Tag Archive: “Atlantic Records”

The One With All the Feels

On this episode: Dear Cousins Luke and Brian are back after a week off living the #beachlife and they talk about how ambient music can heal people, deliver the spoils of the Cuzzo Battle of 2017, #cuzzobattles, they dive into how bands replace “w”s in their names with “v”‘s like Chvrches #twerkchurch, Luke will not stop making up stupid hashtags, both cousins dole out their catchphrase stamps of approval two times in a row each (unprecedented!) Luke goes on record and states that he likes interesting music, they play their first song from a Broadway musical and talk about anxiety, depression, Zoloft, mental illness stigma and open up about their own struggles and personal stories all while playing eight of the best songs you’ll hear all week.

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne bring you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.

ITUNES LINK


Songs Played on The One With All the Feels

Toro Y Moi – Girl Like You from Boo Boo out July 7th on Carpark Records

Alvvays – In Undertow from Antisocialites out September 8th on Polyvinyl Records

Zola Jesus – Exhumed from Okovi out September 8th on Sacred Bones

Blacastan and Stu Bangas feat. Nutso – Circle of Fire from The Uncanny Adventures of Watson & Holmes out now on Brick Records

Superchunk – I Got Cut from I Got Cut out now on Merge Records

Ben Platt – For Forever from Dear Evan Hansen (Original Broadway Cast Recording) out now on Atlantic Records

Black Kids – Obligatory Drugs from Rookie out September 15th

Local Natives feat. Nico Segal – The Only Heirs out now on Loma Vista Recordings

The One About the Best of 2016

Brian and Luke take you on a journey through some of their favorite albums of 2016.   Also, be sure to check out their individual top 20 albums of the year list on the Ghettoblaster Magazine website!

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne will be bringing you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.

ITUNES LINK


Songs Played on The One About the Best of 2016

Outer Spaces – “Words” from A Shedding Snake on Don Giovanni Records

AJJ – “Cody’s Theme” from The Bible 2 on Side One Dummy Records

DOGBRETH – “Do You Really Want Me” from Second Home on Asian Man Records

Lambchop – “Relatives #2” from FLOTUS on Merge Records

Twin Peaks – “Getting Better” from Down in Heaven on Grand Jury Music

Mutual Benefit – “Not for Nothing” from Skip a Sinking Stone on Mom+Pop

PUP – “Doubts” from The Dream is Over on Side One Dummy Records

Frightened Rabbit – “I Wish I Was Sober” from Painting of a Panic Attack on Atlantic Records

Eric Bachmann – “Carolina” from Eric Bachmann on Merge Records

Kishi Bashi – “Honeybody” from Sonderlust on Joyful Noise Recordings

Every Monday Ghettoblaster is looking back to new albums released the previous week.  Below you’ll find several albums released on Friday, September 9th that we believe are definitely worth a listen.

Nick Cave and the Bad Seeds – Skeleton Tree (Bad Seeds Ltd.)


 

Skeleton Tree is an absolutely gut wrenching and heartbreaking album to listen to.  In July of 2015 Nick Cave suffered the loss of his 15 year old son after he fell off of a cliff to his death.  Skeleton Tree opens with Nick Cave in his classic spoken vocal delivery uttering the words “You fell from the sky, crash landed in a field near the river Adur” and that direct honesty continues through the rest of the album.  As is always the case with Cave’s songwriting, literal lines like the opener are mixed with surreal passages making for a mesmerizing listen.  Musically the songs are largely ambient pieces, heavy with electronic elements, piano and string sections, which all really takes a backseat to Nick Cave’s songwriting.  Although this is a mostly dour affair, however there are some moments of light shining through, which is most evident in the closing lines of the album: “And it’s alright now / And it’s alright now / And it’s alright now.”  – Words by Brian LaBenne


 

Low Culture – Places to Hide (Dirtnap Records)


 

