Category Archives: Concerts

Jay Som + The Courtneys 4/6/17, Denver

Dates: April 6, 2017

Location: Lost Lake Lounge, Denver CO

Lost Lake Lounge plays host to one Flying Nun band and one Polyvinyl band. TMOQ, no lie.


Man, I really wanted to get there early enough to catch Denver’s Shady Elders who, though I’ve heard some of their tunes, have yet to catch them in a live setting, but it was not to be. By the time I showed up they were breaking down.

I sure as hell wasn’t going to be late for Vancouver, BC’s Courtneys. I love their new record (II, out now on New Zealand’s classic Flying Nun label…I’d heard it’s the first non-NZ band to be signed to Flying Nun and there’s some truth to that).  The band is three gals who I believe are all originally from cowtown Calgary but headed west to Vancouver to seek their fame and fortune. Ok, probably not that but to at least make some noise with friends. They were each in several different bands before finding their groove as a trio making fuzzy, infectious pop. Said new record is just fabulous but live you see their interplay, the drummer (Jen) does most (all) of the singing while the bass player (Sydney), the talkative one in the band, held down the low end and the quiet, tattooed guitarist (Courtney) eked out some of the coolest sounds out of her instrument. Cuts like “Silver Velvet,” “Virgo” and “Minnesota” take on the feel of classics the first time you hear them. If The Courtneys come to your town do not miss them.


I’d only heard about Jay Som (pictured at the top) a week or so ago, but my pal insisted they were worth staying for and they were (though due to some unforeseen circumstances, a babysitting snafu, my pal and I had to leave after about 30 minutes).

Still, though the band looked and seemed pro (I snickered to my buddy that the guitarist looks like a high school gym teacher (“One more smirk like that Hinely and you’ll be running laps for the whole class!”) while the long-haired bassist looked like a member of Soundgarden, rocking back and forth for the whole set, and the versatile drummer was flat-out excellent.

Up front is Jay Som (real name Melina Duterte) a short, laid-back woman with loads of low-key charisma. I still have yet to hear her 2016 debut Turn Into (Polyvinyl) but the latest one Everybody Works (on the same label) is a real head turner with sneaky melodies and danceable bits all over the place. We had to leave just as the groove was sinking in but I was glad that I was able to catch at least part of Jay Som and her band. I’m staying to the end next time!


Real Estate 4/12/17, Denver

Dates: April 12, 2017

Location: Gothic Theatre, Denver CO

Happy birthday, Tim. At the storied Gothic Theatre, the acclaimed indie rockers were anything BUT gothic. View Real Estate tour dates HERE.


I got there too late to catch opening act, harpist Mary Lattimore, but got there in time to get good seats for New Jersey’s own Real Estate, up in the balcony. I don’t usually sit for gigs but some pals wanted to so what the hey (plus it was my birthday so we celebrated in style).

I’d seen Real Estate a few other times live, in fact the previous time being at the Gothic, and while they’re not the most exciting live band they more than make up for it with songs and nuance. They’ve been compared to another New Jersey act, The Feelies, and that comparison is fair, though not always completely accurate. They’re touring for their 5th album,  In Mind (Domino Records)  which seems to be as critically acclaimed as the previoius ones were. To put it simply, critics love this band.

Though leader Martin Courtney writes all of the songs, one of his main cohorts, Matt Mondanile, has left the band to focus more on his own project, Ducktails, but was replaced by a more than able new guitarist (Julian Lynch) and the band didn’t seem to miss a step. Let’s not forget the keyboardist, Matt Kallman, who looked like a reject from the Seton Hall men’s basketball team. Oh also he had no shoes or socks on but the rest of the bad were fully clothed. Bassist Alex Bleeker chatted up the crowd, as always, while long-haired drumemr Jackson Pollis, did his thing, and very well I might add.

They opened with “Saturday” off their latest record, and also off said new record we heard chiming gems like “Darling,” “Stained Glass,” “Serve the Song” and “White Light.” The band, however, didn’t forget their back catalog, either, as we were treated to older cuts like “Youger than Yesterday” and “Suburban Dogs” (unfortunately no “Talking Backwards”).

