeback from 2021, but without Najee Janey this time because Miranda wanted the EP to be more “her.” The song’s call-and-response portion had us all singing, “I’m sure of it” and “I want more of it.” 

When asked what other song she would bring back if she could, Miranda said she’d revamp Done from her 2019 EP, Excuse My Baggage, and produce it differently. Finally, we get to the last song of the EP – “closure” – which was Miranda Rae’s toughest song to perform because it revolves around the end of her relationship. 

“I don’t want to be a hoarder anymore. 2023 is a time about releasing music and removing the word ‘try’ from my vocabulary” – Miranda Rae
 

After we listened to the entire EP, Dzidzor interviewed Miranda Rae to learn a bit more about the story behind each song and honed in on specific lyrics that spoke to her. After this deeper dive, Miranda made sure to give everyone the flowers they deserved for the roles they played in her EP — and yes, I do mean actual flowers. Some of the people she thanked included her producer Don Beamon, her dad and #1 fan, her pianist Shane Dylan, Eric, who mixed and mastered the project, madeby.rts, who shot her album cover, her videographer Carlos, and all the people who supported her throughout the process of For What It’s Worth. She also gave a special shoutout to Guyclaude and her sister Yung Yana, who added background vocals to most of the songs on the EP.

miranda rae

For What It’s Worth Album Art By madeby.rts

When asked about new music, Miranda Rae said she’d like to release a project titled All My Friends that would feature collabs with her artist friends, including Tamera King, Chris Walton, and Heyssis, maybe even Beyoncé (!), so now may be the time to ask Miranda about working together.

After listening through For What It’s Worth, we learn more about Miranda Rae and her approach to love, and I feel like I was a part of this love story from the beginning to the end of the relationship. Miranda Rae said that For What It’s Worth needs to be heard, and I agree. I’ve had it on repeat since Friday; especially “pieces” and “stoneheart” because I love the melody and message of the former and the lyrics of the latter. The songs on For What It’s Worth are finally out of the vault, so go stream For What It’s Worth anywhere and everywhere you listen to music!

If you want to see Miranda Rae perform songs from For What It’s Worth live and in-person, she has a show at WBUR City Space through Sound On on June 23rd, with CLUB INDGO and Chris Walton, so if you want to be wooed in person and not just through your phone, this is your chance! 

The Puddcast Ep. 38: The Shape of Punk to Come with Perennial

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by Ben Bonadies
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Artwork by Cat Elia

This week on the Puddcast Harry and Ben chat with Chelsey Hahn and Chad Jewett of art-punk band Perennial. You might remember them from our Best of 2022 list and their latest album In the Midnight Hour. Chelsey and Chad are both super smart and think about music as deeply as any reader of this fair blog. We talk about guitar tones, Perennial’s new album, and play a new game called “Is It Punk?”

Find Perennial’s music on Bandcamp and be sure to catch them on tour! You haven’t really heard them until you do. Like, share, and subscribe to The Puddcast so you can keep up to date with all the latest episodes. Stream episode 38 below and check out the companion playlist to this week’s episode if you want to listen to what we’re talking about. 

AJJ Bring an Indisposable Show to the Sinclair

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Review by Andrew McNally

Photos by Harry Gustafson

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Punks may never truly grow up. In classic punk fashion, I nearly missed this show entirely when I wrote it on the wrong date on my calendar. My esteemed photographer Harry nearly went to the wrong venue [Ed: I don’t know where I am or how I got here]. It was a chaotic start to what was set to be a chaotic evening. Luckily, we both made it intact, and a lengthy night of music delivered top to bottom. Three bands graced the stage on a chilly Saturday night at the Sinclair, with enthusiastic music that was matched by a white hot crowd.

Up first was Gladie – a band I was fortunate enough to see just a few months ago at Brighton Music Hall. The band’s heavy and patient punk with complex emotional lyrics comes ripped from the same book that inspired much of AJJ’s music, so the band worked as a logical opener. Luckily a lot of folks came early, so Gladie got to play to a sizable and enthusiastic Sinclair crowd. They played a handful of cuts from their excellent 2022 album Don’t Know What You’re In Until You’re Out, like “Mud,” “Nothing” and their slam-dunk closer “Born Yesterday.” The band may have sounded the tightest and most engaged when they played their older tune “20/20,” with darkly optimistic lyrics that seemed to resonate over the crowd. The band also found time to riff on Wally, after going to game 1 of a day-night double header at Fenway. All in all, it was a superb way to kick off the show.