Low Culture is a raucous garage pop-punk band made up of members from the Marked Men, Total Jock and Shang-A-Lang.  Places to Hide is their second album as a band and it finds them really honing in on their sound, while at the same time reaching out to new territory.  There are fourteen songs and most of them sound like a more aggressive and faster take on 70s punk rock.  Seriously, these songs are really fast with blistering drums and guitar riffs flying by over and over again, making for a really fun listen.  As good as these punk songs are, Places to Hide is even more exciting when they deviate from the norm.  There are songs that are close to slower paced ballads, a Low Culture take on bubblegum pop and even some sonic similarities to David Bowie.  Low Culture proves with Places to Hide that they are a band to pay attention to. – Words by Brian LaBenne


 

Grouplove – Big Mess (Atlantic Records)


 

Big Mess has to be the hugest sounding album of 2016, these songs are absolutely massive.  Grouplove finds their sweet spot over and over again on this album, proving themselves a forced to be reckoned with.  These are some of the loudest pop songs around and are absolutely begging to be turned up as loud as your ears can take.  It really is an interesting mix of radio ready pop sounds mixed with loud indie rock music.  Imagine if MGMT made an entire album of songs like “Kids” or “Electric Feel” but with a ton more rock muscle to them.  There are some more toned down tracks on the album, but overall this is an exhilarating album.  Big Mess is for those who like their power and their pop in equal measure. – Words by Brian LaBenne


 

Adam Torres – Pearls to Swine (Fat Possum Records)


 

Adam Torres has a voice that you have to hear to believe.  There is a special tone to his falsetto delivery that is something to behold and his effortless shift between registers is breathtaking.  Pearls to Swine is fantastic front to back and showcases Adam Torres in his best form.  The songs are largely scaled back folk numbers, which really allow Torres’ voice to shine.  That is not to say the music is boring, quite the opposite.  This is a great album for fans of beautifully finger picked acoustic guitar and orchestral folk music sung with one of the most interesting voices in a while.  It really does have to be heard to be believed. – Words by Brian LaBenne


 

Local Natives – Sunlit Youth (Loma Vista Recordings)


Since Local Natives emerged in 2010, I immediately took to their earthy indie-rock sound and followed them adoringly. When they released, “Past Lives” the first new single off of their third album, it was clear this new record would be a departure. They had seemingly breathed new life into their style, with this powerful and energetic track, reminiscent of early Arcade Fire. However, that is not the case for all the songs on the album. For the majority of the album their new, poppy-er sound outfitted with electronic elements, suits them quite well, but there are a handful of track where is comes across as overproduce and too mainstream. There are certain moments that lack the originality that we’ve come to expect from Local Natives. The third album is often a turning point for a band, venturing into new territory, and that is the case here, though it is a bit uneven. The songwriting and melodies are still strong, and the vocal performances of Taylor Rice and Kelcey Ayer remains the group’s greatest asset. Some standout tracks on the album like “Past Lives” “Fountain of Youth” and “Masters” are on a level with their previous work, the album as a whole however does not quiet measure up.


clipping – Splendor & Misery


Daveed Diggs has been on fire recently: winning a Tony and Grammy for his role in the hottest musical in years, Hamilton; a role in Baz Luhrman’s Netflix series The Get Down, and now he’s released a new album with his experimental hip hop group, clipping. This is a concept album that, “follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him.” Jonathon Snipes and William Huston provide backing “intrumentals” that completely set the scene with all manner of electronic sounds. Static cuts in and out throughout and different sounds resemble alarms or machinery of the ship. The beats are minimal with a subtle musicality. There are occasionally steady beats and obvious melodies, but more often than not they are muted and fractured. The concept of the album aside this album is quality on it’s own. Daveed Diggs songwriting and lightning-fast delivery are consistently staggering. I would put my money on Diggs to take Eminem’s Guinness Book of World Records spot. Some songs are lead only by Diggs’ voice, feeling like spoken word, some have hip hop swagger, and some have a gospel tone. Though all the songs feel connected the album remains engaging and unpredictable throughout. It feels like some other-worldly mixtape that fell to Earth in a blaze of Splendor & Misery.


