Ciggy, an experimental artist, based out of Brooklyn, US, released a debut single named Cassiopeia. Ciggy presents a smooth beat that utilises elements of lo-fi and hip-hop mixed with a euphonious vocal tone which is delightful to the ear. Having presented Cassiopeia, we will be eager to see what is next for Ciggy, an artist for the future.
You can stream Cassiopeia via Spotify here.
The pop landscape changed significantly during the 2010s. On the one hand, pop as we know it ceased to be the dominant genre in the mainstream, and was instead overthrown by the new wave of trap-leaning hip-hop. Pop music was still, well, popular, but for the most part, pop artists didn’t enjoy the same kind of commercial success in the charts as they used to, and when they did, it often came in the form of mind-numbingly asinine singles by artists like Ed Sheeran and Justin Bieber (two artists who came together in 2019 for ‘I Don’t Care’, a song that seemed to epitomize everything that was wrong with contemporary pop). On the other hand, the rising tide of poptimism within the critical sphere led to a much-needed reappraisal of pop music, which was still seen as inferior and less authentic in many ways than more “serious” genres. It was in this climate that pop artists began to step out of their comfort zone, leading to more experimentation in the genre, and ultimately, more interesting, genuine, and artistically compelling music.
Instead of focusing merely on making great hits, more and more mainstream pop artists utilized the full-length album as a medium for artistic expression and storytelling, which was something quite rare in previous decades. This was especially the case in the latter half of the 2010s, as 8 out of 10 of the albums on this list came out during this period. It might just be recency bias, but 2019 was also a particularly strong year for pop – if I’d replaced two of these albums with records their respective artists released this year (which I easily could have, considering their quality), 2019 releases would have made up half of the list. It’s also worth noting that 9 out of 10 albums were made by female artists, particularly young female artists, which is perhaps reflective of the critical reevaluation that (female) youth culture has undergone in the 2010s.
There was one clear rule I set for myself: only one album per artist. But what made compiling this list difficult wasn’t so much picking the right albums as much as deciding what was even eligible, what could be considered pop. Somehow, an album by FKA twigs felt more pop than an album by Lana Del Rey, even though the latter is definitely considered more of a pop star. Perhaps that’s because as artists began to push their sound forward (or in strange directions), the boundaries between pop and indie, mainstream and experimental, became increasingly blurred. But that’s also exactly what made pop so exciting in the 2010s. From Robyn to Billie Eilish, it felt like the genre had been set free.
Ariana Grande has been, without a doubt, one of the most prominent pop figures of the decade. Some might even call her the last true pop star of her calibre – after all, who else with such a traditionalist, Max Martin-backed approach to pop managed to survive the radical changes the mainstream music landscape underwent in the 2010s? Even though she’s still just 26 years old, her sound kept growing and maturing with each new release, culminating in her most personal and introspective effort yet, thank u, next. It’s the result of a truly tumultuous string of events – first, the terrorist attack during the Manchester concert of her 2017 Dangerous Woman tour, her engagement with comedian Pete Davidson, then the tragic death of her ex-boyfriend Mac Miller, and her subsequent break-up with Davidson. While 2018’s Sweetener is undoubtedly an admirable and occasionally great record that features some of Ariana’s best hits to date, it was still bogged down by too many guest features and occasionally messy production. By contrast, the understated, unfiltered, and dark nature of thank u, next makes it her most liberatingly earnest and consistent. It’s a markedly authentic Ariana Grande project, and a great one to finish off the decade with.
After releasing the ubiquitous single ‘Call Me Maybe’, Carly Rae Jepsen seemed to fade from the public spotlight. But her case serves as a great example of how the influence of a mainstream pop artist in the 2010s could be measured by more than just commercial success. Jepsen earned a cult-like following online, where her adoring fans made memes comparing her to Mozart and giving her a sword – one even wrote a 149-page thesis analyzing her music. So even though her third album, Emotion, didn’t see the kind of chart success major labels might expect, the devotion it received from her fans is a more reliable testament to its lasting impact. And it’s not hard to see why – the album’s 80s-inspired, neon-tinged brand of synthpop strays as much from the artist’s bubblegum roots and the sound of contemporary pop as from those trying to subvert it. Emotion proves that there’s a space for unapologetically formulaic, nostalgic pop music made in the post-post-modern age, especially when made by pure pop perfectionists like Jepsen. With lyrics that tuck at the heartstrings, lush instrumentals (nothing can beat that opening saxophone riff on ‘Run Away with Me’), and hooks that stick to your head, what’s there not to (really, really, really, really) like?