Oceanator also provided support, a group I’ve personally been trying to see for a while. The band played some tracks from their equally excellent 2022 release Nothing’s Ever Fine, with a title taken from Empire Records and a release date of April 8th, Rex Manning Day. Although the album features a balanced mix of punk, indie and folk, the band smartly opted to bust out a set full of bangers and jams. Frontwoman Elise Okusami can absolutely shred, more so than I realized, and the first two songs of the set started off scorching, the two loudest songs of the night. From there the pace got more measured, but the crowd stayed just as hot. Even as the band played the slower “Solar Flares,” there was a strong energy in the air. It was a very engaging set, even as they busted out a new song (“Part Time”) and admitted they were playing with a temporary replacement bassist. There was a running joke throughout the set of audience members shouting out compliments to Elise & the band (and their gear), which only added to the energetic positivity of the night. Both Gladie and Oceanator did the rounds opening for Jeff Rosenstock last year, so many AJJ fans were already keenly aware of both acts. The fans showed up, and so did the bands.

Gladie and Oceanator might be fresh groups trying to stamp their name and live presence, but the same cannot be said for AJJ. I’ve seen AJJ a handful of times over the years, including at the same venue nearly a decade ago. People Who Can Eat People came out 16 years ago. For AJJ, shows like this are a victory lap. And in a way, the punks can never truly grow up. AJJ had the crowd in the palm of their hands when they busted out raucous versions of classics like the mourning anthem “Distance” and the gory “Bad Bad Things.” Other classics like “Fucc the Devil,” “Children of God” and “Heartilation” had the crowd moving. They closed with “Big Bird,” and then ran back on stage to do “Brave As A Noun” (less of an encore and more of it being 10:58pm and a real short song). Many of these songs sound as fresh and original as they did when they were released more than a decade ago, complete with their lyrical immaturities and free speech-testing levels of scripted violence.

And yet, this whole night was a testament to maturity and change. When I last saw AJJ at the Sinclair, I was on the floor fully in the pit. Now I’m older, weaker, and resigned to the balcony where I can periodically check my phone while yawning and wondering how it’s already 10pm. While AJJ played a number of classics, the focus was distinctly on their new album, Disposable Everything. And this is where we have to compliment and congratulate the fans. The crowd was loud and positive all night, and swaths of people already knew the lyrics to the new songs, despite the album only being released around 36 hours earlier. Frontman Sean Bonnette also commented that the album’s artwork was designed by a member of Red Sox Nation. Seven of the album’s fourteen songs were played, as well they should have been – it’s the best AJJ album in years. It’s a balanced album, with a lot of short (and sometimes very short) songs that follow the same melodic structures of heyday AJJ albums, but with more patient and varied lyrics. “Death Machine” sounds like it was released in 2011, while the ballad “White Ghosts” is one of the softest songs they’ve ever done – and both sounded phenomenal live. When they played the latter, there was a hush among the crowd, a moment of clarity. It entered a quiet part of the set, followed by the new album’s lyrically fascinating title track, and Sean Bonnette doing two songs solo (including an unexpected cover of Beck’s “Cyanide Breath Mint”). There were a number of slower tunes played throughout the night, with periodical classics busted out for oomph. Seventeen of the twenty-seven (!) songs that the band played were released in 2014 or later. This was not in any way a legacy set – it was a celebration of all things present and future for AJJ. The punks have grown up, and they’re refusing to settle into a cycle of complacency. This was a pleasantly boisterous night of live music, one that dealt with the issues of age and maturity, and all without sacrificing any of the things that make theses bands energetic and fun in the first place.

Check out our photos from the show below. 

AJJ, Oceanator, and Gladie at the Sinclair 6/3/22

A Decade of Jar – Superheaven at Crystal Ballroom

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Photos & Words by Emily Gardner

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It’s been 10 years since the grunge legends Superheaven put out their debut album Jar. Along with a reissue of the coveted vinyl record came a tour to celebrate the anniversary. The Crystal Ballroom was the host of back to back performances from the band with PONY and Cloakroom as support. PONY also had something to celebrate as their newest album, Velveteen, had released only days before. Performing a mix of new and past songs, the band’s charming set got the energy in the room started. Cloakroom took the stage next and changed the vibe from bouncey and light to something a little darker. The shoegaze trio brought heavy guitar riffs into the mix while playing through songs from their discography. It was a longer set, almost clocking in at an hour, but Cloakroom’s songs have a cinematic feel to them that you don’t want to end. Once Superheaven came on, the crowd was ready to scream the lyrics to songs they’ve listened to for a long decade. The band ran through the album from start to end and sounded just as  they did in the studio: raw and full of angst. Superheaven threw in two songs from Ours is Chrome as an encore to end the night. Our is Chrome was released in 2015 so if you missed this one, maybe you’ll get another chance in two years. 

