Gary Louris, co-founder and lead singer for the seminal alt-country band The Jayhawks, is no stranger to New York. He and The Jayhawks regularly play here, most recently at Irving Plaza last November. However, as a solo act, Louris hasn’t visited New York City in quite some time. I could be wrong, but from what I can tell the closest he’s come in the last 10 or so years was either Freehold, NJ or Woodstock, NY. So Saturday’s show at Brooklyn Made was a much anticipated evening for myself and like minded fans of Louris.
Unfortunately I arrived at Brooklyn Made too late to see the live debut of Gary’s son Henry, who is actually an artist in the paint and print world first and foremost and only recently started pursuing a musical career. Henry released his debut single called “Titanomachy” in January and says that he expects to be releasing his first full length LP sometime this spring.
I did manage to get to the venue in time to catch Steve Almaas’s set to which I was quite happy about. Steve, a veteran of both The Suicide Commandos, a relatively short lived punk rock band formed in 1975 that never gained all too much traction outside of their home city of Minneapolis, and The Beat Rodeo, a rootsy alt-country (before there was such a thing) band. Almaas’s set was an enjoyable pastiche of song and tales from his long life in the not so famous world of rock and roll. An affable stage presence made his set seem familiar despite my not knowing any of his actual solo work. His bringing Gary Louris out for a duet on Steve’s “Goodbye Nicolina” off of his most recent release Everywhere You’ve Beenwas definitely a nice touch to what was already a very good opening set.
Gary Louris would eventually take the stage without much fanfare and started things off with “Almost Home” the lead track off of his 2021 album, Jump For Joy. After the song, Louris reached to grab his 12 string guitar to which he said he was in a bit of a 12 stringy mood this evening, mentioning that it was a 1970 Guild 12 string which his “lovely” wife had bought him many years ago. It wouldn’t be long before we would discover that Gary’s wife was actually in attendance up in the balcony when she called out a line to The Jayhawks’s song “All The Right Reasons,” which Gary had stumbled upon.
That was the kind of night it would prove to be. Brooklyn Made is a pretty intimate room to begin with and the sociable, albeit sparse crowd made it feel even more so. I say sparse but must say that those who were there were clearly serious fans who were appreciative and respectful even if the mood in the room was one where a give and take from stage to audience and vice versa was quite prevalent, and as the evening progressed, quite fitting. Louris’s set was loose and informal— there were some forgotten words, a missed chord here or there and some technical issues with his six string’s power chord which in classic father-like fashion he blamed on his son Henry. But none of this mattered (to Gary or to those in the audience). It was this informality which gave the evening an almost “sitting in the living room listening to friends play songs” kind of feel. The evening was a perfect blend of solo material from the aforementioned Jump For Joy as well as 2018’s Vagabonds as well as a smattering of Jayhawks material, including a beautiful rendition of “Everybody Knows” which Louris originally wrote for The Chicks for their Taking The Long Way album and that The Jayhawks ended up including on their Back Roads and Abandoned Motels 2018 release. There was also an eclectic mix of covers thrown in for good measure.
To close out the evening Henry would eventually join his dad on stage for a handful of songs. The father and son would end up performing what might have been my highlight from the evening their cover of The Beatles’s “Dig a Pony”. Introduced as a throw away joke initially done on The Shitshow, a series of streaming living room jams that Gary and Henry did during quarantine, their version of the song was a perfect combination of comedy, spot on musicality and beautiful harmonies. (Head to @WaltzingPedicle on YouTube for the video). The show would be concluded with Gary and Henry’s take on “Tailspin” from The Jayhawks’s Rainy Day Music.
And just like that, a beautiful evening of music and camaraderie in a room full of friends who just happened to be strangers was brought to an end. Was it a polished night of music and song? Not even close, but that’s what made it all the more special. We all have our worts and blemishes and on this one chilly night in Bushwick Brooklyn, Gary Louris performed a fantastic set of tunes with no apprehensions about displaying his.
Scroll down for pics of the show (photos by Ray Rusinak)
Through no fault of their own, New Zealand’s The Beths have unfortunately not played here in New York all that much. First hitting our shores fresh on the heels of their debut full length, Future Me Hates Meback in the fall of 2018, Liz Stokes and The Beths played to sold out crowds at Mercury Lounge and Alphaville. Fortunate enough to have caught the Alphaville show, I came away saying to myself that this band was a sure bet.
