Category: News

Minneapolis quartet Vial make raucous punk rock that sounds like something that would have been on the iconic (to me at least) 2012 compilation The Thing That Ate Larry Livermore. They’re the type of band you’d see in a basement and leave saying “they’re going to do big things.” The band’s debut full-length Loudmouth was released earlier this year, expanding on their vision and illustrating a bright future for the band.

To celebrate Loudmouth, KT Branscom and Taylor Kraemer sat down to talk Warped Tour, Twilight, and grandma’s cooking in the latest Indie Mixtape 20 Q&A.

What are four words you would use to describe your music?

Cathartic, unapologetic, fun, and rebellious.

It’s 2050 and the world hasn’t ended and people are still listening to your music. How would you like it to be remembered?

Best consumed in a group of friends in a car, screaming the words out open windows.

What’s your favorite city in the world to perform?

We have never performed outside of Minneapolis really, but a dream location to play would be London.

Who’s the person who has most inspired your work, and why?

I’d say either Rex Orange County or Sidney Gish. They’re very different musicians style-wise, but their lyrical content is always inspiring me.

Where did you eat the best meal of your life?

My grandma’s house. No one can beat her cooking.

What album do you know every word to?

Frankie Cosmos — Next Thing

What was the best concert you’ve ever attended?

Probably Warped Tour! I went from 2016-2019 and every year was great.

What is the best outfit for performing and why?

A dress with biker shorts underneath! Nice and breezy, moveable, and comfortable!

Who’s your favorite person to follow on Twitter and/or Instagram?

I love following the band Hoity-Toity because they both make amazing music and they’re hilarious on social media.

What’s your most frequently played song in the van on tour?

We’ve never toured! But we most frequently listen to “King For A Day” by Pierce The Veil to get hyped for shows.

What’s the last thing you Googled?

I think it was a cheat that I needed to use in The Sims to manually give my sims money.

What album makes for the perfect gift?

I would kill to be gifted a My Chemical Romance album. Specifically Three Cheers For Sweet Revenge.

Where’s the weirdest place you’ve ever crashed while on tour?

We’ve never toured! But when we went to Rochester, Minnesota, for a festival, we camped out in our friend’s parents’ backyard.

What’s the story behind your first or favorite tattoo?

My first tattoo was a stick n poke that I did on my finger. It’s faded now, unfortunately, but it was my first ever tat. My favorite tattoo is my only “real” tattoo which is a melting Frankenstein skull.

What artists keep you from flipping the channel on the radio?

Any local band-friends of ours! Otherwise, also Fleetwood Mac, Joanie Mitchell, Lizzo, Mitski, and Lil Nas X!

What’s the nicest thing anyone has ever done for you?

My bandmates put together a faux graduation ceremony for me since I graduated high school in the middle of the pandemic. It was a complete surprise filled with snacks, gifts, and so much love! I almost cried it made me so happy!

What’s one piece of advice you’d go back in time to give to your 18-year-old self?

You can’t control how/what people think about you, so don’t lose your mind over it.

What’s the last show you went to?

Our show with Gully Boys, Bugsy, and Dad Bod at Fine Line!

What movie can you not resist watching when it’s on TV?

Any Twilight film or Good Burger.

What would you cook if Obama were coming to your house for dinner?

Unsure how to feel about a dinner with Obama, but if it were dinner with, perhaps, Lizzo: Definitely a nice citrus-y risotto.

Loudmouth is out now via Get Better Records. Pick it up here.

In the video for “Chad,” the latest single from Isaiah Rashad’s long-awaited comeback album The House Is Burning, the Chattanooga rapper asserts his stardom alongside fellow Chat-town native YGTUT. Employing the “video shoot at a gas station” trope that has become so popular over the past year, Rashad fills the video with cameos from his friends in the music business. The cameos include Aminé, who appears as a delivery man, Denzel Curry, who maintains the gas station sign, and Dominic Fike, who appears to be assisting Rashad’s TDE cohort Jay Rock in some shady business. In addition, many members of the TDE posse show up, including new signee Ray Vaughn and Reason.

The video arrived just in time to highlight TDE’s next generation of stars as Kendrick Lamar departs the label after over a decade of partnership. Rashad recently had to clear up a fan misconception that one of his recent tweets dissed Kendrick for leaving; after a subtweet to his ex was interpreted as a shot at Kendrick, Isaiah deleted the tweet and explained the context on The Breakfast Club. It appears there isn’t really any bad blood between them, and Top Dawg himself wished the Compton rapper well in his future endeavors.