It might be paradoxical to place an album that did its best to defy genre in a ‘best pop albums of the decade’ list. But in the context of FKA twigs’ career, MAGDALENE is the album that saw her going from the left-field R&B sounds of LP1 to a markedly more accessible and, yes, pop-sounding approach. Drawing influences from the likes of Kate Bush and Björk, twigs’s varied and revelatory sophomore LP boasts an impressive list of guest contributors from both the art pop and mainstream pop worlds, from experimental artists like Arca and Nicolas Jaar to megaproducer Jack Antonoff and rapper Future. But MAGDALENE is also a devastatingly personal album, as FKA twigs twists and stretches her voice in a remarkably expressive and immediate manner to evoke the shattering pain of heartbreak. From transcendent, expansive cuts like ‘thousand eyes’ and ‘mary magdalene’ to heartbreakingly spare ballads like ‘mirrored heart’ and ‘cellophane’, MAGDALENE is the sound of a fallen alien trying to reach out to the people of Earth by means of their most universal art form, just like FKA twigs flirts with the peripheries of commercial pop and ends up becoming one of its leading vanguards.
Of all the albums on this list, none was as much of an artistic detour as Random Access Memories was for Daft Punk. The fourth studio album by the French electronic duo saw them trading EDM synths and samples for session musicians and live instruments in a genuine effort to pay homage to the disco and electronic dance music scenes of the 1970s and 80s. On a purely technical level, Random Access Memories is simply masterful: meticulously crafted, flawlessly engineered, and expertly mixed, it’s hard to deny the sheer sonic beauty of this album. But what’s most remarkable about it is that unlike all the other electronic acts of the decade that artlessly stole musical tropes from that era of pop, RAM feels so much more than just a dire exercise in nostalgia. The songs here are not just catchy – there’s a reason ‘Get Lucky’ dominated the airwaves, though it’s a shame other cuts didn’t find the same success – but also surprisingly ambitious in concept and narrative: once you dig deeper into the album, tracks like the nearly 10-minute prog-pop epic ‘Gorgio by Moroder’, album centrepiece ‘Touch’, and touching piano ballad ‘Within’ turn it into a holistically rewarding listening experience. With RAM, Daft Punk injected humanity into their robotic personas’ genetic code.
At first glance, Dirty Computer might have seemed like a sub-par release compared to Janelle Monáe’s more expansive and ambitious concept albums, namely 2010’s sci-fi odyssey The ArchAndroid and 2013’s looser follow-up The Electric Lady. The record finds her stripping away the elaborate, sometimes difficult-to-digest features of her previous releases and tightening her focus to create a straightforward yet flawlessly executed and empoweringly liberating pop album. It has all the elements that make Monaé’s music so uniquely enjoyable, but this time designed for a newfound mainstream audience that was just starting to discover her work following her acting turns in 2016’s Oscar-winning Moonlight and Hidden Figures. But at no point does it feel like she’s doubling down on her approach: it’s a fearlessly joyful, uncompromisingly radical, and above all danceable record that’s filled to brim with queer sexual energy – look no further than the infectious lead singles, the Prince-indebted ‘Make Me Feel’ and the Grimes-featuring, irresistibly sultry ‘Pynk’. Yet it’s also Monaé’s most personal record as she abandons the persona of Cindi Mayweather and opens up about her own insecurities, unveiling the humanity that’s always been behind Monaé’s dense Afrofuturist worlds.
Beyoncé had already risen to prominence as a cultural icon at the start of the decade. But although she had multiple great hits under her belt, she was always primarily a singles artist. This changed with her 2015 self-titled album, which took the female empowerment narrative she’d built a reputation for and extended it into an ambitiously feminist LP without sacrificing any of her commercial appeal. But it’s her follow-up record, Lemonade, a bona fide artistic statement and her most fully-fleshed album to date, that earns a spot on this list. In art, the personal has long been political; but before this album, the personal had largely been missing from Beyoncé’s music. Lemonade is an album about infidelity that only Beyoncé could have made: unashamedly angry, relentless, and raw, as much as an album engineered for mainstream popularity can be. What was perhaps more unexpected was the diverse range of genres through which the singer chose to express her frustration, as she drew from rock n’ roll, blues, and even country alongside her familiar R&B and pop stylings. There’s no doubt Beyoncé will find a way to stay on top in the 2020s – let’s hope it gives birth to more albums like this.