But honest to goodness, Real Estate rocked on this evening. Not sure if it was due to guitarist Lynch who took Mondanile’s place, but the band really bit down and chewed for pretty much the whole set.

After an hour they’d called it a night, but came back out for a few encores. “Had to Hear,” “Two Arrows” and “Crime” (two of them off of 2014’s Atlas) and then called it a night as the close-to-sold-out crowd left with smiles and that look of contentment after a satisfying gig.



The Rumjacks, 4/11/17, NYC

Dates: April 11, 2017

Location: Rockwood Music Hall, NYC


Live at the Rockwood Music Hall this week, Australia channeled Ireland and much ale was hoisted. Below, check out a couple of videos, courtesy Perfect Sound Forever.


Irish punk-gone-trad music is almost as old school as Irish traditional music nowadays with the Pogues’ landmark early albums over three decades old now. The boozy torch has been carried along by the likes of Flogging Molly and Dropkick Murphys and more recently, an Aussie quartet who picked up on the music of their fellow British outliers.




The Rumjacks date back to 2008 with three albums and a bunch of singles under their belt, making their way across the States for a tour, including stops at SXSW and NYC. For their Yankee trek, singer Frankie McLaughlin was laid up sick so their mandolin/bouzouki player (don’t laugh- the Mekons have one) Adam Kenny ably took over, using a music stand cheat sheet for the lyrics.  With bassist Johnny McKelvey as the jovial MC (“this is the earliest and sober-est we’ve played so we’ll be the drunkest later”), they led the crowd through their catalog, including a stop at the Scottish ballad “Wild Mountain Thyme.” Reflecting the cross-current of the music, the crowd switched from jig dances to moshing in the blink of a song, even with a guest tin whistle player thrown in (Chiara De Sio from the Clan).





Once again Prof. Rosen makes his pilgrimage to Knoxville. Check out his 2014 report, as well as 2015, not to mention 2016.


Photos by Melinda Wallis-Rosen

As the Big Ears Festival in Knoxville has grown during its six installments since 2009, bringing a mind-bogglingly large mix of cross-pollinating modernist rock, classical, jazz, international and other types of music, one increasingly wonders where Ashley Capps — its founder and artistic director — got his interest in something so culturally cutting-edge.

After all, he runs Knoxville-based AC Entertainment, the company that puts on the giant summer outdoor Bonnaroo, Forecastle and other contemporary rock festivals. These are known for their innovative mixes of performers, but there are limits. One would not expect Bonnaroo, for instance, to feature the 78-year-old American New Music composer Frederic Rzewski rigorously, forcefully playing the piano for more than an hour straight in a performance of his 1975 “The People United Will Never Be Defeated!” It consists of 36 probing, exploratory variations of a Chilean folk song, and is meant to remember the murdered Salvador Allende and serve as an inspiration for resistance.

But there he was on a Friday afternoon at this year’s recently concluded Big Ears (which ran from a Thursday through Sunday), playing a Steinway & Sons grand piano in the center of a large nightclub called The Mill & Mine, as a crowd sat on the floor or stood to watch and listen to this impressive exhibition of stamina. (Below: Matmos)


In the past, Capps and Knoxville Mayor Madeline Rogero have wisecracked that his interest in such unconventional music is related to him once owning a Knoxville club called Ella Guru’s, named after a Captain Beefheart song. That running joke continued at the Thursday-afternoon kick-off reception this year, when Rogero introduced Capps by calling him “a man who needs no trout mask replica, a man who is as safe as milk, a man who is our very own doc at the radar station.”

And that’s all well and good, but there’s something else at work here. Capps revealed some of that when introducing Rzewski (pronounced “zev-sky”) by telling about the time in 1977 he picked up him, pianist Ursula Oppens and saxophonist Lee Konitz at a New York airport to take then to Woodstock’s Creative Music Studio, where Capps was a student. There, Capps remembers, Rzewski played “The People United…,” a recent composition commissioned by Oppens, that had yet to be recorded. He knew at the time it was destined to be a major work, he says.