Wilco – Schmilco (Dbmp Records)


Last year Wilco surprised everyone with Star Wars, an addictive  fuzzed out rockin’ record. Now they already released a new album and it’s completely different from the last. It is mostly acoustic and much more restrained, feeling more intimate but still effectively catchy. It feels kind of like a middle ground between their classic country influenced indie-rock with glimpses of the dissonant fuzz rock of Star Wars. As you can tell by the cover, Schmilco feels much more playful and childish, with Tweedy reflecting on childhood memories and relating them to his modern self while navigating life and relationships. You know a band is great when the can keep changing their sound, keep doing something new and still making quality work.


 

Okkervil River – Away (ATO Records)


The eighth album from the veteran folk-rock band feels like the ghost of itself, because Okkervil River as we know it doesn’t exist. After band members left for various reasons, frontman Will Sheff thought it was the end for the band. This was, “a confusing time of transition in my personal and professional life.” His music career was seemingly crumbling and he spent a lot of time by the Hopsice bed of his grandpa, his personal and musical hero, as he died. All of this pain and uncertainty is heard on the album: whether it’s the mourning for his old band in “Okkervil River R.I.P.” or his struggles with the music business in “The Industry” or the imaginative telling of his grandpa’s death on “Comes Indiana Through The Smoke,” where he sets the scene of the battleship his grandfather was on in WWII coming to take his grandpa to the next plane. Sheff’s grandpa was a jazz musician, so he sought out jazz players for the album and his grandpa’s trumpet is played on this song by yMusic’s C.J. Camarieri. This album is much more bare and intimate than the previous work, because it’s played by different people. This album feels more influenced by old school folk like Joni Mitchell and Bob Dylan, with long, vivid stories masterfully told in a rambling manner. We now know that, like Kevin Barnes is of Montreal, Will Sheff is Okkervil River. There is no chance of the band breaking up because he is the band. This album is most personal and most powerful songwriting, a beautiful examination of how the end of things makes way for something new.


 

This is Past Sounds. Every Friday Ghettoblaster Magazine is looking back and finding great music from various eras. Below are songs that sound great no matter what decade they’re played in. So strap in as we take a musical journey, back in time.

Billy Bragg – “Levi Stubbs’ Tears” (Talking With the Taxman About Poetry, Elektra Records) 1986


From the opening, slowly strummed guitar chords of “Levi Stubbs’ Tears” it is apparent the listener is in for a sad and beautifully told tale from Billy Bragg. The next few minutes are just that: beautiful and emotional, culminating in the line “he puts a hole in her body where no hole should be”. This song is taken from Bragg’s exquisite album Talking With the Taxman About Poetry, which finds him at peak performance throughout. As is the case with “Levi Stubbs’ Tears” the album focuses largely on just clean straightforward and expertly played guitar and poetic, political and wonderfully sung lyricism.  Levi Stubbs was the lead singer of The Four Tops and in the song is the only constant comfort for the protagonist as they deal with abandonment, injury and abuse.  “Levi Stubbs’ Tears” actually features more varied instrumentation than most other songs on the album, while still remaining such a minimalistic, yet incredibly dynamic song. It’s an epic journey worth going on and the final act of the song, when the other instrumentation kicks in, is really breathtaking.


Lupe Fiasco – “Kick Push” (Lupe Fiasco’s Food & Liquor, Atlantic Records) 2006


There’s nothing better than a hip hop song that features a single musical loop that you could listen to all day and never grow tired of. “Kick Push” by Lupe Fiasco is one such song and features one of the absolute best loops. It’s a pretty straightforward beat but when those magnificent horns and spacey keyboards kick in it is elevated to another level. Then that joy kicks in again, looping throughout a fantastic song about a skateboarder, which is not common material for a hip hop song. “Kick Push” tells the story of a skateboarder who has never felt that he’s belonged, except when he is skateboarding. He finds love, he gains a crew of skateboarding friends, yet the world is against him with security guards and police telling him that he doesn’t belong there. It’s a beautifully told and fantastically rapped story featuring some of the best music to be found.