Charli XCX’s rise in the pantheon of pop was slow and steady, from her guest spot on Icona Pop’s massive 2013 hit ‘I Love It’ to the critical and commercial success of her 2019 album, Charli. But back when she released her first two albums, no one quite expected her music to become as subversive as it eventually did, as she utilized a relatively tried-and-true pop formula. Her 2016 avant-pop Vroom Vroom EP completely tore those expectations apart, signaling the beginning of a new, boundary-pushing phase for Charli. This led to Pop 2, the second of her two 2017 mixtapes, another collaboration with the experimental pop label PC Music. What made the mixtape so uniquely infectious was that instead of completely abandoning familiar pop tropes, Charli twisted them and pushed them to their extreme, giving birth to an abrasive, futuristic approach to the genre. While her 2019 album Charli is perhaps a more cohesive Charli XCX experience – and some might reasonably argue a better one – Pop 2 earns the spot on this list for being the more influential release. Don’t be surprised if the sound of pop in the coming decade can be traced back to this mixtape.
Not since Lorde’s Pure Heroine has a debut pop album made such a splash as Billie Eilish’s When We All Fall Asleep, Where Do We Go? The two albums have a lot of things in common: they were both made by teenage songwriters with a distinctive pop vision that felt intimate yet relatable. But where Lorde connected with the millennial generation, Billie Eilish has captured the existential fears and personal vulnerabilities, but also the quirky and referential sense of humour, of Generation Z. When We All Fall Asleep, Where Do We Go? showcases the singularly post-genre approach Eilish and her brother and close collaborator Finneas have come up with – it’d be a stretch to argue that they invented all the musical ideas presented here, but it’s the way they managed to bring together lo-fi production techniques, catchy yet intimately evocative songwriting, as well as Eilish’s underrated vocal delivery, and package them in a way that actually resonated with mass audiences, that earns it a spot on this list. It might be too early to tell if it will be as influential as Pure Heroine or Body Talk was, but if I had to guess, this album’s sound will no doubt be all over the 2020s.
It might come as a surprise that at the time of its release, Body Talk was perceived by many as kind of a disappointment. But not due to lack of quality – Robyn had simply built so much hype around her in 2010, fans expected a full-length album of new material, rather than a compilation of tracks from her previously released mini-albums plus five new songs. But even as a standalone project, Body Talk acted as a surprisingly coherent greatest hits-type album that signaled the Swedish artist’s rebirth (or, rather, reboot). Body Talk was praised for its sharp and mature electro-pop songwriting, but time has also revealed how influential it came to be. It proved that pop could be forward-thinking yet accessible, danceable yet heartfelt, vulnerable yet triumphant. That it could have personality and attitude without losing its commercial appeal. After all, would there be a Charli XCX or a Janelle Monaé if Robyn hadn’t sung “Fembots have feelings too”? Would there be a Lorde without ‘Dancing on My Own’ or a Carly Rae Jepsen without ‘Call Your Girlfriend’? Body Talk has not just withstood the test of time – it has left a bigger mark on the shape of dance music than any other album this decade.
When you listen to Melodrama, you can feel its pulsating heart beating through your chest. Lorde broadcasts the fears and anxieties of an entire generation with searing humanity and makes us want to dance to them. It’s not just infinitely relatable, but deeply resonant – if Pure Heroine was about exploring young adulthood, Melodrama is the definitive soundtrack to growing up. She proves that what society views as “generation L.O.V.E.L.E.S.S.”, young people that are as addicted to ephemeral relationships as they are to their phones, are in fact too cautious about their punctuation use because they simply have more love in them than their heart can handle. “I’ll love you ‘til my breathing stops,” Lorde bellows on ‘Writer in the Dark’. Against Jack Antonoff’s swooning, evocative production, her delivery goes from fierce to vulnerable, fearless to uncertain, capturing the loneliness of feeling everything in extremes. But feeling heartbroken after a breakup or alone at a party full of people are just parables for something bigger, something more existential. If all we spend our time doing is trying to find “perfect places” to make us feel more connected to each other, then Melodrama might be the closest thing we have to that. It makes you want to cry your eyes out, sing ‘til your lungs hurt, and share its beating heart with the world – and isn’t that what pop music’s supposed to do, after all?