Next time around there was no way they would be playing small DIY venues. Six months later, low and behold they were headlining another sellout crowd, this time at Music Hall of Williamsburg. Once again I was completely WOWED by the band. Whereas the Alphaville show presented a band still growing and learning how to play and perform on stage, the show at MHOW in March of 2019 displayed a band that had shaped itself into a serious performing act to behold. The band was scheduled to play an abbreviated US tour in April of 2020 where they would be playing small intimate venues prior to the release of their second LP, Jump Rope Gazers, which was slated for a July release. Well needless to say touring became a thing of the past in April 2020 and the tour along with the scheduled show in Brooklyn at Rough Trade (which had sold out in a matter of minutes) were scrapped.
Jump Rope Gazers was released in July 2020 right on schedule and displayed no sophomore slump whatsoever. The album, I’m sure, would have vaulted the band to that next level if the band had been able to tour behind it. Unfortunately for The Beths however, they were stuck in New Zealand which had effectively locked their country down. And when I say locked down, I mean locked down for REAL. But while we here in the States were fighting amongst ourselves over lockdowns, masks, mandates and our precious civil liberties, New Zealand proved to have pretty much sealed the virus out of their country and as such the band was able to do a certain amount of touring and live performing at home while the rest of the world hunkered down in their homes. In any event, The Beths were able to capture some of this live performing on 2021’s The Beths Live In Auckland 2020. The album (and its companion video) aptly captured what should/could have been.
Which brings us to The Beths FINALLY being able to celebrate their great second album on stage here in the States. Ironically enough, we even had to wait for this to happen yet again when their original January date at Webster was scrapped— thanks a lot Omicron. Fortunately this time it was only a month delay, but nonetheless when The Beths took the stage at Webster Hall on Wednesday night, opening with the opening track “I’m Not Getting Excited” off of Jump Rope Gazers, it was quite clear that the packed room of fans were as happy and ‘stoked” (pun intended) for The Beths to be back in New York as was the band itself. As someone who’s been going to shows at Webster going back to its days as The Ritz back in the early 80’s, I can say that the main floor has always bounced up and down along with enthusiastic fans as they dance and jump up and down to the music. This was however the first time I’ve ever experienced this phenomenon on the very first song of the evening. Not missing a single beat, Liz Stokes and the rest of the band (Jonathan Pierce on lead guitar and vocals, Ben Sinclair on bass and vocals and Tristan Deck on drums) ripped into a couple of fan favorites from Future Me Hates Me in “Not Running” and “Great No One” before playing their current single “A Real Thing” (presumably to be included on their upcoming LP which is supposedly completed).
One thing which has not changed at all about The Beths since they have grown from playing small DIY rooms to headlining rooms like Webster Hall is their genuine humility. Each and everyone one of the band members is clearly very much aware that they are lucky to be doing what they truly love and even luckier to be doing it for an ever growing fan base***. They bring an almost effervescent energy to their shows which bubbles over into the crowd. They are clearly having a lot of fun up on stage and when one witnesses that kind of exuberance it is only natural that it spills over to the audience who in Wednesday night’s case, despite the shoulder to shoulder lack of space, were absolutely having a complete and total blast.
[***Ed. note: Can 100% confirm this was true both on stage and off, I work at Webster Hall and sold merch at this show. The band was exceptionally awesome to the venue staff and Liz Stokes even taught us some NZ slang when she said merch load out was going “very cruisey” aka stress free. The band was very involved in all aspects of the behind the scenes stuff and it was very obvious that they were truly grateful to be there.]
The band managed to pack 14 songs into about an hour throughout the main portion of the set, split relatively evenly between their two albums. Sadly my only complaint about The Beths’ live shows in the past was their brevity and this seems to not have changed all that much this go around either. That being said, what the show lacked in longevity was more than made up for in its quality of material.
The Beths at Webster Hall
Which brings me to the fact that the band has gotten so damned good since the last time they were here. The jump in quality which I mentioned earlier between their visits in 2018 and 2019 has not at all slowed down. What especially stood out to me was the quality of the vocals and harmonies. This has always been a standout on the studio album recordings but now it is more than safe to say that at this point the band has gotten to where they can match those very same harmonies in a live setting just beautifully. The stretch of three songs to conclude the main set, “Whatever”, “Little Death” and “Future Me Hates Me” all from the first album had Stokes and the band clicking on all counts. Stokes’ phrasing and her ability to switch from her low key natural voice to her breathtaking falsetto was spot on. Meanwhile Pierce’s guitar solos were perfectly timed and I found them to be both understated yet totally captivating. All the while you had Deck and Sinclair providing a steady yet funky backboned rhythm section.