Isaiah, meanwhile, has been hard at work promoting his new album, releasing videos for “Runnin,” “Wat U Sed,” “From The Garden,” and now, “Chad” in relatively rapid succession while preparing to head out on Lil Sunny’s Awesome Vacation tour this month.

Watch the video for “Chad” above.

Isaiah Rashad is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

It was almost the perfect crime until 24-year-old Chloe Mzorak forgot one small detail: How to spell “Moderna.” The Illinois native was arrested in Hawaii after entering the state with a fake vaccine card, which was flagged after she attempted to duck the state’s mandatory 10-day quarantine by claiming she was vaccinated. One look at her card, which listed her vaccine as “Maderna,” proved that was clearly not the case, but by that point, she was already on the island and ducking authorities. However, Mzorak eventually had to fly home, and that’s when she was snatched up at the airport, according to KHON2 News:

After finding her profile on Facebook, the special agent determined that Mrozak had a distinctive tattoo on her left hip. On Aug. 26, he met with other special agents with the Quarantine Compliance Check (QCC) Team to discuss her case. The team believed she would return home via Southwest Airlines and not American Airlines since majority of the flights are purchased as round-trip tickets to reduce the cost.

“It was a joint effort that we were able to locate her, and found out when she was leaving even though she was evasive about her lodging location.” Special Agent Lau said.

News of Mzorak’s caper quickly reached Twitter and caused “Maderna” to trend as the jokes start pouring in:

While most Twitter users got a kick out of “Maderna,” others noticed another glaring tidbit about Mzorak’s vaccine card. She claimed to have been vaccinated by the… NRA?

Remember, kids, spelling is your friend.

(Via KHON2 News)

Earlier in the summer, Bachelor — aka the collaborative project between Palehound‘s Ellen Kempner and Jay Som‘s Melina Duterte — released their debut album Doomin’ Sun. Now, the duo have shared a standalone single, “I See It Now.” A gentle, lo-fi track, “I See It Now” plays out over a hushed, dissonant melody as Kempner and Duterte harmonize about insecurity with a sexual partner.

They share about the track in a press release:

“Back in January when Bachelor was filming our music videos for Doomin’ Sun, we found ourselves with a day to kill at Ellen’s house in Poughkeepsie. Ellen had assembled a small recording setup in her basement that she was mystified by and still figuring out how to work so we decided to record a song to mess around with the gear. Melina wrote the creepy intro keyboard part and we built the song from there. What came was ‘I See It Now,’ a kind of lethargic muse on sexual regret and insecurity.”

Back in May, Uproxx spoke to Bachelor about the band’s genesis. Duterte told us, “We came up with that because I love the ABC show The Bachelor. I’m really obsessed and I think at the time I was really into the current season. I knew everything about it and I would force Ellen to watch it with me. But I think it was actually Ellen’s idea to name the band Bachelor because it’s cute. It’s the opposite of what we are, it’s very strange sounding. You picture a cis guy in a suit. And we’re just, like, really gay and not that.”

Listen to “I See It Now” above.

The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.

24-year-old songwriter Indigo De Souza isn’t defined by any one thing. Though she grew up in a tiny conservative town in North Carolina, her vibrant style and open-mindedness prove she’s anything but a small-town girl. When it comes to her music, De Souza doesn’t stick to just one genre. Her sophomore album Any Shape You Take moves fluidly from sparkling pop to somber suburban emo, mimicking how each song encapsulates a range of emotions from heartbreak and loss to unbridled love and endless joy.

Any Shape You Take was born out of a period of intense loss and existential crisis. But rather than let her experiences spiral into Nihilistic tendencies, De Souza was instead reborn with eternal compassion for both herself and those around her. Exploring this newfound tenderness, Any Shape You Take details love in all its forms, surveying the importance of self-love, platonic love, and romantic love in her life. “I was inspired by the idea that real and healthy love is when someone loves you through all of the changes that you undergo,” De Souza said over the phone ahead of her album’s release. “And whether you’re heavily in their life or not, they still have this place of love and acceptance for what you are and what you’re becoming.”