Rosemary is a singer-songwriter hailing from Wilmington, North Carolina. She’s been releasing music on Bandcamp since 2014, ranging from lo-fi singer-songwriter to acoustic ambient to experimental psych-pop. Earlier this year, she came out with songs for sleep, a gorgeously soothing compilation of songs that sounds like a cross between a stripped-down version of a Grouper album and the confessional compositions of Julien Baker, as well as demos, an acoustic EP of songs she’s mostly been playing live. When compared to her first release, male induced migraines, demos showcases how much rosemary has grown as an artist: she has refined and tightened her songwriting without abandoning her DIY aesthetic. Any of these songs could have easily been recorded with a full band in the studio, but even as demos, their essence remains, and is perhaps even enhanced by the intimacy and rawness of the recordings. It’s her catchiest, most engaging collection of tracks yet, and a promising sign of what’s to come.
We caught up with rosemary for this edition of our Artist Spotlight series, where we showcase up-and-coming artists and give them a chance to talk a bit about their music.
I’ve always loved the way making music made me feel. As a little kid, I’d sing at my family members for hours on end so as an attempt to reign in that unbridled passion for music, I tried out piano lessons. I had such a hard time reading music so I started relying heavily on my ear to learn how to play and I still do today. I picked up guitar when I was 13 and since then I’ve been playing and writing consistently. I can’t separate myself from music. It’s been the only constant in my ever-changing life. It’s just necessary.
During my first year of college, I remember seeing Greta Kline (Frankie Cosmos) sing with Aaron Maine (Porches) at a super small show at a music shop in my home town. Greta’s voice was so delicate and I was totally enamored by the entire set. After that, I listened to “affirms glinting” at least twice a day for an entire year. The album felt so intimate and authentic. It was something I desperately needed to hear during this time and it empowered me to pour my full self into my music and just start posting everything I had onto my Soundcloud without thinking twice about it. Porches’ “Scrap and Love Songs Revisited” was also extremely formative for me as well. Aside from that, I think Andy Shauf, Real Estate, Fleetwood Mac, Marika Hackman, and Alvvays are also some of my big influences.
My mother took care of an elderly woman named Rosemary while I was in high school. When she passed away, I ended up with a lot of her clothes which were beautiful and well kept and I wore a lot of them. I ended up taking on the name Rosemary ironically as an alter-ego, but the name started to feel like a natural fit. My middle name is Rose and my family calls me Rosie, so it felt right to put my music up under rosemary.
Aside from the experimental Halloween album I put out on my bandcamp, everything I’ve ever recorded has been done on my phone with GarageBand. I’m very intimidated by recording on my computer and I psyche myself out a lot. I’ll usually sit on the floor of my bedroom, bathroom, or kitchen, and create instrumental loops until I feel like I’m floating in sound and zoned out. It’s a very intimate and cathartic process. I’m usually writing my best music when I’m extremely depressed so to work through it I really need that alone time to process and pour everything out. I start writing what I need to hear and then I start to feel lighter.
‘demos’ is a compilation of songs that I’ve mostly been playing live. They’re definitely more stripped-down than what I play live when I have my friends on bass and drums (I think that sound is definitely more exciting). But, I had these recordings scattered, some never even uploaded, and I was starting to get a few people reaching out after shows asking if I had recordings of certain songs I played, so I just really wanted to have these demos all in one place to easily share.
‘Remi’ is the most fun to play live and I’ve gotten really awesome feedback on it. I love to play it because people will dance and it’s a wild feeling to see people moving to the sound that I’m putting out there. I think ‘Sprocket’ is my favorite though. I love the jangly lead guitar sound. It’s an exaggerated story about wanting to be good enough for someone you’re interested in, but never being able to satisfy their needs because at the end of the day you’re just not the one they want. It’s about taking a step back and realizing you can’t change yourself to please others. Let them have their space and figure their own crap out. Get on your bike and peace out of there.