After a brief minute or two offstage, the band returned for an encore. While Stokes did joke with the audience when a request from a fan in the crowd for them to do their version of “Have Yourself a Merry Little Christmas” from their 2018 holiday release, the band proceeded to light it up with “River Run: Lvl 1” and “Dying To Believe.” All in all the show was near perfect and had this particular fan glowing. It was somewhere around midway through the set that the thought popped into my head that The Beths live show exudes “sunshine.” I’m not sure if it’s the girl group meets The Beach Boys kind of harmonies or the bubbly upbeat music itself but The Beths are a near perfect soundtrack for summer fun. And while Wednesday afternoon did have temps in the in 60’s, upon leaving Webster Hall, the crowd walked out to more February like 30 degree temps. But it was no worries because the warmth and sunshiny feelings that The Beths bestowed upon us would be more than enough to keep us glowingly warm and comfortable for our trips home.
Set list:
I’m Not Getting Excited
Not Running
Great No One
A Real Thing
Happy, Unhappy
Out Of Sight
Acrid
Jump Rope Gazers
Uptown Girl
When You Know, You Know
Mars, The God Of War
Whatever
Little Death
Future Me Hates Me
River Run: Lvl 1 (encore)
Dying To Believe (encore)
Scroll down for pics of the show (photos by Ray Rusinak)
FTHC (Frank Turner Hard Core) is the first actual new material we’ve gotten from Frank Turner since 2018’s Be More Kind. Of course there was 2019’s No Man’s Land, but the material for that album was actually written and recorded before Be More Kind. You see, after the 2016 American election, the world changed (most certainly not for the better) and Turner realized that he needed to address the state of America (and the world), so he decided to temporarily shelve No Man’s Land, his ode to historical women of the world and instead released his plea to mankind to be better, to be more kind. And then the pandemic struck and with England, along with pretty much the entire world shut down, Turner managed to release two collaborative albums in 2020. The first a split with NOFX called West Coast vs. Wessex where NOFX covered five Frank Turner songs and vice versa. Also released in 2020 was Turner and “buddy” Jon Snodgrass’s collaborative reprieve of their Buddies EP from 2013 called, you guessed it Buddies II (Still Buddies). Clearly, a lot of water has flowed under the bridge between Be More Kind and FTHC and Turner has made every attempt to cover as much of that water as he possibly could.
For those who read the title of the album with its inclusion of “hardcore” and were expecting Frank’s return to his Mongrel Horde days, the first track of the album certainly points squarely in that direction. “Non Serviam” kicks off with thrashing guitar chords, punctuated by a thunderous drum progression before Turner screams the opening lines:
I am the idiot
I was considerate
I thought things were different
But the dumb and degenerate
Can be so belligerent:
Aggressive illiterates
And this social barbiturate
Is cold and deliberate
A marketed cigarette
If you dare to be different
Good faith considerate
Then you are the idiot
The song is fast and furious and to put it lightly, angry. It seems very clear right from the outset that Turner is not happy with the ways of the world and while he’s mad as hell, he’s not going to take it.
Next up is “The Gathering” which was the first single from the album, released late last year. As a follow up to the opening track, “The Gathering” is almost a perfect segue. Forgoing the hardcore style of the former, “The Gathering” starts off and almost feels like a mid 70’s classic rock anthem. That is until you get to the bridge where things turn dark, real dark. Turner at this point begins to recite his mantra to what feels and sounds very much like it could be right out of the death metal album bin at your local record store. And then before you know it, the bridge is cut off with Ben Lloyd’s blazing guitar solo which only punctuates the death metal vibe coming across from the tune. With it’s almost satanic ritualistic vibe, “The Gathering” too is filled with anger but Turner successfully portrays it in quite a different manner.
And then BOOM, the third track on the album starts and Turner is right back into his classic wheelhouse. “Haven’t Been Doing So Well” sounds like it could musically fit in swimmingly on say, England Keep My Bones. That is as long as you don’t pay attention to the lyrics which are thematically right in lock step with the two previous tracks in their anger and frustration with the current world order.