Wavves – “King of the Beach” (King of the Beach, Fat Possum) 2010


It’s summer time in a year that is on pace to be the hottest year ever recorded, so how about an awesome summer jam? Wavves delivers this in spades with “King of the Beach”. It’s a raucous track just begging to be blasted out open windows and outdoor boomboxes. “King of the Beach” is also incredibly catchy and reminiscent of a rougher edged classic-era Weezer song. The vocals are strained and scratchy from a party the night before and the music is loud and unhinged ready to start the party again tonight. It’s just plain fun, which is something we could use a lot more of these days.


Paul McCartney – “Dear Boy” (RAM, Columbia) 1971


“Dear Boy” from Paul McCartney’s great solo album Ram is a really special song. McCartney begins by singing a nice melody over beautiful keyboards, slowly introducing some absolutely stunning vocal harmonies and a really nice instrumental breakdown. This song is real short and real sweet and deserves a write up that does the same. Just listen to it.


Big Boi – “Shine Blockas” feat Gucci Mane (Sir Lucious Left Foot: Son of Chico Dusty, Def Jam) 2010


Big Boi is one half of the stellar hip hop duo Outkast and is legendary for his lightning fast and smooth delivery, often times switching up speeds and rhythmic pattern several times throughout verses. Sir Lucious Left Foot: Son of Chico Dusty finds Big Boi in solo album territory and he delivers a solid onslaught of an album over 15 tracks and nearly an hour of soulful southern hip hop.  “Shine Blockas” comes toward the end of the album and feels like a triumphant victory lap.  There’s a soulful vocal sample, some awesome southern tinged organs and great keyboards all over a delightfully choppy beat and some great low end bass.  It’s a master’s level class in hip hop music and Big Boi does not disappoint when it comes to his vocal delivery, showing what really makes him a special rapper.  He is joined by Gucci Mane who fits right in with the music and adds a fun element to the track.  This is another great song for summer parties and it is so good and joyful that it never gets old.

This is Past Sounds. Every Friday Ghettoblaster Magazine is looking back and finding great music from various eras. Below are songs that sound great no matter what decade they’re played in. So strap in as we take a musical journey, back in time.

Funkadelic – “Hit it and Quit it” (Maggot Brain, Westbound Records) 1971


Maggot Brain, the third album from Funkadelic, is widely considered one of the best funk albums of all time. “Hit it and Quit it” is a definite standout track from the start with the fantastic guitar and organ interplay right out of the gate and it doesn’t let up from there.  The drum and bass groove that the song settles into is quite interesting and will have your head bobbing without a doubt.  This song really is an example of a perfect song.  It’s catchy, it’s aggressive, it’s got both an awesome organ solo and a scorching guitar solo and both the main vocal and background vocal performance is arresting.  This is definitely one to turn up and roll the windows down to.


 


Digable Planets – “Rebirth of Slick (Cool Like Dat)” (Reachin’ (A New Refutation of Time and Space), Capitol Records) 1993


Digable Planets are true masters of the fusion between Jazz and Hip Hop and “Rebirth of Slick (Cool Like Dat) is a great example why. It begins with a simple, jazzy bass line loop and introduces a fantastic horn loop just seconds later.  Digable Planets is comprised of three excellent rappers under the names: Ladybug, Butterfly and Doodlebug.  It’s no surprise that rappers with names like theirs would go against the grain of typical 90s hip hop.  “Rebirth of Slick (Cool Like Dat)” is quite literally about how they are some cool cats.  Just listen to the smoothness of each of their vocal delivery spitting lines with intricate wordplay all about how awesome they are.  It’s really a lot of fun, and also very true.