De Souza hasn’t always felt the warmth of love and acceptance. Growing up in a conservative town of just over 2,000 people with a boundary-pushing visual artist mom, De Souza oftentimes felt out of place. “It felt as if something was very wrong with us,” she recalled. “Visually, it was so obvious that we were the only people that were adorned with these colors and these crazy things.” At the time, her shyness wasn’t helped by her mom’s fearless and unapologetic individuality. De Souza recalls being picked up from school in a beat-up pickup truck outfitted with naked Barbie dolls and plastered with the names of countries America has bombed over the years. Or, the times her mom would display her sex-positive Kama Sutra-inspired cartoons to conservative community members, who would promptly leave the gallery disgruntled.

Upon reflection, De Souza is grateful for her mom’s lessons of defiant self-expression. She now translates this to music through the clever use of her voice as an additional instrument. Her Auto-Tuned vocals on the album-opener “17” distort and bend over a synth’s low hum before a bouncing beat catapults the song into a glistening pop tune. On “Real Pain,” De Souza’s yelps and wails mirror her lyrics’ mournful breakup ruminations. During the song’s bridge, the choral screams of her fans can be heard, who submitted intimate voice recordings to her over the pandemic. Screeching guitars melt into the ear-piercing shrieks of collective pain, creating a cacophony of unsettling noise that acts as a relatable metaphor for the past year.

Along with using her voice in inventive ways, De Souza is unafraid of honesty in her lyrics. Her song “Pretty Pictures” describes an unglamorous breakup story more common than popular romance movies lead us to believe, detailing a relationship that slowly fizzled out instead of ending in an explosive argument. Other songs like “Die/Cry” tackle the sometimes frightening feeling of intense love for a partner. Repeating the mantra, “I’d rather die than see you cry,” De Souza grapples with a love so overwhelming that she’d sooner put herself in harm’s way than see the other person discouraged.

De Souza detailed her creative decisions in a conversation ahead of the release of Any Shape You Take, discussing how her childhood, existential crises, and important relationships led to the creation of her captivating sophomore album.

As I understand, you grew up in a small town with less than 2,000 people. I can imagine that wasn’t the easiest environment to be raised in. What was that like for you?

Definitely not ideal. It was just very limiting and the people were not very accepting. There was an energetic idea that I needed to be a certain way to be accepted there. Rather than explore any expression that I wanted to, I didn’t feel free to do that, or uplifted to do that. Yeah, I think that was my main qualm with it. And I don’t think I even really knew that that was happening, or that I was being limited in that way until I left.

Was it a culture shock of sorts when you moved to Asheville? Or was it mostly a positive experience?

It definitely was a culture shock, but also a very, very positive culture shock. I realized for the first time [my town] was not the whole world and that people outside of Spruce Pine were very different, and that affected me very positively. I felt much freer to express myself. I felt celebrated. I rose to the occasion. I remember making a lot of new friends and feeling like my world had gotten much bigger and that there were many more possibilities.

You’ve talked a few times about how a lot of this album was inspired by existential crises that you had, the idea of mortality being one of them. What was that experience like?

I had a series of existential crises when I was in my teenage years. And it started with this one instance where I was at a festival with my mom and my mom was dancing under this light, this little canopy thing where people would play music. I was watching her dance and I noticed all of her bones moving underneath her skin as she was dancing. A little later, I gave her a massage and she was bouncing my arms because her body was hurting. I just became suddenly aware of the make-up of her body physically, and how fragile she was.

That woke me up. It almost felt like I was tripping on psychedelics, but I was actually not, I was just going through a series of cut-tos where I realized how sad I was gonna be when she died. And then I realized how sad I was going to be when I lost anyone that I love. And that I was absolutely going to lose everyone that I love and that everyone I love is going to lose everyone they love. We will all be experiencing loss throughout our whole lives, but at the same time, a lot of love. It triggered this awakening where I started to see things in a different way. I started to feel more grounded and more aware of people’s mortality and people’s humanity and I just started to see people with a lot more compassion and a pure sense of sadness for everyone that we are all going to have to weather so many losses. That’s with me every day.

On ‘Real Pain,’ you had fans send you voice memos of their screams. What was the original idea behind that?

I had thought of it before the pandemic, but I also didn’t have as many listeners. During the pandemic, I had a surge in listeners and people following along with what I was doing when I realized I didn’t have that many recordings. I also didn’t really know what I wanted to do with them fully yet, I just felt called to collect them for something on the album. And then, during the pandemic, it just kind of all came together. I realized exactly what I wanted to do with them. It felt so much more powerful to collect some more recordings from people who are all experiencing the pandemic. I wanted to know what was going on with them and how it was feeling for them. It was crazy to get those recordings, they were all so heavy. Some of them were just really funny.

