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Shannon & the Clams

Shannon & the Clams

Latest Release

  • Onion

    Available February 16
    The Oakland-based, indie garage punk quartet Shannon & the Clams, known for a diverse sound that incorporates elements of doo-wop, early rock & roll, classic R&B, garage psych, and surf rock as influences, releases its fifth album, Onion, in early 2018, this time working with producer Dan Auerbach and Easy Eye Sound.
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Artist detail page Biography

about Shannon & the Clams

It wouldn't be wrong to say that Shannon & the Clams was formed by accident. Just outside the invisible borders of Oakland's warehouse music scene, Shannon Shaw was absorbed in studying illustration at California College of the Arts, a 100-year-old institution that draws freaks into the city from across the country. For many, the school serves as a gateway into the sprawling music underground that agitates beneath the Bay Area, as a hub for fliers for illegal parties in backyards, basements, and overpasses.

During a bout of depression, Shannon took up a neglected bass guitar that had been a gift from an ex-boyfriend years earlier and played it for the first time, writing in a raw and untrained way. The urge to perform these songs soon took her to open mic nights around the East Bay.

"It was the perfect outlet," Shannon says. "I never thought I'd be someone who played music, but one day I picked up this bass and started writing songs. I became addicted to it. It became my focus."

Word got around that she was performing and the instigators of art school...

It wouldn't be wrong to say that Shannon & the Clams was formed by accident. Just outside the invisible borders of Oakland's warehouse music scene, Shannon Shaw was absorbed in studying illustration at California College of the Arts, a 100-year-old institution that draws freaks into the city from across the country. For many, the school serves as a gateway into the sprawling music underground that agitates beneath the Bay Area, as a hub for fliers for illegal parties in backyards, basements, and overpasses.

During a bout of depression, Shannon took up a neglected bass guitar that had been a gift from an ex-boyfriend years earlier and played it for the first time, writing in a raw and untrained way. The urge to perform these songs soon took her to open mic nights around the East Bay.

"It was the perfect outlet," Shannon says. "I never thought I'd be someone who played music, but one day I picked up this bass and started writing songs. I became addicted to it. It became my focus."

Word got around that she was performing and the instigators of art school parties, always hungry for new talent, convinced Shannon to throw a band together and play. It worked, and it pushed her to aim higher, but the band was only meant to be temporary. Now, ten years later, her path has revealed itself and Shannon & the Clams are releasing their fifth album, Onion, this time collaborating with producer Dan Auerbach and his label Easy Eye Sound.

Over the last decade, Shannon and her chief collaborator, guitarist Cody Blanchard, have released four albums of '60s-inspired pop on indie labels, toured tirelessly and have gradually solidified a lineup of devoted Bay Area musicians, Nate Mahan on drums and Will Sprott on keyboards. Nate has played keyboard, guitar and drums in various Bay Area bands for a decade, and Will has served as front man and songwriter for his band the Mumlers and more recently his solo project, Will Sprott, releasing records on his own Hairdo Records. In this current iteration, Shannon & the Clams have developed notoriety for lively and genuine stage performances and a zealous following that craves their particular authenticity and innovation on classic sounds. Their last record, Gone by the Dawn, arrived in fall 2015 and took them to Coachella and Hardly Strictly Bluegrass in the year following. On the album you can hear the band progressing from straight 60s-inspired rock and exploring their taste for psychedelic, dramatic throwback pop.

Shannon & the Clams had already begun writing for the Onion sessions in fall 2016, when their world was rattled by the Oakland Ghost Ship warehouse fire in early December. A total perspective shift followed and the writing changed direction. In the wake of the fire, the band looked backward at their origins in the Oakland underground and the importance of that world to their genesis. From where they now stood, they could recognize the community as a delicate incubator for fringe art, an unstable but nurturing place for performers to practice and cross-pollinate where there otherwise is no platform.

In January 2017, the band flew together to Nashville and over the course of ten days, fleshed out their songs with Auerbach at his Easy Eye Studio, where he helped refine and embellish the songs and steer the album. "He works in this very layered style," Cody says. "He has all these instruments in the studio mic'd up at all times, ready to go. You can go back and add all these layers of instruments really fast and then cut stuff away in the mix."