 

T.I. – “Bring Em Out” (Urban Legend, Atlantic Records) 2004


T.I. is in a class of rappers with only a select few. This class is made up of rappers who are incredibly commercially successful and critically acclaimed as well.  They make ear worms for the masses with substance to knock you on your asses.  There are not too many rappers who can succeed at this and that is essentially what the straight up banger “Bring Em Out” is all about.  Everyone loves T.I., everyone is chanting to bring out T.I., we all want a piece of him.  “Bring Em Out” does what most great T.I. songs do; it creates a sense of victory and celebration, as if there was a parade being thrown in his honor.  Just listen to those horns, those whistles and that driving beat!  None of this would matter if T.I. couldn’t rap, and “Bring Em Out” displays why his fast and smooth delivery is so enjoyable and celebrated.


 

Curtis Mayfield – “Move on Up” (Curtis!, Curtom Records) 1970


Infinitely Sampled and Underrated: The Curtis Mayfield Story. Curtis Mayfield has created some of the best soul music ever and while he is popular, he is not widely considered in the conversation of best musicians for some reason.  “Move on Up” should serve as exhibit A in the case to make that he should be.  It’s a marvel of music, which was actually sampled in Kanye West’s “Touch the Sky.”  Curtis’ guitar work blends beautifully with all the horns and percussion and everything going on here.  Honestly, words don’t do it justice, just hit play.


Shabazz Palaces – “Swerve … the reeping of all that is worthwhile (Noir not withstanding)” (Black Up, Sub Pop Records) 2011


Shabazz Palaces is comprised of Ishmael Butler (aka Butterfly from Digable Planets) on the mic and Tendai Maraire on the instrumentation. They have pulled inspiration from a lot of different places to create this spacey and abstract form of hip hop with elements of jazz and African percussive instruments.  The songs they make are really mesmerizing and “Swerve … the reeping of all that is worthwhile (Noir not withstanding)” is a glorious display of their talents.  It floats along in three movements, separate yet cohesive.  The first movement features Butler rapping over fractured and dystopian beat.  Movement two introduces female vocals from THEESatisfaction with a slight tweaking of the beat.  Finally, movement three focuses on a simple and beautiful refrain sung over very catchy African inspired music: “Black is you, Black is me, Black is us, Black is free.”

Every Monday, Ghettoblaster is looking back to new albums released the previous week. Below you’ll find several albums released on Friday April 15th that we believe are definitely worth a listen.

Kevin Morby – Singing Saw (Dead Oceans)


Singing Saw combines straightforward folk rock with a triumphant horn section and gospel leaning backing vocals, all while being overseen by the cool, Bob Dylan-esque singing and songwriting of 28 year old music veteran Kevin Morby.  Having released several albums as a member of Woods, a couple as a member of Babies, and now his third as a solo artist, Morby knows how to write really engaging music at this point.  Singing Saw covers a lot of ground lyrically, from personal ruminations to responding to police brutality, yet the songs always stay grounded.  All that aside, this is just a great sounding folk rock album, which is a joy to listen to.

 

Sturgill Simpson – A Sailor’s Guide to Earth (Atlantic Records)


“Hello my son, welcome to Earth / May not be my last, but you’ll always be my first” is the lovely opening lyric of A Sailor’s Guide to Earth, the incredibly personal new album from country artist Sturgill Simpson.  This album is a letter to his newborn son and finds Simpson equally dispensing advice and poetically describing his immense love for the newest addition to his life.  The country sound on the album generally falls into three categories: beautiful orchestral country, straightforward modern country rock and rollicking country complete with an awesome horn section.  Also, he impeccably covers Nirvana’s “In Bloom.”  This is all in just nine songs in under 40 minutes, making it a lean and remarkable listen.