Did some people talk to you in the voice recording and give you a message? Or was it mostly just people screaming?

Some people talked to me and some people just sent recordings but then attached a personal letter. It was interesting because some of the recordings that people sent were old recordings that they had on their phones for a while. Like, ‘I’ve had this recording of me having a mental breakdown in my car for years. I don’t really know why I even recorded myself. But this is the perfect thing to give it to and thank you for this.’ Those ones were the most excruciating to hear for sure. It was cool though because I really relate to that. I do that so much, I’ll just record things. I have a recording in my phone from a breakup. I’m just crying and explaining to my future self why I broke up with that person so that I don’t forget because I knew that I would forget and spiral back to them. That recording helped me to stay in line.

Speaking of that, you wrote “Kill Me” a while ago as a stream of consciousness that you recorded on your laptop and then revisited a year later. What was it like to listen to that after being more removed from that situation?

It’s was wild. The recording is a video. I was just kind of slumped over. It’s really darkly lit and I’m on the floor with my guitar lazily singing this string of words that are all rhyming and really dark. When I watched it, I was wild because I didn’t remember doing it but knew it was me singing the words. It felt like something I had done from a very deep state of the subconscious.

Did you surprise yourself by listening back and hearing some of those lyrics?

Yes. I remembering thinking, ‘This is really dark but also this is sick because this is a whole song.’ I was just writing down all the lyrics as I was listening. Then I started playing it live with a band and we added a chorus because at first, it was just a long run-on sentence with all the verses stringed together.

I love how your song “Hold U” is an ode to love and friendship. What was your inspiration behind the song?

I wrote the song a while ago. I was in a relationship with someone who was really special to me in many different ways. I was so amazed by how love can be so many different things and can change and take many forms with a person. You can choose to honor all the different forms that it takes. It can sometimes be romantic, or can sometimes be platonic, and there doesn’t need to be a limit to the ways that you could feel about a person.

For the video, I felt I should involve the community around me that is so vibrant and beautiful. It really reflects that idea. All of the people in the video are my community and my friends. They’re just so sweet to each other. I get emotional when I watch the video too because we barely directed them much. We were kind of all just having a good time and doing what we always do. It was also filmed in my house, in my bedroom, and in all those spaces so it felt very personal.

Is there a specific track on the album that holds a special place in your heart?

Probably “Real Pain” because I’m always trying to connect with my audiences. Music gives me the opportunity to help people feel seen even though I can’t personally meet them and be a part of their lives, water a relationship with them, and create a safe space for them to be. But music gives me an opportunity to create that through sound. That song feels really special because I did what I am trying to do with music.

Any Shape You Take is out now via Saddle Creek. Get it here.

Slowly but surely, Lil Nas X has been unveiling more info about his upcoming album Montero. He revealed last week that the album is currently set for a September 17 release, and not long after that, she shared the cover art. The rapper teased yesterday that that tracklist would arrive today, and this morning, he tweeted, “posting tracklist in a little bit. ahhh my balls are tingling and trembling. i’m so excited.”

Now, the tracklist has arrived, and of course, it includes recent singles “Montero (Call Me By Your Name),” “Sun Goes Down,” and the Jack Harlow collaboration “Industry Baby.” Beyond that, though, it will also include features from Doja Cat, Elton John, Megan Thee Stallion, and Miley Cyrus. All in all, the project spans 15 tracks and runs for about 43 minutes.

Check out the Montero tracklist below.

1. “Montero (Call Me By Your Name)”
2. “Dead Right Now”
3. “Industry Baby” Feat. Jack Harlow
4. “That’s What I Want”
5. “The Art Of Realization”
6. “Scoop” Feat. Doja Cat
7. “One Of Me” Feat. Elton John
8. “Lost In The Citadel”
9. “Dolla Sign Slime” Feat. Megan Thee Stallion
10. “Tales Of Dominica”
11. “Sun Goes Down”
12. “Void”
13. “Don’t Want It”
14. “Life After Salem”
15. “Am I Dreaming” Feat. Miley Cyrus

Montero is out 9/17 via Columbia Records. Pre-save it here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Piers Morgan’s feeling vindicated today after a long and winding road, so let’s recap a little bit. Back in March, he stormed off the set of Good Morning Britain (and he later quit the job) when confronted by a co-host about the seemingly personal nature of Piers’ beef with Meghan Markle, who he briefly hung out with and seemed miffed about when she stopped calling. He proceeded to trash Meghan and Prince Harry after they spoke with Oprah Winfrey to tell-all on the allegedly racist remarks that Meghan received from a member of the Royal Family.