With Shannon and Cody focused on pinning down the meat of the songs and tracking vocals, multi-instrumentalists Nate and Will were free to compose arrangement and accompaniment ideas and background vocals. They explored the studio's wealth of instruments and tapped into their own years of songwriting experience to ornament and color the tracks and lend a refined ear in the control room.

The song "Backstreets" is Cody's response to the Ghost Ship fire, and particularly the issues of artist housing and being forced to make your own way in a society that is not arranged to accommodate artists. Album closer "Don't Close Your Eyes" is Shannon's response, an inspirational ballad urging those suffering through loss to not give up in the midst of tragedy. The theme of origin and introspection had already been at play on the album before the shift of focus to the warehouse fire in December, and other songs on the record deal heavily with self-searching and looking backward, but on a more personal level; discovering our own individual origins and the path that has led us sometimes haphazardly to where we find ourselves, from childhood to now.

"I had this epiphany that was likening an onion to being human and how you're nothing without layers of experience," Shannon says. "Each time you have an experience it creates another layer in the onion. And that layer sticks with you forever and other layers grow on top of it, sometimes unevenly. When you get introspective and try to unravel yourself, you're digging through the layers. Every time you think you've figured something out there's just another layer beneath it. And I wondered, what happens when you get to the bottom, the center, the beginning of everything when there are no layers? Is there anything left at all? It's a bottomless endless chase of getting to know yourself. Each song on this album is about problem solving and having realizations about yourself."

"People say that artists are blessed with talent and live enchanted lives," says Cody. "In truth, being an artist is excruciating and there is no clear path for you. It is a struggle to find your purpose and support yourself while scratching that endless itch inside your head. A lot of people don't make it, lose their minds, more or less, to depression, anxiety, resentment, drugs, as a side effect of that struggle."

"It's Gonna Go Away," is the album's biggest stylistic departure, mixing elements of soul, disco, R&B, psychedelia, the Zombies, chanting and baroque. It was written by Shannon and muses on the notion that all in life is temporary, the good and the bad, and finding comfort in that. Album opener "The Boy" is quintessential Clams. Written by Cody, it is a heavily 60s rock inspired track with a mournful hook that speaks about the way childhood experiences stick with and shape you, for better or worse, and hang around forever like baggage until you choose to lose them.

"I hope my lyrics can be an entry point for people into introspection and self-analysis," says Cody. "There's a stigma around it and there's so much distraction available, but you've got to sort through the chaos of your personality. I hope people hear what I'm singing and give themselves permission to look around inside their own heads."

"It's okay for people to interpret the songs," Shannon says. "You can put your own story into it if that helps you heal. I just want people to feel something, whatever it is. When I'm performing I make a point to always go back to the place emotionally of when I wrote the song and tap back into it. I try to stay really connected to the original feeling and I hope people can see that. I feel like people appreciate our genuineness. That's the thread we've been able to keep this whole time and we'll always stay true to that.

TOUR DATES

Videos

PRESS RELEASE


  • For Immediate Release                                                                                  December 7, 2017

    SHANNON & THE CLAMS ANNOUNCE NEW ALBUM ONION VIA EASY EYE SOUND, OUT FEBRUARY 16

    DEBUT NEW VIDEO FOR ALBUM’S FIRST SINGLE, “THE BOY” VIA NOISEY TODAY

    ON TOUR WITH DAN AUERBACH & ROBERT FINLEY BEGINNING FEBRUARY 16TH

     

    Shannon & The Clams will release their fifth studio album, Onion, via Dan Auerbach's Easy Eye Sound label on February 16th. Today, the band debuts their music video for Onion’s lead single, “The Boy,” directed by Ryan Daniel Browne via Noisey who call the song “a sparkling, hook-laden track that immediately gets under your skin with its wall-of-sound chorus, rife with crisp guitar strums, cascading riffs, and raw harmonies led by vocalist-guitarist Cody Blanchard.” Watch “The Boy” here. Onion is available for pre-order on CD, vinyl, and digitally here.

    Onion, produced by The Black Keys front man Dan Auerbach at his Nashville studio, finds a finely tuned and tour-tested band stretching out from the 60s-inspired, surf inflected rock that has defined their previous releases, and delves into genres including soul and psychedelic pop. On their new LP, the band explores themes of origin and self-determination, loss and recovery, and the power of community to heal after tragedy. “It’s okay for people to interpret the songs,” Shannon Shaw says. “You can put your own story into it if that helps you heal. I just want people to feel something, whatever it is.”

