Independent hard rock band Hell & Hollar premiered its latest single and video last week.
The band premiered its new single, ‘Siberian Hunter‘ and its companion video Friday. The song features a heavy stoner rock-tinged stylistic approach and sound that is balanced well with a touch of 90s grunge influence for its foundation.
No information was provided about the lyrical theme featured alongside the song’s musical arrangement.
The video for ‘Siberian Hunter’ is presented in an almost video graphic novel hybrid type approach. It follows its titular character making his way through a forest and eventually meeting a wolf along the way. The result of the meeting will be left for audiences to discover for themselves.
More information on Hell & Hollar’s new single and video is available along with all of the band’s latest news at:
Independent hard rock band Antisaint premiered not one but two songs from its forthcoming album this week.
The band premiered the songs ‘Incomplete‘ and ‘Feed The Crows‘ Tuesday. The songs are featured in the band’s forthcoming album, Vaticinate, which is scheduled for release Aug. 20. Pre-orders are open now.
The songs are two completely different works in regards to their musical arrangements. ‘Incomplete’ boasts a heavy song that is similar to works from the likes of Seether, Three Days Grace, and others of that ilk in regards to its stylistic approach and sound. On the other hand, ‘Feed The Crows’ presents a sound and stylistic approach that is more akin to works from the likes of Deftones and Korn.
The songs are unique not only in regard to their musical arrangements, but also their lyrical content. As front man Matt Whiteman points out, the lyrical theme featured in ‘Incomplete’ delivers a message of proud defiance.
“’Incomplete’ is about being looked down upon and judged by others for pursuing a purpose in life that they do not understand themselves,” said Whiteman. “It is a common occurrence to have when pursuing a creative lifestyle. People constantly criticize and belittle artists’ creations without even thinking about what it takes to have the courage to make something original and put it out into the world. The end of the song is a rally to other people in our position to not give into the doubt and pressure, take the half that they can’t see and make it whole.
As to the lyrical theme featured in ‘Feed The Crows,’ Whiteman stressed this song is more of a statement of anger and frustration.
“‘Feed The Crows’ was written during a low point of making the album,” he said. “The song is pure frustration and the message behind it is to say f*** it, and compromise morals to match those who have none. It’s less meaningful compared to the other songs on the album. Having said that it serves a major purpose in the TO DIGEST part of the album in which it represents the pure chaos and emotion of not being able to achieve what you wanted.”
More information on Antisaint’s new singles and album is available along with all of the band’s latest news at:
This year has seen so many covers collections released. From rock to pop to jazz, it seems every genre has seen any number of covers records, to the point that it has made the whole field somewhat trite. Yes, there are some covers sets that standout, but for the most part, the field has really become one big mass once again. Enter Punk Rock Factory’s forthcoming record, Masters of the Uniwurst. The 22-song record is the most standout of this year’s new covers records. That is due in large part to its featured songs. They will be discussed shortly. The band’s performances of the featured songs also plays into the record’s presentation and will be addressed a little later. Staying on that note, the songs’ sequencing plays its own important part to the collection’s presentation and will be discussed a little later. Each item noted is important in its own way to the whole of this 34-minute record. All things considered, they make the record the best of this year’s new covers records so far.
Punk Rock Factory’s forthcoming record, Masters of the Uniwurst is unquestionably the best of this year’s covers sets so far. That is due in no small part to its featured songs. The songs in question are punk rock takes of classic kids’ TV shows from the 80s and 90s. Given, it is hardly the first time that any act has taken on such songs, but it’s also an approach that is not overly taken for covers records. Powerglove is well-known for doing such. There are also compilations of theme songs from kids’ shows covered out there, but again, they are compilations. Keeping that in mind, that the band would take this avenue is worthy of applause in itself.
Adding to the reason for applause is the mix of theme songs that the band opted to take on in this collection. The band did not just take the easy route and cover theme songs that others have taken on. Yes, the band took on the theme songs from the likes of The Flintstones and Pokemon and even Scooby Doo, Where Are You?, but it also took on theme songs from other shows, such as Goof Troop, Alvin and the Chipmunks, and even M.A.S.K., as well as Animaniacs, Denver The Last Dinosaur, and Round The Twist. Simply put, the band chose a relatively solid mix of familiar shows and theme songs, and some equally well-known shows whose theme songs have been less covered. That balance continues to show the importance of the record’s featured songs. It shows that the band put a lot of thought into the record’s body. It shows the band members wanted to make sure if from only this element, audiences became engaged and entertained. Keeping all of this in mind, the record’s songs are just a portion of what makes this record stand out. The band’s performances add their own layer of enjoyment to the record.