Piers vigorously defended his Queen and branded Meghan as a liar (even over her claims of suicidal thoughts), and after his on-set tantrum, British regulator Ofcom received a record number of viewer complaints about Piers’ remarks, and after several months, it seems that Ofcom has cleared Piers of wrongdoing. According to the BBC, those complaints (including some from the Duchess of Sussex herself) regarding suicide weren’t enough to tip the scales against Piers’ former employer, ITV:

Ofcom said its decision was “finely balanced”, but that ITV had “provided adequate protection to viewers from potentially harmful and highly offensive statements about mental health and suicide”.

The 57,793 complaints – the highest in Ofcom’s 18-year history – related to Good Morning Britain on 8 and 9 March, the mornings before and after the Oprah interview with Meghan and Harry was broadcast in the UK.

And Piers is now crowing over what he sees as a victory. “I’m delighted OFCOM has endorsed my right to disbelieve the Duke & Duchess of Sussex’s incendiary claims to Oprah Winfrey, many of which have proven to be untrue,” he tweeted. “This is a resounding victory for free speech and a resounding defeat for Princess Pinocchios.” Naturally, he added, “Do I get my job back?”

Uh, your move, ITV? The provocateur has been digging at ITV over falling ratings in the aftermath of his departure, although there’s been no official word on whether they want to go there again. if they do extend an offer, Piers will make sure that everyone knows what’s happening, as soon as he knows. In the meantime, he’s still got that Daily Mail column, so he’ll probably talk about this subject there, too.

(Via BBC)

The Atlanta Hawks aren’t letting their starting center go anywhere any time soon. According to a report by Adrian Wojnarowski of ESPN, Atlanta and Clint Capela came to terms on a contract extension that will keep the team’s defensive anchor and one of Trae Young’s favorite lobs threats with the franchise through the 2024-25 campaign.

Wojnarowski reports that the extension adds two years onto Capela’s current contract and will pay him $46 million over those last two seasons. Capela is about to enter year four of a five-year, $90 million extension he originally signed with the Houston Rockets.

The Hawks acquired Capela in 2020 just before the trade deadline as the Rockets decided to go all-in on small ball. While an injury and the NBA’s shutdown due to the COVID-19 pandemic meant he did not play for Atlanta that season, Capela made his debut at the start of the 2020-21 campaign. He was a crucial part of the team’s surprising run to the Eastern Conference Finals, cleaning up misses and serving as one of the league’s best lob catchers on offense and providing his usually stout defense. On the year, Capela averaged 15.2 points in 30.1 minutes per game while averaging career-best marks in rebounding (14.3 a night) and shot blocking with two a game.

The Fall TV season officially starts with Netflix’s streaming lineup for September.

A host of returning favorites, including the final seasons of Lucifer, Money Heist, and Dear White People, drop this month, along with more comedies like Sex Education’s third season and the latest animated Netflix original Q-Force bringing the laughs. For anyone looking for some horror recs — we know, we’re ready for Halloween too — Mike Flanagan’s Midnight Mass looks sufficiently creepy.

Here are the best new shows coming to Netflix this September.

(For a round up of the best new movies coming to Netflix this month, head here.)

Q-Force (streaming 9/2)

This new animated series from Netflix follows the story of Steve Maryweather (AKA Agent Mary) who’s a star of the American Intelligence Agency until he comes out of the closet. Forced to take a sh*t job in West Hollywood, Agent Mary assembles his own squad of Queer heroes, taking on cases that finally earn him some respect within the agency. As a reward for his good work, he’s saddled with every Gay’s worst nightmare — a straight white guy. Everyone from David Harbour to Wanda Sykes lends their voice to this wildly funny romp.

Lucifer: Season 6 (streaming 9/10)

We have it on good authority that this will be the true final season of the devilishly fun detective series and, as such, expect things to get even weirder and way more emotional. Plenty of bittersweet goodbyes, perhaps another musical number — there’s a lot to look forward to but the biggest question remains. How will the devil fare now that he’s playing God, and will Deckerstar get their HEA?

Sex Education: Season 3 (streaming 9/17)

A new school year at Moordale brings new characters, new relationships, and, hopefully, no new Chlamydia outbreaks. Jemima Kirke comes on board to play the school’s latest headmistress who has big plans for revamping the institution’s image. Meanwhile, Eric and Adam navigate their now-official romance, Otis starts having casual sex, Aimee discovers feminism (and vulva cupcakes) and Maeve’s lost voicemail is still out there somewhere.