‘Cause I’ve been messed up, stressed out, talking to myself again
Locked up, left out, terrified of everything
Wound up, found out, waiting around for something to give
“Untainted Love” is a song about addiction and ultimately redemption. This (at least as far as I’m aware) is not a topic which Turner has tackled in the past. Drug abuse and addiction don’t normally pop up in his songs but the subject is handled quite poignantly in this tune which musically brings to mind The Gaslight Anthem and The Menzingers specifically in the chorus.
Frank Turner at Crossroads, October 2021 (photo by Ray Rusinak)
As for track number five, “Fatherless,” I can remember when I heard it for the first time at Crossroads last October being completely blown away with the lyrical content of the song (See pics/writeup from that weekend). The song deals with another subject which Turner has somewhat avoided within his catalog of songs. He has spoken in the past about his abusive relationship with his father but the hatred which comes across in this tune is something to which fans of Turner’s music have not seen before. Starting off with just a solo piano reminiscent to The Beatles’ “Let It Be,” one is immediately lulled into a peaceful melancholy which is abruptly transformed when the newest member of his backing band, The Sleeping Souls, drummer Callum Green kicks into a syncopated drum run which is then followed by Turner singing the words:
And I cried myself to sleep each night
For three straight weeks ’til I was dead inside
But I’m not asking for your pity
It’s just that fairy tales about fathers make me angry
But this tale too ends in triumph with Frank repeating over and over “look at me now.” However, unlike “Untainted Love,” where you feel a happiness come over the narrator after their victory over substance abuse, one feels nothing but the very same pity that the singer claimed not to crave at the conclusion of this song.
“My Bad” continues with the same theme of the narrator of the song being sickened by his parents, striking out on his own and ultimately realizing that he can’t escape his bloodlines. It’s a classic sins of the father tale which comes to a conclusion with Frank angrily singing “I did not want to be my father’s son”.
Which brings us to what may be the most startling song in this collection especially given the two songs which precede it on the album. As it turns out Frank’s father, the protagonist of the two previous songs and the benefactor of their vitriol, is now “Miranda.” Having transitioned relatively recently, Turner and his father have, while not quite reconciling, certainly now have a relationship to which each is attempting to put the pieces of their torn lives together again.
And without missing a beat, the beautiful closing words “Miranda, it’s lovely to meet you” are met head on with the words “I spoke with Scott last night” as the next song “A Wave Across A Bay” begins. As he did with “Long Live The Queen” from Love Ire and Song so many years ago, Turner takes the tragic death of a dear friend (in this case Frightened Rabbit’s Scott Hutchinson) and turns it into a beautiful eulogy which no doubt will become the emotional highpoint to future Frank Turner live performances.
Listen to “A Wave Across A Bay”
“Resurrectionists” follows and while it is a very good song, I just don’t think it fits in thematically with what has preceded it. The tune itself, at least to my ears, would have been a great song to juxtapose his “1931” on Be More Kind. It would have been a perfect fit for that album whereas on FTHC, it just feels a tad out of place.
“Punches” is a song right out of the classic Frank Turner mold of sing along anthems. It no doubt will be a favorite of those who frequent the pit at Turner’s concerts. “The Perfect Score” has had me transfixed mainly because of the use of the guitar riff following each of the verses. While it’s not anything virtuosic, it just makes for a really nice vibe. While writing this I’ve been scratching my head trying to figure out what it reminds me of and I realized that The Beths do the same kind of riffing post verse on their song “Future Me Hates Me.” And while the two have their similarities as far as the riff goes, “Perfect Score” is most certainly a song unto itself.
I have to wonder if the Turner who wrote the words to “Photosynthesis” (on Love Ire and Song) back in 2008, where he’s complaining about all his friends being married with mortgages and pension plans, could have possibly foreseen the future Frank who would write a song like “The Work,” where he extolls the virtues of cleaning the garage and doing the laundry. No doubt quarantine had to have been a strange process for Turner. He not only had to stop touring (something to which he pretty much has constantly done the past 10 years) but he was also relatively newly wed when the pandemic struck. “The Work” is a prototypical Turner vignette about his new found need to give and take in his relationship with his wife. This theme is expanded further in “Little Life” where Turner expounds on the quieter, slower, calmer life to which he now leads.