The band’s performance of each song is important to the record’s presentation because of the updated touch it gives to each classic theme song. Case in point is the band’s take on the theme song from the original Teenage Mutant Ninja Turtles cartoon. The band stays true to the source material here, yet somehow, with its punk influence here, the song actually proves even better than the original. Whether that is because of the guitars, the vocals, the drums, or everything together, the fact of the matter is that this song, which even boasts some classic metal influence, really gives the song a welcome update. Longtime devotees of the series (and the TMNT franchise) will easily find this a welcome take on the song. On yet another note, the band’s take on the Arthur theme song (yes, the band even takes on the theme song from Arthur, which was originally updated by a well-known member of the Marley family)shows the importance of the band’s performance in its own way. Yes, it is another punk rock opus, but the band still stays true to the original, even including the slightest hint of reggae along with the collective chorus to make this such a unique and surprisingly enjoyable take on another classic theme song. And then there is the band’s take of the Saved By The Bell theme song. The original song had a little bit of a rockabilly vibe about it. In the case of this performance, the band’s punk take amps up that take while, again, staying true to the source material. It is another unique approach to a theme song that has rarely if ever been covered by other acts well-known and otherwise and considering the stylistic approach and the energy that results from the performance, shows even more why the band’s performances are so important to the record’s presentation. Taking this into consideration along with the band’s performance of the other songs examined here and those in the rest of the record, the whole leaves no doubt as to the importance of the band’s performances. Even with its importance, it is still not the last of the record’s notable elements. The record’s sequencing rounds out the most important of the collection’s elements.
The sequencing is so important to the record’s presentation in part because it ensures the theme songs and shows do not get redundant. Put in more layman’s terms, the sequencing ensures that throughout the album’s run, the songs (and shows) do not just stick to one era or another. Thundercats, an anime show takes audiences back to the 80s. From there, the band moves forward to the 80s with the theme song from the still very popular Mighty Morphin’ Power Rangers series. The band sticks to the 90s from there as it takes on the theme song from Arthur. The show itself is completely different from the other two songs, and so is the theme song in terms of its original stylistic approach and sound. The diversity in shows and theme song styles and sounds continues fluidly from there, from the easy, lighter Goof Troop theme song to the more energetic Animaniacs theme. Again, this is in reference to the original songs. The band’s take on them does well to honor those original takes, again. From that point on to the record’s end, the changes continue throughout, doing their own part to keep the record engaging and entertaining.
The ordering of the content at the surface is just part of the importance of the record’s sequencing. The sequencing also ensures the record’s energy remains high even as the song styles change. At no point does that energy pull back. It stays high from beginning to end, ensuring even more, audiences’ engagement and entertainment. Taking this into consideration along with the role of the sequencing in regards to the content’s general ordering, the two items pair to show wholly why the sequencing is just as important to this record as the content and the band’s performance thereof. All things considered, they make this record the best of the year’s new covers compilations so far.
Punk Rock Factory’s forthcoming covers set, Masters of the Uniwurst, may not be its only covers collection (it took on a number of Disney songs in its most recent record), but it is still a welcome new collection of covers from the punk outfit. That is due in large part to its featured songs. The songs are a collection of songs, some of which are more often covered than others and some of which are lesser handled from shows that are themselves a balance of well- and lesser-known kids shows. That balance of content is itself reason enough to audiences to take in this record. The band’s performances of the record’s featured songs adds its own touch to the presentation. That is because the performances in question amp up songs that were already catchy to begin with while staying true to the source material. The record’s sequencing rounds out the most important of its elements. That is because it ensures the collection’s aesthetics add their own important touch to the whole. Each item examined is important in its own way to the whole of the record. All things considered, they make Masters of the Uniwurst the master of this year’s field of new covers compilations. Masters of the Uniwurst is scheduled for release Friday.
More information on Punk Rock Factory’s new compilation record is available along with all of the band’s latest news at:
The Black Moods will join The Dead Daisies on the road this summer.
The band will serve as support for The Dead Daisies’ tour, which is in support of its latest album, Holy Ground, which was released early this year through SPV. The tour, which The Black Moods is using to promote its latest album, Sunshine, is scheduled to launch Sept. 10 and to run through Oct. 15. It features performances in cities nationwide, such as Portland, OR; Fort Wayne, IN and Vineland, NJ.
Tickets are available now for each show here. The tour’s schedule is noted below.
8/3 Scottsdale, AZ @ Frasher’s Tavern
8/6 Salt Lake City, UT @ The Royal (w/ Royal Bliss, Smile Empty Soul)
8/7 Lewiston, ID @ Snake River Rock Fest ^
9/5 Charlotte, NC @ Hops & Hogs Festival ^
9/10 Rockford, IL @ The Apollo Theater AC #
9/11 Joliet, IL @ The Forge #
9/13 Fort Wayne, IN @ Piere’s #
9/14 Cleveland, OH @ Agora Theater #
9/17 Buffalo, NY @ The Showplace Theater #
9/18 Vineland, NJ @ The Landis #
9/20 New York, NY @ Sony Hall #
9/22 Virginia Beach, VA @ Elevation 27 #
9/24 Ft. Lauderdale, FL @ Culture Room #
9/25 St. Petersburg, FL @ Jannus Live #
9/27 Sauget, IL @ Pop’s #
9/29 Dallas, TX @ Granada Theater #
9/30 San Antonio, TX @ The Rock Box #
10/2 Houston, TX @ Warehouse Live #
10/3 Austin, TX @ Come and Take It Live #
10/7 San Diego, CA @ Ramona Mainstage #
10/9 Sacramento, CA @ Aftershock Festival ^
10/10 Roseville, CA @ Goldfield Trading Post (Placer) #
10/12 Portland, OR @ Alberta Rose Theater #
10/15 Seattle, WA @ Neptune Theater #
# with The Dead Daisies, Don Jamieson
^ festival appearance
More information on The Black Moods’ upcoming tour dates and its new album is available along with all of the band’s latest news at:
Independent hardcore band Grand Collapse premiered its latest single last week.