So Capps has a personal connection to this kind of work. (He also remembered driving Don Cherry to Woodstock.) And he definitely still has an ear for it.

When introducing the contemporary classical pianist Lisa Moore at the same venue, with the same in-the-round set-up on Saturday, he said that when he first heard her 2016 Stone People album, he knew it was one of the year’s strongest.

Imagine how many records in a year he must listen to, or at least be aware of, to stay atop of his vast festival and concert business. Yet he picks one, on the niche New Music label Cantaloupe Music, that features recordings of compositions by the likes of Rzewski, Missy Mazzoli and John Luther Adams.

But Moore did not disappoint. By turns lyrical and pounding in her choice of material and approach to the keyboard, and wearing a distinguishing white jacket, she began with one of Philip Glass’ most melodic and downright sweet compositions ever, 1979’s “Mad Rush.” There were times when Moore made it echo with snatches from “Over the Rainbow.” Her concert then featured works by other big names — Rzewski, Mazzoli, Adams, Julia Wolfe. But the standout besides “Mad Rush” was a work called “Sliabh Beagh” that she had commissioned from an Australian composer, Kate Moore, in order to explore Irish roots. Starting off like an introspective art song — Lisa Moore sang at the beginning — it evolved into a thunderously powerful work for piano that just kept building. Her concert was thrilling.

A couple years ago, the roaring, avant-garde bass saxophonist Colin Stetson played a Big Ears gig at a small bar so crowded I had to jump up and down every now and then just to catch a glimpse of his head. But there was no problem hearing then — the sound he got from that gigantic woodwind, large enough to double as a piece of public sculpture, could cut through a baseball park filled with fans cheering a grand slam.

This year, Stetson had a venue where he was easily seen — onstage at the large Mill & Mine. Believe it or not, it was reasonably hard to hear him. But it didn’t matter. With an ensemble of horn and string players, plus a singer, he was performing his reimagining of Polish composer Henryk Górecki’s 1977 3rd Symphony (Symphony of Sorrowful Songs), which became famous when a 1992 recording sold a million copies. Because one of the three songs contained within the symphony used a message found on a Gestapo cell wall, it conjures World War II and the Holocaust. Stetson calls his adaptation Sorrow, and he means for the saxophone to wail not so much in the Illinois Jacquet sense of the word, but rather in the “weeping” sense.

Amid the wave-like comings and goings of repetitive phrases from the other horns, Stetson’s playing fit in rather than stood out. And it sounded like an ominously rumbling bass. But the overall arrangement of Sorrow sucked everyone into its slowly building undertow and then cathartically brought them along. And when the music quieted to let Stetson’s sister, Megan, sing the songs, it was like Jefferson Airplane subsiding its playing for Grace Slick to solo on “Someone to Love.” Megan Stetson had a magnificently rich mezzo-soprano voice.

Stetson is a restless talent — on his new song, “Into the Clinches,” he hits his sax’s keys like he’s hammering out an electronic backbeat while blowing into the instrument. The result is as unexpectedly infectious as Herbie Hancock’s “Rockit,” and it could be a dance club hit.

While Big Ears is way too eclectic to pigeonhole its approach to booking, the rock or pop acts who played the two major venues — the luxurious 1928 Tennessee Theatre (the official state theater), and the 1909 Bijou — tend to be either experimentalist or to be using Big Ears for a conceptualist venture. (The event’s biggest act, Wilco, maybe doesn’t fit that description, but band members Glenn Kotche and Jeff Tweedy also used the festival for separate concerts.)

One such example was the toughly intellectualized Matmos, consisting of Drew Daniel and M.C. Schmidt, whose austerely theatrical take on the late Robert Ashley’s television opera Private Parts made for an invigorating noontime show at the Tennessee on Friday. Musically, it has an understated drone punctuated with electronica touches. Schmidt, in the first part looking Mr. Rogers-like in brown sweater and bowtie, provided the odd, casually upbeat recitation that Ashley himself used to do at his shows. Behind him, two women faced each other and provided an occasional encouraging “that’s right” in accompaniment. Ashley isn’t an easy composer to understand, but Matmos did make him and his music accessible — and hip.