Which brings us to what I think might be the most interesting song on the album, “Farewell To My City.” In this one, Turner takes us on the meandering road trip of how he has managed to find himself where he is today. Starting out with a talking/ranting style which immediately brings to mind his good friend Micah Schabel. Turner and Schnabel had been on tour together when Covid first struck and then when Micah and his partner, artist Vanessa Jean Speckman, found themselves stranded in England for some time, they were welcomed to stay with Frank and his wife Jess Guise. I’ve no doubt that the time spent together was a learning experience for both songwriters. Bottom line being, while “Farewell” and its (not quite) talking blues style is a departure for Turner, on this one it clearly works.
So there you have it, my track by track breakdown of Frank Turner’s new release FTHC. All in all, as an avowed Turner fan, I am totally digging this release. Having heard quite a bit of it beforehand between seeing a handful of his live shows this past fall as well as the previously released singles, it is certainly refreshing to see an artist buck the trend of releasing the best song(s) from an album beforehand only to be let down upon the release of the entire LP. This is definitely not the case with FTHC. The one thing which I find most refreshing about the album is that while Turner does in fact break out of his traditional mold, even when he’s trying something new, the songs still reflect an air of familiarity.
FTHC is available now via Xtra Mile/Polydor and available on all streaming platforms.
What a pleasant surprise to wake up on New Year’s Day only to discover that The Homeless Gospel Choir and Teenage Halloween had released a new split of two new songs each on Don Giovani Records. I say, “pleasant surprise,” but quite honestly anyone who’d actually been paying attention to their socials shouldn’t have been surprised at all since both bands had either hinted or flat out stated that there would be something new out on the first.
The Homeless Gospel Choir’s pair of songs, “Harrisburg Shoes” and “Pittsburgh Shoes,” seem to me to be Derek Zanetti’s obvious nod to their moving to Harrisburg from their lifelong home of Pittsburgh during the pandemic. The songs go much deeper however and appear to be tropes for Zanetti’s dealing with the loneliness and isolation which the pandemic has wrought on all of us.
“Harrisburg Shoes” opens with anthemic guitar chords blaring, followed by booming drum beats before Zanetti sings “and just like that it begins, we’re singing for your suffering.” The song itself could be pure power pop if the band was more jingle jangle and less in your face reverb, but nonetheless it works perfectly. Homeless Gospel Choir is a punk band and this song rocks like any punk song should. There’s even a nice homage to the ultimate punk band, The Clash, in the middle of the song where Zanetti sings, “I’m all lost in the superspreader rhetoric.”
Next up is “Pittsburgh Shoes” which starts out with a slow early 1960’s retro vibe bringing to mind the musical soundtrack of American Graffiti (and I mean that in a 1000% good way). The first 40 seconds of the song deals with what so many of us felt during the pandemic with words like “sitting in your room and every day just feels the same.” But then Derek and crew (Maura Weaver, Megan Schroer, Craig Luckman, and Matt Miller) take the song to a more upbeat place (at least musically), and all of a sudden the listener finds themselves immersed in a distortion fueled, thunderously loud guitar punk rock song. And lyrically too, the tone changes as the song’s protagonist realizes that the sun will rise through the gloom and that real friends made along the journey WILL be there for them…and of course they will be “PLAYING THEIR KAZOOS.”
The Homeless Gospel Choir performing in 2019 (photo by Ray Rusinak)
It appears that the use of shoes in both of these songs is a beautiful metaphor for needing to accept change, to embrace change and ultimately use change as a bridge to the past. It came down to needing new shoes in order to get to a new place (beginning) in Harrisburg, PA and then upon finding themselves there, they needed another pair of shoes that would allow them to ultimately make the journey back to their beloved Pittsburgh.
To this one particular listener, these two songs from Homeless Gospel Choir just might be some of the best stuff Zanetti has ever put out. And I for one can’t wait for their new album to drop.
The flip side to this split consists of two ragers from Philadelphia’s (by way of Asbury Park) queer punks Teenage Halloween. Their first song, “Floating,” starts out fast and furious and from there never misses a beat. What appears to be a break up song upon early listens with the catchphrase “I don’t want your empty promise, I don’t need your easy fix,” it appears upon further listening to be a retort to present day politicians as well; especially when you realize that the response to the previous refrain is “I wanna burn the city down.”