    Recently, the band has been confirmed as openers for the 20-date “Easy Eye Sound Revue Tour,” with Dan Auerbach, Shannon Shaw, and Robert Finley. The extensive North American tour will kick off on February 10 in Vancouver with stops in Brooklyn, Portland, Austin, Seattle, Los Angeles, Nashville and more (full dates below). Tickets for this tour are on sale now and can be purchased here.

    Shannon & The Clams recorded Onion over ten days in early 2017 at Dan Auerbach’s Easy Eye Sound Studio in Nashville, where he helped refine and embellish the songs and steer the album. “He works in this very layered style,” Cody says. “He has all these instruments in the studio mic’d up at all times, ready to go. You can go back and add all these layers of instruments really fast and then cut stuff away in the mix.” With Shannon and Cody focused on pinning down the songs and tracking vocals, Nate and Will dug into the studio’s wealth of instruments, tapping into their own years of songwriting and multi-instrumental experience to ornament and color the tracks, which lead to the band’s most nuanced and layered album to date.

    The themes of origin and introspection are central to Onion, and each song wrestles with the idea of identity, and identity’s origin as a collection of experiences. “I had this epiphany that was likening an onion to being human and how you’re nothing without layers of experience,” Shannon says, “Every time you think you’ve figured something out there’s just another layer beneath it.  Each song on this album is about problem solving and having realizations about yourself.” Album opener “The Boy” is quintessential Clams. Written by Cody, the track speaks about the way childhood experiences stick with and shape you, for better or worse, and hang around forever like baggage until you choose to lose them. “It’s Gonna Go Away,” written by Shannon, is the album’s biggest stylistic departure and muses on the notion that all in life is temporary, the good and the bad, and finding comfort in that.

    Shannon & The Clams had already begun writing for the Onion sessions in Fall 2016, when their world was rattled by the Oakland Ghost Ship warehouse fire in early December. In the wake of the fire, the band looked back at their origins in the Oakland underground and the importance of that world to their genesis. They could recognize the community as a delicate incubator for fringe art, and an unstable but nurturing place for performers to practice and cross-pollinate where there otherwise is no platform. The song “Backstreets” is Cody’s response to the Ghost Ship fire, and particularly the issues of artist housing and being forced to make your own way in a society that is not arranged to accommodate artists. Album closer “Don’t Close Your Eyes” is Shannon’s response, an inspirational ballad urging those suffering through loss to not give up in the midst of tragedy.

    Over the last decade, Shannon and her chief collaborator guitarist Cody Blanchard have released four albums of 60s-inspired pop on indie labels, toured tirelessly and have gradually solidified a lineup of devoted Bay Area musicians. In this current iteration, Shannon and the Clams, consisting of Shannon Shaw on bass and vocals, Cody Blanchard on guitar and vocals, Nate Mahan on drums, and Will Sprott on keyboards, have developed notoriety for lively and genuine stage performances and a zealous following that craves their particular authenticity and innovation on classic sounds.

    Onion Track Listing

    1. The Boy
    2. It’s Gonna Go Away
    3. Backstreets
    4. If You Could Know
    5. I Never Wanted Love 
    6. Onion
    7. Did You Love Me
    8. Love Strike
    9. I Leave Again
    10. Tryin’
    11. Tell Me When You Leave
    12. Strange Wind
    13. Don’t Close Your Eyes

     

    Dan Auerbach & the Easy Eye Sound Revue featuring Robert FinleyShannon Shaw with special guests Shannon & the Clams

    February 10 /// Vancouver, BC /// Vogue Theatre

    February 11 /// Portland, OR /// Crystal Ballroom

    February 12 /// Seattle, WA /// The Showbox

    February 14 /// San Francisco, CA /// The Fillmore

    February 17 /// Los Angeles, CA ///  The Wiltern

    February 18 /// Santa Ana, CA /// The Observatory

    February 19 /// San Diego, CA /// The Observatory North Park

    February 20 /// Phoenix, AZ /// The Van Buren

    February 22  /// Dallas, TX /// Canton Hall

    February 23 /// Austin, TX /// Stubb’s Waller Creek Amphitheater

    February 25  /// Nashville, TN /// Ryman Auditorium

    March 24 /// Philadelphia, PA /// Union Transfer

    March 25 /// Boston, MA /// House of Blues

    March 27 /// Brooklyn, NY /// Brooklyn Steel

    March 28 /// Port Chester, NY /// The Capitol Theatre

    March 29 /// Toronto, ON /// Danforth Music Hall

    March 31 /// Cleveland, OH /// Agora Theater

    April 02 /// Chicago, IL /// Riviera Theatre

    April 03 /// St. Paul, MN /// Palace Theatre

    April 04 /// Kansas City, MO /// The Truman

    April 05 /// Denver, CO /// Paramount Theatre

    For more information, please contact Mary Moyer (mary@qprime.com) or Emilio Herce (emilio@qprime.com) at Q Prime 212.302.9790.