But Matmos didn’t have anything on Xiu Xiu (above), who presented on Saturday at the Tennessee their tribute to David Lynch’s and Angelo Badalamenti’s music for the eerily meta Twin Peaks television series from 1990-91. Mostly instrumental but with a few vocals, like on the drifting and chilling “Into the Night,” the project allowed a fierce Jamie Stewart to play guitar or drums to Angela Seo’s keyboards and Shayna Dunkelman’s smashing, riveting percussion. She whacked mallets on vibes or slammed drums. With Twin Peaks slated to return to television on Showtime this year, Xiu Xiu has a hot concept more cutting-edge than retro, and knew it. It was a show infused with currency.

Compared to these two, the Magnetic Fields concerts at the Tennessee, presenting composer/singer Stephin Merritt’s year-by-year autobiographical songs on the band/art project’s new 50 Song Memoir, were more traditional. Merritt, after all, writes impossibly catchy pop tunes with witty lyrics that make you smile and laugh. What’s that doing at Big Ears?

But Merritt was downright subversive on stage, beginning with that low baritone/bass voice that can add such gravitas to even his lightest, loveliest songs. There was also, in new material like “Come Back as a Cockroach,” “I Think I’ll Make Another World” and “Eye Contact,” real bite and irony. He wasn’t just skimming the surface of his early years (I was only able to catch the first of his two Big Ears shows) for material, he was also humorously but resolvedly plumbing the emotional depths. He was being confessional yet novelistic.


He also was a very conceptual performer — in that regard, a natural fit at Big Ears. The stage set-up for his concert reminded me of the Broadway musical The Drowsy Chaperone. He sat inside a fanciful room-like set, maybe based on a childhood bedroom, wearing a garishly checked sweater and a mac. He made amusingly snarky between-song patter — he was the middle-aged man looking back with mixed emotions.

The five other musicians were positioned around and behind this prop, in an arc formation. They played an array of instruments that gave the sound satisfying coloration and power. Merritt, too, played instruments or otherwise manipulated sounds, and sometimes would do something surprising, like sing the unabashedly silly but joyful tune “Hustle 76.” This brought out the “bumpity bump” (as Merritt hailed it) in the Magnetic Fields’ sound. The second set, which got Merritt through year 25 in his life, was just as strong. This is a great album, probably one of the year’s best when final polls come out, and Merritt’s performance made you realize its quality.


By now, Merritt is an old pro. He’s 52, after all. But a couple truly old pros, both women, were the performers I’ll remember most.

The jazz composer and pianist Carla Bley, at age 80 looking as snazzy and stylish, with the same assured posture and black outfit as a decades-younger fashionable orchestra conductor, on Thursday night led the Knoxville Jazz Orchestra at the Tennessee Theatre through her big-band compositions. Her longtime bassist Steve Swallow and tenor saxophonist Andy Sheppard augmented the group, and the result for the most part was swinging yet prickly, as burrs and detours kept cropping up in the straight-aheadness. Her final composition, “The National Anthem,” was prefaced by her comment, “What better time?” (to play it). But despite its unorthodox yet welcome funkiness, it didn’t seem to leave as strong an impression as I desired. Maybe the times and the current president call out for the kind of state-of-emergency defiant approach Hendrix took to patriotic music at Woodstock. This wasn’t quite fiery enough — maybe Bley needs to compose an Escalator Over the Trump.


And the 74-year-old, pigtailed Meredith Monk (above) was spry and delightful enough a presence at the Bijou on Friday night to play Puck in a staging of A Midsummer Night’s Dream (as if her career and talents aren’t already varied enough). And her ever-present gracious smile could have illuminated even the top row of the theater’s otherwise-dark balcony.

Appearing with her Vocal Ensemble, her voice was in synch and in pitch with anything else on stage. She could duet with a revved-up monster truck if she wanted to. It is a marvelous instrument, whether she uses it for wordless vocalization or to comically, exaggeratingly lampoon in song a privileged older woman not prepared to die yet whose time has come.

Her concert included material from throughout her career. Her ease with “Click Song #1,” which she described as a “duet for solo voice” and which found her humming, clicking and puckering simultaneously, would make Tuvan throat singers envious.