Check out our photos from the show below. 

Superheaven at Crystal Ballroom 5/22/23 

 

I Hope None of This Ends Actually: Indigo de Souza in Concert

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By Harry Gustafson

indigo de souza

It’s so disappointing to get really amped up on an artist’s studio album, then head to their live show only to have the performance not live up to the recording. Understandably, some people operate best with a couple takes under their belt, so I don’t want to begrudge them. 

Thankfully, this was not the case when Indigo de Souza stormed through Boston’s Royale the other week, touring off her latest release All of This Will End.

If you couldn’t tell by our brief preview of the show, we were excited. All of This Will End is one of the year’s most engaging rock records. While the house at Royale was not quite sold out (let’s say “comfortably full”), the attendees were all eager to hear what the singer-songwriter could do. Sluice, who also hail from de Souza’s native North Carolina, provided a very lucid intro to the evening with their soft, gentle dreampop. Due in part to the lighting on the stage, but I thought they were a two-piece guitar and bass combo before I noticed a drummer deep on the stage, cloaked in shadow. As a photographer, I’m begging venues: please light the drummers. 

Contrary to the misdirective intro, de Souza not only brings the record’s energy to her live performance, she and her backing band actually do quite a bit to give hope to fans of live guitar rock. Their playing was tight and measured, and the new songs from All of This Will End sounded seasoned and practiced, belying the fact that they are still just a few months old. She opened her set with “Time Back” and “You Can Be Mean,” mimicking the albums tandem intro. Fans of the new album were pleased to hear all but two of the release’s tracks performed live. The other half of the set were selections from her previous two albums, I Love My Mom and Any Shape You Take. “Real Pain” from the latter album served as the night’s sole encore performance, the eighteenth song in a generously-lengthed set, especially for a Monday evening. 

Now with a trilogy of critic and fan-acclaimed albums under her belt, it will be interesting to see what is next for Indigo de Souza. If she has any sort of formula, it’s been working. It’s exciting to think about what she can add to that to expand her artistry 

Check out our photos from the show below. 

Indigo de Souza at Royale 5/22/23

Singing with City & Colour at Roadrunner

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Photos & Words by Emily Gardner

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Promoting his new album, Dallas Green stopped by Boston to put on a truly memorable show at Roadrunner on Wednesday night. Opening up was Courtney Marie Andrews, a singer-songwriter from Arizona. Her beautiful, ethereal performance was the perfect way to ease into the headlining set. 

First, let’s get one thing straight: this was not an Alexisonfire show. It seems a few people in the crowd forgot that they were actually seeing City & Colour. It became a reoccurring joke during the set due to hecklers shouting out song titles from Dallas Green’s other, much louder band. At one point, Dallas said that he hoped other songs from the extensive City & Colour discography sufficed and apologized if he missed any favorites. With that said, Green took the audience through each of his albums with his performance, from the newest album The Love Still Held Me Near to his raw 2005 debut release Sometimes. The newest album is full of what makes the band so great: emotional lyrics and catchy choruses. Many of the songs featured of the album were performed, including the title track “Meant to Be” and the single “Underground”. To the delight of longtime fans and apparently by request, Green came out during the encore with just an acoustic guitar and played “Body in a Box” with help from the crowd. He was then joined by the full band to perform a handful of favorites from earlier albums. Boston may be known to City & Colour as that one place where people scream at the stage, but they still treated the city to a fantastic show.

Check out our photos from the show below. 

City and Colour at Roadrunner 5/17/23 

Against the Current Bring Heat to the Paradise Rock Club

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Photos and review by Greg Wong
 
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Last Friday, Against The Current stopped in Boston on their Nightmares & Daydreams tour. They packed a hot and sweaty Paradise Rock Club to give a feverish performance befitting the heat.