Press Photos

reviewerWEA's picture
on December 4, 2017 - 5:47pm

It wouldn't be wrong to say that Shannon & the Clams was formed by accident. Just outside the invisible borders of Oakland's warehouse music scene, Shannon Shaw was absorbed in studying illustration at California College of the Arts, a 100-year-old institution that draws freaks into the city from across the country. For many, the school serves as a gateway into the sprawling music underground that agitates beneath the Bay Area, as a hub for fliers for illegal parties in backyards, basements, and overpasses.

During a bout of depression, Shannon took up a neglected bass guitar that had been a gift from an ex-boyfriend years earlier and played it for the first time, writing in a raw and untrained way. The urge to perform these songs soon took her to open mic nights around the East Bay.

"It was the perfect outlet," Shannon says. "I never thought I'd be someone who played music, but one day I picked up this bass and started writing songs. I became addicted to it. It became my focus."

Word got around that she was performing and the instigators of art school parties, always hungry for new talent, convinced Shannon to throw a band together and play. It worked, and it pushed her to aim higher, but the band was only meant to be temporary. Now, ten years later, her path has revealed itself and Shannon & the Clams are releasing their fifth album, Onion, this time collaborating with producer Dan Auerbach and his label Easy Eye Sound.

Over the last decade, Shannon and her chief collaborator, guitarist Cody Blanchard, have released four albums of '60s-inspired pop on indie labels, toured tirelessly and have gradually solidified a lineup of devoted Bay Area musicians, Nate Mahan on drums and Will Sprott on keyboards. Nate has played keyboard, guitar and drums in various Bay Area bands for a decade, and Will has served as front man and songwriter for his band the Mumlers and more recently his solo project, Will Sprott, releasing records on his own Hairdo Records. In this current iteration, Shannon & the Clams have developed notoriety for lively and genuine stage performances and a zealous following that craves their particular authenticity and innovation on classic sounds. Their last record, Gone by the Dawn, arrived in fall 2015 and took them to Coachella and Hardly Strictly Bluegrass in the year following. On the album you can hear the band progressing from straight 60s-inspired rock and exploring their taste for psychedelic, dramatic throwback pop.

Shannon & the Clams had already begun writing for the Onion sessions in fall 2016, when their world was rattled by the Oakland Ghost Ship warehouse fire in early December. A total perspective shift followed and the writing changed direction. In the wake of the fire, the band looked backward at their origins in the Oakland underground and the importance of that world to their genesis. From where they now stood, they could recognize the community as a delicate incubator for fringe art, an unstable but nurturing place for performers to practice and cross-pollinate where there otherwise is no platform.

In January 2017, the band flew together to Nashville and over the course of ten days, fleshed out their songs with Auerbach at his Easy Eye Studio, where he helped refine and embellish the songs and steer the album. "He works in this very layered style," Cody says. "He has all these instruments in the studio mic'd up at all times, ready to go. You can go back and add all these layers of instruments really fast and then cut stuff away in the mix."

With Shannon and Cody focused on pinning down the meat of the songs and tracking vocals, multi-instrumentalists Nate and Will were free to compose arrangement and accompaniment ideas and background vocals. They explored the studio's wealth of instruments and tapped into their own years of songwriting experience to ornament and color the tracks and lend a refined ear in the control room.

The song "Backstreets" is Cody's response to the Ghost Ship fire, and particularly the issues of artist housing and being forced to make your own way in a society that is not arranged to accommodate artists. Album closer "Don't Close Your Eyes" is Shannon's response, an inspirational ballad urging those suffering through loss to not give up in the midst of tragedy. The theme of origin and introspection had already been at play on the album before the shift of focus to the warehouse fire in December, and other songs on the record deal heavily with self-searching and looking backward, but on a more personal level; discovering our own individual origins and the path that has led us sometimes haphazardly to where we find ourselves, from childhood to now.