Musically the band embraces all kinds of styles in less than two minutes, something which might turn off some listeners as a band trying to do too much all at once. But in this instance, I didn’t feel this to be the case at all. Quite the contrary, the varying styles blend together seamlessly, with the tune starting out with a classic pop punk structure before climbing into an almost ska like rhythm for the bridge and then we get a scorching psycho-billy guitar riff before we fall back to the pop punk ending of the song.
Teenage Halloween performing in 2019 (photo by Kate Hoos)
The final song on the split is entitled “Burn,” and as the title suggests it is a burner. Again, Teenage Halloween manages to pack a whole lot into a mere 1:50 minutes of music. The opening notes of keyboards lull us into thinking we might be getting a slow ballad, but this lasts all of three seconds before singer Luk Henderiks begins belting out with their raspy vocals. Listening to “Burn,” you can almost feel how much fun this song is going to be in a live setting, yelling the words along with the band.
All in all, this split EP shows great promise of things to come in hopefully the not too distant future from both Homeless Gospel Choir as well as Teenage Halloween. Now we can only hope that this damned pandemic burns itself out so that we can get to see both of these bands (amongst many others of course) live once again.
The Homeless Gospel Choir/Teenage Halloween split EP is available now from Don Giovanni and on all major streaming platforms.
It’s been quite some time since Bully graced a stage here in New York. The last time was back in the fall of 2018 when they were part of The National’s “There’s No Leaving New York” festival which took place at Forest Hills Stadium. I didn’t make it to that show but I had seen them earlier in 2018 when they played in a tiny room over at the now defunct House Of Vans. So needless to say, even without the pandemic, I was more than ready to get my Bully fix on when Alicia Bognanno and band pulled into Brooklyn to play The Brooklyn Bowl.
Quite a lot of water has traversed under the bridge since those shows in 2018. First, Bully as an actual band is no more. Bully is now pretty much a vehicle for Bognanno’s solo work and the touring band she is out on the road with right now doesn’t include anyone from the 2018 version besides Alicia herself. She has also gone through some heavy duty personal stuff throughout the last couple of years as well. She is now sober, so this and her brief summer tour are the first times being on the road with no alcohol. Bognanno has said this in and of itself was a challenge which she is finding to be much easier than initially expected. Also, while she was diagnosed with Bipolar 2 disorder back in 2016, she is just coming to grips with it since the pandemic. (Read more about her journey in this interview Bognanno did with Inlander back in September.) This is quite evident with the material on her third album, SUGAREGG, which was released in 2020 on Sub Pop records.
The band hit the stage and as expected at any Bully show, Bognanno came out ripping. They opened with the first song off of SUGAREGG, “Add It On.” With her bleached blonde hair flying every which way, Alicia roared the lyrics “WAKE UP…DON’T WANT TO WAKE UP!” an autobiographical nod to her mental health issues. From here we got a taste of “Six,” off the band’s first album, 2015’s Feels Like. Next up was one of my favorite Bully songs, “Feel The Same,” off of their sophomore album (and debut for Sub Pop), Losing. The song starts off with a driving bassline which fellow Nashville musician, touring bassist Nick Byrd, took to another level before the crashing guitar chords took over and finally leading into Bognanno scream/singing of the repeated chorus, ”I FEEL THE SAME, SAME, SAME…”
Bully at Brooklyn Bowl
The band slowed things down next with the slower Nirvana-esque “Trash” from their debut album. Then came the first single which was released from SUGAREGG last year, the Chumbawamba “Tub Tumping” inspired “Where To Start,” and the whole Tub vibe was even more pronounced (and let’s face it, fun) than even on the album.
The rest of the set was heavy on the SUGAREGG material with just the right amount of older material mixed in for good measure. Of particular note was Bully’s latest stand alone single which was released last week, called “Just For Love.” The song came off much more melodic and hooky than what we’ve come to be familiar with and it sounded great!
Closing out the set with “Milkman” seemed like a perfect way to end what was a roller coaster of a set. Filled with manic screaming, scorching guitar chords and gut wrenching tender emotion. And then who would have ever thought that Bully would be able to pull off an encore cover of Mazzy Star’s epic “Fade Into You.” And let me tell you, even though I’d never have guessed it, Alicia nailed Hope Sandoval’s dreamy brooding magnum opus.
Scroll down for pics of the show (photos by Ray Rusinak)