Money Heist: Season 5 (streaming 9/3)

The end of the greatest heist in history is almost here. The first half of the show’s two-part finale drops this month and this crew of thieves is in really bad shape. Failed escape plans, the loss of one of their own, and a powerful new enemy all threaten to derail their getaway strategy.

The Circle: Season 3 (streaming 9/8)

A new season of this social-media-obsessed reality show lands on the streamer bringing a new crop of prospective catfish-ers and their gullible marks.

Dear White People: Season 4 (streaming 9/22)

The final season of this dramedy promises to be an Afro-futuristic and ’90s-inspired musical event that follows the students’ senior year at Winchester before jumping ahead to a post-pandemic future.

Midnight Mass (streaming 9/24)

The Haunting of Hill House creator Mike Flanagan delivers a new spine-chilling thriller with this story about an isolated island community thrown into chaos by the return of one of its own and the arrival of a mysterious priest. Zach Gilford plays a disgraced town member who returns home just as a newcomer, Father Paul, begins to exert his influence over the island. Strange miracles and a religious fervor grips the community, causing everyone to question their own beliefs and realities.

Playboi Carti is returning to the road this autumn for the first time since his headlining tour in 2018 and this time, he’s touching down at stadiums. The Narcissist Tour will kick off in mid-October in Nashville and conclude just before Christmas in Carti’s hometown, Atlanta, Georgia. Carti is also teasing something coming September 13 with posts captioned “Narcissist,” which could mean a full album dropping just ahead of the tour. If so, it’ll be just about 10 months since the release of Whole Lotta Red, his quickest turnaround between albums so far (Whole Lotta Red dropped over two years after Die Lit).

Check out the full tour schedule below.

10/14 — Nashville, TN @ Municipal Auditorium
10/15 — Charlotte, NC @ Bojangles Coliseum
10/17 — Gainesville, FL @ Stephen C. O’Connell Center
10/19 — Miami, FL @ James L. Knight Center
10/20 — Orlando, FL @ Orlando Amphitheater
10/22 — New Orleans, LA @ Champions Square
10/23 — Houston, TX @ NRG Arena
10/24 — San Antonio, TX @ Freeman Coliseum
10/26 — Austin, TX @ H/E/B Center
10/27 — Oklahoma City, OK @ Zoo Amphitheatre
11/2 — Allen, TX @ Allen Event Center
11/4 — El Paso, TX @ UTEP Don Haskins Center
11/5 — Mesa, AZ @ Mesa Amphitheatre
11/6 — Inglewood, CA @ The Forum
11/9 — San Diego, CA @ Sycuan Stage
11/11 — San Francisco, CA @ Bill Graham Civic Auditorium
11/13 — Portland, OR @ Theatre of the Clouds
11/14 — Everett, WA @ Angel of The Winds Arena
11/15 — Vancouver, British Columbia @ PNE Forum
11/18 — Salt Lake City, UT @ The Great Saltair
11/19 — Morrison, CO @ Red Rocks Amphitheater
11/23 — Minneapolis, MN @ The Armory
11/24 — Chicago, IL @ Credit Union 1 Arena
11/26 — Milwaukee, WI @ Eagles Ballroom
11/27 — St. Charles, MO @ The Family Arena
11/28 — Independence, MO @ Cable Dahmer Arena
11/30 — Indianapolis, IN @ Indiana Farmers Coliseum
12/1 — Cincinnati, OH @ BB&T Arena
12/2 — Canton, OH @ Canton Civic Center
12/4 — Detroit, MI @ Masonic Temple
12/5 — Pittsburgh, PA @ UPMC Event Center
12/7 — Lowell, MA @ Tsongas Center
12/8 — Rochester, NY @ Main Street Armory
12/9 — Toronto, Ontario @ Coca/Cola Coliseum
12/10 — Columbus, OH @ Nationwide Arena
12/14 — Hartford, CT @ XL Center
12/16 — Kingston, RI @ Ryan Center
12/17 — Brooklyn, NY @ Barclays Center
12/18 — Washington, D.C. @ DC Armory
12/19 — Philadelphia, PA @ Liacouras Center
12/21 — Norfolk, VA @ Chartway Arena
12/22 — Greensboro, NC @ Special Events Center
12/23 — Atlanta, GA @ State Farm Arena