And on “Choosing Companions” — from an opera, Atlas, that she composed in 1991 — Monk sat at the piano and sang haunting variations on the sound “day-o” by herself for a while. Then, Vocal Ensemble member Katie Geissinger came out, knocked on the piano to introduce herself, and began a short recitation of what I took to be an interpretation of Monk’s musical message. She soon joined Monk in singing, and the two communicated a call-and-response, point-and-counterpoint sensitivity to each other that elegantly pushed the song toward emotional breakthrough.

At one point, Monk told the audience about sitting in the New Mexican hot sun waiting for a musical idea, and you can see how that state’s artistic New Age exoticism could play a role in her vision. But there’s also a New Music progressivism, not unlike John Cage or Steve Reich, which incorporates Contemporary Art notions of modernism. She deserves all the recognition she can get as one of America’s singular composers and composers.

In past coverage, and at the beginning of this review, I’ve mentioned the Big Ears-Captain Beefheart connection. And also how Capps, at Big Ears, seems to be closer to someone like Rzewski than a raucous blues-rock iconoclast like Beefheart.

But another experimentalist whose name cropped up this year was Arthur Russell, an early proponent/practitioner of the kind of open-minded approach to music the festival favors.

He was a cellist drawn to experimentalism and minimalism, a friend of such other New York City classical music boundary pushers of the 1970s as Glass, Reich and Julius Eastman who also became interested in the conceptual rock of Talking Heads and Modern Lovers and the multi-rhythmic funkiness of disco. And he composed, sang and played cello on fragile, Nick Drake-like chamber-folk love songs like “A Little Lost.”

Always ahead of the curve, his death in 1992 passed with little attention. (He was just 40.) But his reputation has since grown — he was the subject of a 2008 documentary called Wild Combination. He was truly an artist with “big ears.” This festival, as it evolves, seems to be modeled on his vision of music.













PHOTO GALLERY: Wire Presents DRILL Los Angeles 3/30/17 – 4/2/17

Dates: March 30 - April 2, 2017

Location: The Echo, Los Angeles CA


As the poster above shows, it was considerably more than your typical run-of-the-mill American multi-band/multi-day music festival. More details as previously listed HERE.




Mike Watt w/Fitted



Once and Future Band


Youth Code




Mikal Cronin


Laetitia Sadier


Julia Holter





Fitted (pictured: Wire’s Graham Lewis; also in the supergroup were Bob Lee, Matthew Simms, and Mike Watt)


Bob Mould


Alina Bea




















Flaming Lips ATL 4-3-17 23

Survey says… yes, indeed we do! At venerable Atlanta venue the Tabernacle, Wayne Coyne & Co. made jelly out of the crowd’s collective brain…. Photo gallery follows the text. Wait, is that guy above naked?


The Flaming Lips is a legendary band that will take you on a magical journey throughout their show. The Lips proved it in Atlanta on a warm Spring night in an old church that is the iconic music venue Tabernacle. Literally, standing room only and we were all like a jar of pickles ready to explode, and then it happened, The Flaming Lips took the stage. A great roar from us all in attendance to what can only be describe as a uniquely creative experience. Gigantic inflatable mushrooms, strobe lights, confetti cannons, huge helium balloons floating throughout and the Lips front man, Wayne Coyne, conducting a musical journey.

This is how memories are made. People coming together to celebrate music. I’ve seen the Lips quite a bit and they are a band that doesn’t disappoint when performing live. It is almost like a psychedelic circus where imagination and creativity knows no boundaries. It is all wonderful.

Music is never lost by the wonderment of the psychedelic imagery projected on the screen behind the band or by the giant disco ball or even by the confetti falling. They are a rare band that incorporates creative genius and musical genius. This does not come along often enough in music in this present day. Yes, they have been around for years and yes they are a band that some say is the new Pink Floyd. Whether that is true is up to personal opinions. To me, they are and always will be the definition of creativity.