The night’s show was jolted to a start by opening sets from two Australian bands. Yours Truly set the pace for the evening, bringing up the energy from the moment they walked on stage. Trophy Eyes followed up with another power punch of a performance to set the stage for Against The Current.

By the time Against The Current took the stage, the climate inside Paradise had already reached a rather more hellish temperature, but the rockers nevertheless delivered a high-velocity show. Lead singer Chrissy Costanza took advantage of the venue’s wide stage to stay in near constant motion while showcasing her strong vocals. The evening’s setlist featured the band’s latest music, including almost all of their 2021 album fever, but also their more recent singles “blindfolded” and “good guy.” Fans were not deprived of the band’s older material however, with familiar selections from early EPs making welcome appearances. The high energy concert came to an end with an encore performance of the grandiose “Legends Never Die,” followed by an invigorating closer with “weapon” that had the crowd moshing. Against The Current came in hot, never let up, and left the people at Paradise thirsty for more.

Check out our photos of the show below. 

Against the Current, Trophy Eyes, and Yours Truly 5/12/23 

 

The Ultimate Shame at the Sinclair

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Photos & Words by Harry Gustafson

SHAME HARRY GUSTAFSON

There is an unbelievable futility to the phrase “punk’s not dead.” When you see Shame live, it’s hard to imagine anyone insinuating punk’s potential mortality. One needs only witness frontman Charlie Steen’s quirked-up stage presence – rife with Curtis-ian girations, gradual clothing removals, 

Currently touring off their third full-length album Food For Worms, which came out earlier this year via Dead Oceans, Shame swung by Cambridge’s Sinclair two weeks back with help from New Yorkers Been Stellar. The opener delivered a solid set,, their mid-90s shoegaze and Britpop influence offering some nice diversity when compared with the headliner’s distinctly UK indie punk sleaze. They’ll definitely be a band that’s interesting to watch grow over the years and develop their sound. 

When Shame took over, the room had filled up to a comfortable level. We were cozy, burt hardly packed in like sardines. The age range of Shame fans is hard to pin down: they seem just as appealing to college ages as they do to Dad rockers who find a link between Shame and the early-to-mid 2000s UK rock (The Cribs, early Arctic Monkeys, etc.) that they listened to when they themselves were college aged. Whatever their ages, the crowd that showed up was ready to open up the friggin’ pit. 

Normally, I’m right there in the middle of the pit, thrashing around. But since I’ve hopped on the photography tip, I’ve got gear to worry about. So after a couple songs right up at the stage, I opted to move back to the Sinclair’s balcony, which was undisputedly the right call. Steen very nonchalantly beckoned for the crowd to get ready before the frontman dove headfirst (proper etiquette FWIW) into the crowd, got carried around for a few seconds, and then was lifted back to the stage. It was glorious, glorious Shame. 

Check out our photos from the show below, and stream Shame’s Food For Worms wherever you listen to your tunes. 

 
Shame & Been Stellar at the Sinclair 5/16/23

Ezra Furman Visited Providence & All Was Well

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Photos & Words Jose Martinez
 
ezra furman jose martinez

Since returning to my native Providence, Fete Music Hall has quickly become the venue I can rely on to book quality acts of the indie persuasion that don’t require a trip all the way up to Boston – not that there’s anything wrong with that. Whether it’s the larger Ballroom, or the smaller and more intimate Lounge space, I have yet to see a single act at this venue fail to bring out the best qualities of this performance space. Ezra Furman, stopping by on a Monday to bring about a blessed, expressive start to the week, was no exception. Playing largely from her recently released, excellent All of Us Flames, Ezra put on the kind of punchy, bursting-at-the-seams-with-copious-amounts-of-energy show you hope to experience, especially after such a cloudy, rainy, all around heavy beginning to the week. Whether it was the one-two punch of “Train Comes Through” and “Throne,” or Transangelic Exodus cut “So Bad,” or getting to the conclusion of her set with a cover of “These Boots Are Made for Walkin,’” – and combined with the warm and passionate fervor you’d see at a welcoming home – to say that there was a plentiful exchange of love between Ezra and crowd would be quite the understatement. I know she has some busy months ahead, especially with all the festivals she’s scheduled to perform at, but I hope Ezra doesn’t feel too overwhelmed to plug in her guitar for another round of shows up here in the northeast in the near future. 

Check out our photos from the show below.

Ezra Furman at Fête Music Hall 3/27/23