‘songs for sleep’ is a compilation of demos that I’ve dozed off to at one point. When I first started putting my music online, I was creating really layered, floaty, and calming sounds. I had a few friends reach out to me all around the same time to tell me they’d used my music to relax to and it opened up some really cool, honest conversations. That’s when I first felt like sharing my music with others had a purpose – to help people relax and maybe not think about whatever shit they had going on even if only for a minute. So, I was recently itching to release something on bandcamp and started digging through old demos. Some of the songs are close to 5 years old like ‘bird’, ‘without a doubt’, and ‘float until rested’ and some are new within the last year like ‘dream river’ and ’12218’. I really hoped that this compilation would help some people feel a little lighter, a little calmer.
Probably anything from Andy Shauf or Marika Hackman!
I don’t know what’s next. I’d like to finally put out an actual album, maybe get that on bandcamp and Spotify. Maybe play more shows with my friends and continue trying to help grow the music community where I’m currently living. I’d like to connect with other artists, learn about what they’re doing, share stories, share sounds, be a mentor or resource to those who need it, learn more about gear, learn more about recording and producing. There’s a lot I’d like to do. I’m taking every day as it comes.
Stephen King’s novel The Institute follows Luke Ellis, a regular 12-year old who is super smart and one day is abducted and is sent to a dark state facility named The Institute. In this place, kids like Luke are placed in closed rooms, some possessing talents in telekinesis and telepathy…
King’s novel The Institute flows gracefully with a never stopping plot that follows a gut-wrenching story. A must-read for fans of Stephen King.
Featuring Hannah Jenkin’s lovely vocals and a superbly warm production by Fallen Roses we have Crush. In this latest piece, Donovan Ferra and Ruben Reinoso, the duo behind Fallen Roses, bring a pleasant vibe with a stunningly produced beat that is accompanied by mellifluous vocals of Hannah Jenkins.
KLANGPLANET’s freshest track Space plays a tribute to Apollo 13 space mission. Like always, KLANGPLANET delivers a neat production with a progressive structure that keeps you listening for days to come.
Bringing more electronic music with a mix of filmic-like tones we have The Departure by Felsmann + Tiley . The composition builds on a dramatic melody with a growing backing that comes to a blossoming cessation. A film-ready piece.
Lastly, on our Sound Selection, we have Phantoms’ remix of MOLI’s On The Weekend. In this brilliant version of the original piece, Phantom delivers an energy-filled, weekend-made track that delivers on all levels. This one is for the playlists and the dancefloor.
In this segment, we showcase the most notable albums out each week. Here are the albums out on December 13th, 2019:
Harry Styles, Fine Line: Harry Styles is back with his second studio album and follow-up to his 2017 self-titled debut, Fine Line. The former One Direction member’s sophomore effort, which he has been cryptically teasing since November, is packed with 12 tracks split into four sides, including the singles ‘Watermelon Sugar’ and ‘Lights Up’. Styles is credited as a songwriter on every track, and collaborated with guitarist Mitch Rowland, producer Tyler Johnson, and Thomas Hull.
Stormzy, Heavy is the Head: Another British star coming through with his second album this week, Stormzy has released the follow-up to 2017’s Gang Signs and Prayer. Heavy is the Head finds the grime artist working together with artists such as Headie One, Ed Sheeran, H.E.R., and Burna Boy, and includes the recently released singles ‘Sounds of the Skeng’, ‘Crown’, ‘Wiley Flow’, and ‘Vossi Bop’. In an interview with BBC One, Stormzy explained: “Sometimes people make an album of 15 tracks with singles and some filler songs. There’s no way I’m making a body of work with filler songs. Every song is gonna serve such a purpose. I’ve tried to do the epitome of every single part of my DNA. Every feel that I want the listener to feel.”
Free Nationals, Free Nationals: Anderson Paak’s live band, The Free Nationals, consisting of Kelsey Gonzalez (bass), Ron “Tnava” Avant (keyboard/vocoder), Callum Connor (drums) and José Rios (guitar), have come out with their long-teased self-titled debut record. The album features an impressive list of guest appearances, from Kali Uchis to the late Mac Miller, Daniel Caesar, Unknown Mortal Orchestra, T.I., Chronixx, J.I.D, and of course .Paak himself. It also includes the single ‘Shibuya’, featuring the Internet’s Syd.
Duster, Duster: Having reformed last year, slowcore outfit Duster have put out their first album in 19 years, out now via Muddguts. The self-titled LP, which was announced in a low-key Instagram post that read simply “new record out in december ok”, includes 12 tracks and features a painting by Salvatore Orentino as its cover art. Earlier this year, the band released a boxset compiling their complete discography titled Capsule Losing Contact.