Rope lights that looks like fringe is lifted and lowered to the stage, at one point during the show while it is lowered to the stage a giant inflatable rainbow arch is lifted in it. Wayne Coyne is underneath and beautiful music is the result. Confetti cannons shoot confetti during the show and huge helium balloons float back and forth and the crowd helps in keeping them afloat. A few of the balloons burst and make a loud pop, but that does not stop the fun that we are having in the audience. Laser lights, strobe lights, even Wayne Coyne coming into the crowd riding on top of a mannequin horse wearing inflatable rainbow wings this is what dreams are made of. We were all amazed by this sight of him riding through the audience. A psychedelic dream came true from a band that will always be the band to see on everyone’s bucket list, my advice to you, Don’t Miss this Show!

Their new album is “Oczy Mlody” and is out now.

The band is wrapping up its tour TONIGHT, April 4, in St. Petersburg, Florida, at Jannus Live. Did you miss it?

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Social Distortion 3/30/17, Denver

Dates: March 30, 2017

Location: Ogden Theatre, Denver CO


First of two sold-out shows at The Ogden Theatre!


It had been a few years since I’d  last caught Southern California’s long-running punk/hard rock/bluesy Social Distortion.  Their shows are usually never much different than  the other, but always entertaining. They’ve been at it since the early 80’s when they first crawled out of Fullerton, CA (along with The Adolescents) with their classic debut Mommy’s Little Monster. Though it’s been six years since their last record, 2011’s Hard Times and Nursery Rhymes (Epitaph Records) the band has such a dedicated fan base that they can sell out two consecutive nights at the Ogden Theatre with no records in recent memory, as they did this time.

I caught the first night’s gig and leader Mike Ness still has his co-hort Johnny Two Bags on lead guitar while the rhythm section is Brent Harding on bass (he’s played with Deke Dickerson among many others and on a Ness solo record) and longtime L.A. musician David Hidalgo, Jr. on drums (son of the Los Lobos member and former drummer for Suicidal Tendencies, not sure what happened to Charlie Quintana???). [He left in 2009 and was replaced by Atom Willard, who was replaced by Scott Reeder, who in turn was replaced by Hidalgo in 2010. —Archives Ed.]

The band hit the stage early, 9:15 PM, and opened up with “I Was Wrong” (off 2006’s White Light, White Heat, White Trash which is one of their best records) and from there played a handful of tunes off a majority of their records (not sure we heard anything off of that classic debut I mentioned earlier).  They played fan favorites like “Bad Luck,” “Don’t Drag Me Down, “California (hustle and flow) “Ball and Chain” and “99 to Life,” among others.

While talking to the crowd Ness tossed out some of his opinions on the current adminitration  and stated, “These people don’t care about you or your grandparents!” He then mentioned that the band is working on new songs and played one of them, a bluesy number called “When You Your Burden Down.” After an hour or so the band walked off stage amid a ton of cheers (from the heavily sauced crowd, this bunch can drink) and came back out for a few encores including “Dear Lover” (also off White Light….)  and “Story of My Life” and called it a night.

Again, the band doesn’t play at the breakneck pace like they used to, but it doesn’t seem that their fans seem to mind. Ness could pretty much do and say anything and this fan base would still follow along and consider it gospel. He’s been at it for long enough, he’s earned his keep.

Photo is from 2011, via Wikipedia


Photos Gallery: Music From Big Pink and Beyond 3/25/17, Glendale CA

Dates: March 25, 2017

Location: Alex Theatre, Glendale, Calif.


Live at the Alex Theatre this past weekend, it was a songwriters’ songwriters love fest of epic proportions (what about those Continental Drifters!). According to the organizers: “Benefit-concert producers the Wild Honey Foundation present The Band’s first two records Music From Big Pink and The Band, plus bonus songs, performed by a star-studded house band and guest singers. The event will benefit the Autism Think Tank.”


Garth Hudson of The Band



Carlene Carter



David Baerwald



Gary Eaton



Jackson Browne



Jerry Riopelle



Julianna Raye



Keith Allison



Louise Goffin



Luther Russell



Morty Coyle



Carlo Nuccio & Peter Holsapple






Sarah Kramer



Steve Wynn



Susan Cowsill



Van Dyke Parks



Victoria Williams


Cindy Lee Berryhill


Peter Case


Rob Laufer


Robert Lloyd


Steve Barton


Syd Straw


Tara Austin


Terry Reid




Damn, It’s the Damned, Ready to Tour America


Trek kicks off next week in celebration of the punk band’s 1977 debut.