"I had this epiphany that was likening an onion to being human and how you're nothing without layers of experience," Shannon says. "Each time you have an experience it creates another layer in the onion. And that layer sticks with you forever and other layers grow on top of it, sometimes unevenly. When you get introspective and try to unravel yourself, you're digging through the layers. Every time you think you've figured something out there's just another layer beneath it. And I wondered, what happens when you get to the bottom, the center, the beginning of everything when there are no layers? Is there anything left at all? It's a bottomless endless chase of getting to know yourself. Each song on this album is about problem solving and having realizations about yourself."

"People say that artists are blessed with talent and live enchanted lives," says Cody. "In truth, being an artist is excruciating and there is no clear path for you. It is a struggle to find your purpose and support yourself while scratching that endless itch inside your head. A lot of people don't make it, lose their minds, more or less, to depression, anxiety, resentment, drugs, as a side effect of that struggle."

"It's Gonna Go Away," is the album's biggest stylistic departure, mixing elements of soul, disco, R&B, psychedelia, the Zombies, chanting and baroque. It was written by Shannon and muses on the notion that all in life is temporary, the good and the bad, and finding comfort in that. Album opener "The Boy" is quintessential Clams. Written by Cody, it is a heavily 60s rock inspired track with a mournful hook that speaks about the way childhood experiences stick with and shape you, for better or worse, and hang around forever like baggage until you choose to lose them.

"I hope my lyrics can be an entry point for people into introspection and self-analysis," says Cody. "There's a stigma around it and there's so much distraction available, but you've got to sort through the chaos of your personality. I hope people hear what I'm singing and give themselves permission to look around inside their own heads."

"It's okay for people to interpret the songs," Shannon says. "You can put your own story into it if that helps you heal. I just want people to feel something, whatever it is. When I'm performing I make a point to always go back to the place emotionally of when I wrote the song and tap back into it. I try to stay really connected to the original feeling and I hope people can see that. I feel like people appreciate our genuineness. That's the thread we've been able to keep this whole time and we'll always stay true to that.

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PRESS RELEASE: 


For Immediate Release                                                                                  December 7, 2017

SHANNON & THE CLAMS ANNOUNCE NEW ALBUM ONION VIA EASY EYE SOUND, OUT FEBRUARY 16

DEBUT NEW VIDEO FOR ALBUM’S FIRST SINGLE, “THE BOY” VIA NOISEY TODAY

ON TOUR WITH DAN AUERBACH & ROBERT FINLEY BEGINNING FEBRUARY 16TH

 

Shannon & The Clams will release their fifth studio album, Onion, via Dan Auerbach's Easy Eye Sound label on February 16th. Today, the band debuts their music video for Onion’s lead single, “The Boy,” directed by Ryan Daniel Browne via Noisey who call the song “a sparkling, hook-laden track that immediately gets under your skin with its wall-of-sound chorus, rife with crisp guitar strums, cascading riffs, and raw harmonies led by vocalist-guitarist Cody Blanchard.” Watch “The Boy” here. Onion is available for pre-order on CD, vinyl, and digitally here.

Onion, produced by The Black Keys front man Dan Auerbach at his Nashville studio, finds a finely tuned and tour-tested band stretching out from the 60s-inspired, surf inflected rock that has defined their previous releases, and delves into genres including soul and psychedelic pop. On their new LP, the band explores themes of origin and self-determination, loss and recovery, and the power of community to heal after tragedy. “It’s okay for people to interpret the songs,” Shannon Shaw says. “You can put your own story into it if that helps you heal. I just want people to feel something, whatever it is.”

Recently, the band has been confirmed as openers for the 20-date “Easy Eye Sound Revue Tour,” with Dan Auerbach, Shannon Shaw, and Robert Finley. The extensive North American tour will kick off on February 10 in Vancouver with stops in Brooklyn, Portland, Austin, Seattle, Los Angeles, Nashville and more (full dates below). Tickets for this tour are on sale now and can be purchased here.