Other albums out today: Blake Shelton, Fully Loaded: God’s Country; Annie Heart, A Softer Offering; itsoktocry, DESTROY ALL MONSTERS!
2019 is coming to an end, and we have partnered with Resource Moon to select five fantastic photographers that you should look out for in 2020.
German photographer Ben Simon Rehn delivers stunning landscape photographs of arctic and hostile regions of our planet. Rehn’s ability to explore colour and textures bring out a vivid look to his photos. Having delivered some amazing series already, we are eager to see what is next for Rehn.
The well-known Alex Prager continues to explore surreal themes in her photography. Prager’s photography has showcased around the world in various prestigious places including The Museum of Modern Art in New York and Moderna Museet in Stockholm — to mention a few.
Previously featured Franck Bohbot has caught our eye with his observational photography that explores everyday life. There is a sense of calmness in a lot of Bohbot’s photography that is truly contagious to the eye.
Marietta Varga, a Hungarian-born photographer, is known for her symbolistic photography that has a dream-like feel to them. With Varga delivering a wave of superb series, we are thrilled to see what Varga brings in 2020.
Simon Hjortek is a Swedish photographer and filmmaker who explores surreal photography throughout his projects. Hjortek’s ability to combine colour, objects, and movement deservedly put him on this list.
Romain Laurent, a photographer out of Los Angeles, US, has presented several personal projects which utilise the power of photo editing. The projects include A bit of a stretch, Compartmentalization, Amorphous, and Inner Dialogue.
Find more work by Romain Lurent here.
People lose their $#*! every time the art world does something crazy. This time Italian artist Maurizio Cattelan created a piece of artwork named Comedian, and it merely consists of a banana being ducked tape to a wall. It’s valued at £90,000.
So, how can a banana be worth so much, when a banana from the local shop costs about 15p?
Well, art collectors Billy and Beatrice Cox, who bought the piece for around £90,000 last week, stated, “When we saw the public debate (the Maurizio Cattelan piece) sparked about art and our society, we decided to purchase it. We knew we were taking a risk, but ultimately we sense that Cattelan’s banana will become an iconic historical object.”
Looking it at the purchase from that point of view I can see why someone would want to buy this piece of art. It’s an investment. Some people even have compared it to Warhol’s Campbell Soup Cans in terms of the reactions it’s receiving — but at least there is some creative visibility in Warhol’s piece.
Yet, there is no argument if the Comedian is worth £90,000 but a discussion which involves people deciding if it’s worth £90,000 to them.
Just a few days ago it was destroyed (eaten) by a performence artist. But it was replaced with a new one, gallery director Terras told the Miami Herald: “He did not destroy the art work. The banana is the idea.”
Maurizio Cattelan became known back in 2016 when he created America, a fully functioning toilet made out of 18-karat solid gold. The piece was stolen in 2019 from Blenheim Palace.
Son Little, the moniker of Los Angeles’ Aaron Earl Livingston, has presented us with a superb new single mahalia. The song comes before the release of Son Little’s new album aloha, which is due to be released on the 31st of January.
Talking about the song Son Little said: “That song’s an apology delivered at the start of a relationship, instead of the end, when it all falls apart.” Son Little also added “I’d been thinking a lot about how I find myself repeating the same mistakes in different areas of my life. I find myself drawn over and over to the same qualities in different people, and sometimes the dynamic can become toxic. Pointing the finger is easy. I’m trying to be better at acknowledging my part of the problem.”
Fri. March 27 – Brighton, UK @ Patterns
Sat. March 28 – London, UK @ Oslo
Mon. March 30 – Paris, FR @ La Maroquinerie
Tue. March 31 – Antwerp, BE @ Kavka VZW
Wed. April 1 – Amsterdam, NL @ Paradiso Noord
Thu. April 2 – Rotterdam, NL @ Bird
Sat. April 4 – Hamburg, DE @ Bahnhof Pauli
Sun. April 5 – Berlin, DE @ Privatclub
Mon. April 6 – Cologne, DE @ Blue Shell
Tue. April 7 – Zurich, CH @ Exil
Thu. April 9 – Zaragoza, ES @ Rock & Blues Café
Fri. April 10 – Barcelona, ES @ La Nau
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