Ladies and gentlemen, The Damned are coming back to America to complete your Spring (or ruin your day). Yes, the iconic British punk band, at it for over 40 years now, will be doing a full tour of America, hitting just about every part of the country.

The tour begins on April 6th in Los Angeles and will end on May 21st in Phoenix, hitting parts far and wide; half of the dates will be with opening act Bleached, while the other half will have The Bellrays as support). See the itinerary, below.

The band, including co-founders Dave Vanian and Captain Sensible along with longtime members Monty Oxymoron, Andrew “Pinch” Pinching and Stu West, are celebrating the 40th anniversary of their debut lp, Damned Damned Damned and decided to throw a party, or several of them, of sorts. 7830627d4e434ab3912f6c58cca47b73

To say that the band’s classic debut (produced by Nick Lowe and the first British punk album) has been a huge influence on every punk band worth their salt is an understatement. With classics like “Neat Neat Neat,” “Fan Club,”  “New Rose” and too many others, the record rips from start to finish. Last month BMG released a special remastered edition of the record complete with a special booklet and liner notes by John Ingham, and thus the band decided to hit the road and show everyone how it’s really done.

In addition the band are working on a new record to be released later this year. It will be their first since 2008’s So, Who’s Paranoid?

Personally, the last time I caught the band was at Denver’s Riot Fest in 2015 and they delivered a stunning set complete with songs spanning their extensive catalog (I still think that they were the best band of that particular Riot Fest).

If you’ve never seen the Damned before or if you’ve seen them countless times this tour promises to be an event, so in the words of Classy Freddie Blassie, don’t miss it.

More details at the band’s official website, of course.

The Damned 2017 Tour Dates

4/06 – Los Angeles, Calif. @ Belasco Theater
4/07 – San Diego, Calif. @ House Of Blues
4/09 – Las Vegas, Nev. @ House Of Blues
4/11 – San Francisco, Calif. @ The Fillmore
4/12 – Sacramento, Calif. @ Ace Of Spades
4/14 – Portland, Ore. @ Crystal Ballroom
4/15 – Vancouver, British Columbia @ The Commodore
4/16 – Seattle, Wash. @ The Showbox
4/18 – Salt Lake City, Utah @ The Depot
4/19 – Denver, Colo. @ Summit Music Hall
4/21 – St. Louis, Mo. @ Delmar Hall
4/22 – Minneapolis, Minn. @ Fine Line
4/23 – Chicago, Ill. @ House Of Blues
4/24 – Louisville, Ky. @ Mercury Ballroom
4/26 – Indianapolis, Ind. @ Deluxe at Old National Ctr.
4/27 – Cincinnati, Ohio @ Bogart’s
4/28 – Cleveland, Ohio @ House Of Blues
4/29 – Detroit, Mich. @ St. Andrews Hall
4/30 – Toronto, Ontario @ Phoenix Theatre
5/02 – Montreal, Quebec @ Club Soda
5/04 – Boston, Mass. @ Paradise Rock Club
5/05 – Brooklyn, N.Y. @ Warsaw
5/06 – Asbury Park, N.J. @ Stone Pony
5/07 – Philadelphia, Pa @ TLA
5/09 – Baltimore, Md. @ Sound Stage
5/11 – Atlanta, Ga. @ Masquerade/Heaven
5/12 – Lake Buena Vista, Fla. @ House Of Blues
5/13 – St, Petersburg, Fla. @ State Theater
5/14 – Fort Lauderdale, Fla. @ Revolution
5/16 – New Orleans, La. @ House Of Blues
5/17 – Houston, Texas @ House Of Blues
5/18 – Dallas, Texas @ House Of Blues
5/19 – Austin, Texas @ Mohawk Outdoors
5/21 – Phoenix, Ariz. @ Marquee Theater