PJ Harvey – The Hope Six Demolition Project (Island Records)


The story of PJ Harvey’s The Hope Six Demolition Project is at least as interesting as the resulting album, if not more.  Harvey traveled to Afghanistan, Kosovo and Washington D.C. to be inspired for her new album.  The Hope Six Demolition Project could therefore be described as journalistic rock music.  A lot of her observations have been met with criticism, especially surrounding the song “The Community of Hope.”  Lyrically this album is quite dour with not much hope being offered for the state of our world, which is a hard pill to swallow if you reside in a neighborhood Harvey is singing so negatively about.  Yet, there is something admirable about presenting an unfiltered, outsider perspective over engaging, messy and rough alternative rock music.  This is all around a difficult album to engage, yet a rewarding one for those who spend time with it.

Other Noteworthy Releases

The Coathangers – Nosebleed Weekend (Suicide Squeeze)

Mr. Lif – Don’t Look Down (Mello Music Group)

Ashley Shadow – Ashley Shadow (felte)

 

 

Every Monday, Ghettoblaster is looking back to new albums released the previous week. Below you’ll find several albums released on Friday April 8th that we believe are definitely worth a listen.

Parquet Courts – Human Performance (Rough Trade Records)


Human Performance is one of the rare albums that attempts a lot of different things and succeeds in creating a solid yet cohesive, exciting listen. Parquet Courts primarily creates angular rock music with tight riffs and poetic lyricism, yet they veer off here and there into quasi-rap vocal delivery and dissonant, challenging rock passages. The album’s overall weathered sound makes it feel effortlessly like an old classic rock album in the best way possible.

 

Culture Abuse – Peach (6131 Records)


Peach is filled to the brim with fast and fun punk rock music. From start to finish this is just a great album for fans of well executed punk. The guitar sound, vocals and choruses are all solid, but what really stands out is the huge, awesome sounding drums. Culture Abuse is also featured in the current issue of Ghettoblaster.

Summer Flake – Hello Friends (Rice is Nice Records)


Summer Flake thrives on creating music that is both hard and soft. On their sophomore album, Hello Friends, Summer Flake have really found their voice and honed in on their sound. This sound can easily be described as pretty, hard, straightforward music. Ethereal female vocals are mixed with reverb drenched guitars, eventually giving way to heavily distorted guitar solos in most of the songs, which is not to say that the album is one note. Each song is vital and strong and they add up to produce a really enjoyable listen.

Woods – City Sun Eater in the River of Light (Woodsist)


Over the course of their first eight albums Woods has carefully cultivated and continuously tweaked their sound. What began as a straightforward lo-fi folk rock band has morphed over the years into a well produced, eclectic group of musicians. Their ninth and strongest album yet, City Sun Eater and the River of Light, finds Woods adding elements of Ethopian jazz and, most notably, an excellent horn section. What results from all these combined influences is a tight group of catchy and intricate songs.

Other Noteworthy Albums

Kweku Collins – Nat Love (Closed Sessions)


 

Frightened Rabbit – Painting of a Panic Attack (Atlantic Records)

Santigold (pronounced Sahn-Tee-Gold; Santi like “Monty”, not Santy like “Panty”) has shared the exhilarating single “Banshee” from her forthcoming album 99¢, out on February 26 via Atlantic Records. The song deals with overcoming self-doubt, silencing detractors, and finding the strength to take risks and fearlessly pursue your aspirations. The message is underscored by one of Santigold’s most impassioned vocals and an explosive rhythm. “Banshee” was produced by Patrik Berger and John Hill with additional production by Linus “Style of Eye” Eklow of Miike Snow. Listen to “Banshee” on Spotify and YouTube.

In celebration of the release of 99¢, Santigold has announced an in-store performance and signing at Rough Trade NYC on Tuesday, March 1. Beginning on the morning of March 1 when the store opens, anyone who purchases a copy of the album will get a wristband for the performance.