Shannon & The Clams recorded Onion over ten days in early 2017 at Dan Auerbach’s Easy Eye Sound Studio in Nashville, where he helped refine and embellish the songs and steer the album. “He works in this very layered style,” Cody says. “He has all these instruments in the studio mic’d up at all times, ready to go. You can go back and add all these layers of instruments really fast and then cut stuff away in the mix.” With Shannon and Cody focused on pinning down the songs and tracking vocals, Nate and Will dug into the studio’s wealth of instruments, tapping into their own years of songwriting and multi-instrumental experience to ornament and color the tracks, which lead to the band’s most nuanced and layered album to date.

The themes of origin and introspection are central to Onion, and each song wrestles with the idea of identity, and identity’s origin as a collection of experiences. “I had this epiphany that was likening an onion to being human and how you’re nothing without layers of experience,” Shannon says, “Every time you think you’ve figured something out there’s just another layer beneath it.  Each song on this album is about problem solving and having realizations about yourself.” Album opener “The Boy” is quintessential Clams. Written by Cody, the track speaks about the way childhood experiences stick with and shape you, for better or worse, and hang around forever like baggage until you choose to lose them. “It’s Gonna Go Away,” written by Shannon, is the album’s biggest stylistic departure and muses on the notion that all in life is temporary, the good and the bad, and finding comfort in that.

Shannon & The Clams had already begun writing for the Onion sessions in Fall 2016, when their world was rattled by the Oakland Ghost Ship warehouse fire in early December. In the wake of the fire, the band looked back at their origins in the Oakland underground and the importance of that world to their genesis. They could recognize the community as a delicate incubator for fringe art, and an unstable but nurturing place for performers to practice and cross-pollinate where there otherwise is no platform. The song “Backstreets” is Cody’s response to the Ghost Ship fire, and particularly the issues of artist housing and being forced to make your own way in a society that is not arranged to accommodate artists. Album closer “Don’t Close Your Eyes” is Shannon’s response, an inspirational ballad urging those suffering through loss to not give up in the midst of tragedy.

Over the last decade, Shannon and her chief collaborator guitarist Cody Blanchard have released four albums of 60s-inspired pop on indie labels, toured tirelessly and have gradually solidified a lineup of devoted Bay Area musicians. In this current iteration, Shannon and the Clams, consisting of Shannon Shaw on bass and vocals, Cody Blanchard on guitar and vocals, Nate Mahan on drums, and Will Sprott on keyboards, have developed notoriety for lively and genuine stage performances and a zealous following that craves their particular authenticity and innovation on classic sounds.

Onion Track Listing

  1. The Boy
  2. It’s Gonna Go Away
  3. Backstreets
  4. If You Could Know
  5. I Never Wanted Love 
  6. Onion
  7. Did You Love Me
  8. Love Strike
  9. I Leave Again
  10. Tryin’
  11. Tell Me When You Leave
  12. Strange Wind
  13. Don’t Close Your Eyes

 

Dan Auerbach & the Easy Eye Sound Revue featuring Robert FinleyShannon Shaw with special guests Shannon & the Clams

February 10 /// Vancouver, BC /// Vogue Theatre

February 11 /// Portland, OR /// Crystal Ballroom

February 12 /// Seattle, WA /// The Showbox

February 14 /// San Francisco, CA /// The Fillmore

February 17 /// Los Angeles, CA ///  The Wiltern

February 18 /// Santa Ana, CA /// The Observatory

February 19 /// San Diego, CA /// The Observatory North Park

February 20 /// Phoenix, AZ /// The Van Buren

February 22  /// Dallas, TX /// Canton Hall

February 23 /// Austin, TX /// Stubb’s Waller Creek Amphitheater

February 25  /// Nashville, TN /// Ryman Auditorium

March 24 /// Philadelphia, PA /// Union Transfer

March 25 /// Boston, MA /// House of Blues

March 27 /// Brooklyn, NY /// Brooklyn Steel

March 28 /// Port Chester, NY /// The Capitol Theatre

March 29 /// Toronto, ON /// Danforth Music Hall

March 31 /// Cleveland, OH /// Agora Theater

April 02 /// Chicago, IL /// Riviera Theatre

April 03 /// St. Paul, MN /// Palace Theatre

April 04 /// Kansas City, MO /// The Truman

April 05 /// Denver, CO /// Paramount Theatre

For more information, please contact Mary Moyer (mary@qprime.com) or Emilio Herce (emilio@qprime.com) at Q Prime 212.302.9790.

Press Photos: 
Photo Credit: 
Alysse Gafkjen
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