Santigold recently announced a North American spring tour, the “We Buy Gold Tour”. Renown for her monumental live shows, Santigold is taking it all to the next level in the brand new stage production. Tickets available here: http://smarturl.it/SantiTour

3/21: Houston, TX @ House of Blues
http://www.ticketmaster.com/event/3A00503D602C1322

3/22: Dallas, TX @ House of Blues
http://www.ticketmaster.com/event/0C00503CD31E2B83

3/24: Denver, CO @ Ogden Theatre
http://axs.com/events/306644/santigold-tickets

3/26: Salt Lake City, UT @ In The Venue
https://www.ticketfly.com/purchase/event/1077075?utm_medium=bks

3/28: Tempe, AZ @ The Marquee Theatre
http://event.etix.com/ticket/online/performanceSale.do?performance_id=4522707&method=restoreToken&cobrand=luckymanonline

3/29: San Diego, CA @ House of Blues
http://www.ticketmaster.com/event/0A00503C042F3653

3/31: Los Angeles, CA @ Hollywood Palladium
http://www.ticketmaster.com/event/0900503A01463161

4/2: Las Vegas, NV @ The Foundry
http://thefoundry.electrostub.com/event.cfm?id=161814&cart

4/3: Anaheim, CA @ House of Blues
http://www.ticketmaster.com/event/0900503A04D73C8E

4/4: San Francisco, CA @ The Masonic
http://www.ticketmaster.com/event/1C00503BD1CB4D62

4/6: Portland, OR @ Wonder Ballroom
http://bit.ly/SANTIGOLDwon2916

4/9: Seattle, WA @ Neptune Theatre
http://purchase.tickets.com/buy/TicketPurchase?pid=8191278&orgid=30247

4/11: Vancouver, BC @ Vogue Theatre
https://www.ticketfly.com/purchase/event/1080099?utm_medium=bks

4/13: Calgary, AB @ Flames Central
https://www.ticketfly.com/purchase/event/1073501

4/16: Minneapolis, MN @ Mill City Nights
http://axs.com/events/306357/santigold-tickets

4/17: Chicago, IL @ Concord Music Hall
http://www.clubtix.com/concordmusichall/santigold-concord-music-hall-tickets-433974?p=20742

4/19: Cleveland, OH @ House of Blues
http://www.ticketmaster.com/event/0500503BD5807320

4/20: Columbus, OH @ Newport Music Hall
http://www.ticketmaster.com/event/05005035DE37765D?brand=promowest

4/22: Nashville, TN @ Marathon Music Works
https://www.ticketfly.com/purchase/event/1076673?utm_medium=bks

4/23: Charlotte, NC @ The Fillmore
http://www.ticketmaster.com/event/0E00503B9D15370E

4/25: Tampa, FL @ The Ritz Ybor
http://www.ticketmaster.com/event/0D00503C6B8562E1

4/26: Fort Lauderdale, FL @ Revolution Live
http://www.ticketmaster.com/event/0D00503CA05C8760

4/28: Atlanta, GA @ The Tabernacle
http://www.ticketmaster.com/event/0E00503B0171CD2E

4/30: New York, NY @ Hammerstein Ballroom
http://www.ticketmaster.com/event/0000503C30E8D8DA

5/1: Philadelphia, PA @ Theatre of the Living Arts
http://www.ticketmaster.com/event/0200503BB14443F4

5/3: Boston, MA @ House of Blues
http://www.ticketmaster.com/event/0100503BB8D240BA

5/4: Baltimore, MD @ Baltimore Soundstage
http://www.ticketfly.com/event/1078011

5/6: Silver Spring, MD @ The Fillmore
http://www.ticketmaster.com/event/1500503BF35456E6

Santigold  has announced a North American spring tour in support of her forthcoming album 99¢, out on February 26 via Atlantic Records. Acclaimed for her monumental live shows, Santigold is taking it all to the next level in the brand new stage production.

Tour Dates

3/21: Houston, TX @ House of Blues http://www.ticketmaster.com/event/3A00503D602C1322   3/22: Dallas, TX @ House of Blues http://www.ticketmaster.com/event/0C00503CD31E2B83   3/24: Denver, CO @ Ogden Theatre http://axs.com/events/306644/santigold-tickets   3/26: Salt Lake City, UT @ In The Venue https://www.ticketfly.com/purchase/event/1077075?utm_medium=bks   3/28: Tempe, AZ @ The Marquee Theatre https://www.ticketfly.com/purchase/event/1077075?utm_medium=bks   3/29: San Diego, CA @ House of Blues https://www.ticketfly.com/purchase/event/1077075?utm_medium=bks   3/31: Los Angeles, CA @ Hollywood Palladium https://www.ticketfly.com/purchase/event/1077075?utm_medium=bks   4/2: Las Vegas, NV @ The Foundry Hall https://www.ticketfly.com/purchase/event/1077075?utm_medium=bks   4/3: Anaheim, CA @ House of Blues https://www.ticketfly.com/purchase/event/1077075?utm_medium=bks   4/4: San Francisco, CA @ The Masonic http://www.ticketmaster.com/event/1C00503BD1CB4D62   4/6: Portland, OR @ Wonder Ballroom http://bit.ly/SANTIGOLDwon2916   4/9: Seattle, WA @ Neptune Theatre http://purchase.tickets.com/buy/TicketPurchase?pid=8191278&orgid=30247   4/11: Vancouver, BC @ Vogue Theatre https://www.ticketfly.com/purchase/event/1080099?utm_medium=bks   4/13: Calgary, AB @ Flames Central https://www.ticketfly.com/purchase/event/1073501   4/16: Minneapolis, MN @ Mill City Nights http://axs.com/events/306357/santigold-tickets   4/17: Chicago, IL @ Concord Music Hall http://www.clubtix.com/concordmusichall/santigold-concord-music-hall-tickets-433974?p=20742   4/19: Cleveland, OH @ House of Blues http://www.ticketmaster.com/event/0500503BD5807320   4/20: Columbus, OH @ Newport Music Hall http://www.ticketmaster.com/event/05005035DE37765D?brand=promowest   4/22: Nashville, TN @ Marathon Music Works https://www.ticketfly.com/purchase/event/1076673?utm_medium=bks   4/23: Charlotte, NC @ The Fillmore http://www.ticketmaster.com/event/0E00503B9D15370E   4/25: Tampa, FL @ The Ritz Ybor http://www.ticketmaster.com/event/0D00503C6B8562E1   4/26: Fort Lauderdale, FL @ Revolution Live http://www.ticketmaster.com/event/0D00503CA05C8760   4/28: Atlanta, GA @ The Tabernacle http://www.ticketmaster.com/event/0E00503B0171CD2E   4/30: New York, NY @ Hammerstein Ballroom http://www.ticketmaster.com/event/0E00503B0171CD2E   5/1: Philadelphia, PA @ Theatre of the Living Arts http://www.ticketmaster.com/event/0200503BB14443F4   5/3: Boston, MA @ House of Blues http://www.ticketmaster.com/event/0100503BB8D240BA   5/4: Baltimore, MD @ Baltimore Soundstage http://www.ticketfly.com/event/1078011   5/6: Silver Spring, MD @ The Fillmore http://www.ticketmaster.com/event/1500503BF35456E6

Santigold’s third album, 99¢ , will now be released worldwide on February 26  via Atlantic Records.  She will make your 99¢ dreams come true in 2016! Santigold will kick off the year sharing more material and videos from the album with a tour to follow. Stay tuned to Santigold.com, which will be updated continually with exclusive content.

In the meantime, watch the cameo filled video directed by Santigold and Trouble Andrew for “Who Be Lovin Me (feat. ILOVEMAKONNEN).”