The band premiered its sociopolitically charged song ‘Without Let or Hindrance‘ July 21. The song is the second from the band’s forthcoming album, Empty Plinths. The album the band’s third) is scheduled for release Aug. 6 through Epidemic Records, TNS Records, Don’t Trust The Hype Records, Mass Prod., and Ultra Vinyl. The album’s lead single, ‘Panic Room,’ was released July 20.
The song’s intense musical arrangement is an adrenaline-fueled composition whose guitar arrangement, heavy bass and drums, and powerhouse vocals collectively makes the song comparable to works from the likes of ‘Propagandhi, Conflict, and Bane.
The lyrical theme that accompanies the song’s musical arrangement is just intense in its commentary about certain policies held by the British government.
Front man “Calvin” talked about the song’s theme during a recent interview.
“On the inside of a British passport it reads: “Her Britannic Majesty’s sectary of state requests and requires in the Name of Her Majesty all those whom it may concern to allow the bearer to pass freely without let or hindrance, and to afford the bearer such assistance and protection as may be necessary.” For a Country that is so actively hostile to anyone coming here, including refugees, I find this statement astounding,” he said. British identity, which is steeped in Empire, is a pathetic shell of itself and watching these tossers hold on desperately to the tyranny of the past is cringe worthy.
In other news, Grand Collapse has scheduled a series of tour dates in support of its new album. The tour is scheduled to launch Aug. 14 in Bristol, UK and to run through Sept. 22 in Sunderland, UK. Another, later date is scheduled for Nov. 13 in Newport, UK.
More information on Grand Collapse’s new single, album and tour is available along with all of the band’s latest news at:
Dark Station offered up an updated take of another of its songs over the weekend.
The band premiered an updated take of its song, ‘Locked On‘ Friday. The song is the second that the band has taken on, following the premiere of its song, ‘Misery‘ last month. Each song is featured in the band’s album, Down in the Darkness.
Neither song was a featured single from the album. The record produced four other singles: ‘Villain,’ ‘No Life,’ ‘Obvious,’ and ‘Heroes.’ The updated take of ‘Locked On’ takes the song in a wholly new direction from the original. Where the original composition is a heavy, intense, guitar-centered work, this take on the song takes more of a semi-goth, piano-driven approach. Even front man Nathan Spades’ vocal delivery is more intense in its presentation even in its subtlety.
Speaking of Spades, he talked about the song’s lyrical theme during a recent interview.
“The song is about having motivation and always improving yourself,” said Spades. “I think that’s evident in the first line of the chorus, “I’m locked on, ready to move now.” I’ve made a lot of mistakes, but If you don’t choose to learn from them, then I guess you’re not really progressing.”
The video for the band’s update of ‘Locked On’ features Spades in what looks like a cramped corner of an attic setting. Lighting and special effects are used to heighten the emotional impact of the video and song together.
Gutiarist Kyle Ortt talked about the video treatment during a recent interview.
“We did something a little different for this video,” said Ortt. “Our go-to guy Robyn August wore the director’s hat, but this time we added some animation by the visual fx artist Jay Hemrajani. It’s very visually appealing and I think the audience will enjoy it.”
In other news, Dark Station will launch a brief tour later this summer in support of Down in the Dark. The tour is scheduled to launch Sept. 11 in Las Vegas, NV and to run through Sept. 18 in Tucson, AZ. It features performances in Salt Lake City, UT; Boise, ID; Portland, OR and Reno, NV.
More information about Dark Station’s new single and video is available online now along with all of the band’s latest news and more at:
Downfall 2012 officially released its take on a classic Motorhead song over the weekend.
The independent hard rock band premiered its take on ‘Ace of Spades‘ Friday. The nearly three-minute take stays true to its source material while giving it a welcome update at the same time. The heavy guitar arrangement featured at the song’s heart pairs with the vocal delivery of front man Tim Armstrong to make the whole comparable to works from Adrenaline Mob.
The band said in a prepared statement that it has been covering ‘Ace of Spades’ for a long time.
“In Spring of 2021 we were invited to tour with Hellzapoppin Circus SideshowReview on a number of TX dates,” the statement reads. “On the run our buddy Short E. Dangerously suggested we record our rendition of Motorhead’s ‘Ace of Spades’ for him to use in future performances. We had been playing the song for years but never considered recording it. However, we loved Shorty’s idea and decided to give it a go!
The statement adds, “We recorded everything in our personal studio, and then shipped it off to our producer Jim Finley to put his magic on it. The track came out so good that we had to share it with everyone!”
More information on Downfall 2012’s take on ‘Ace of Spades’ is available along with all of the band’s latest news at:
Drummer/composer Mark Lipson has made a comfortable place for himself in the jazz community over the course of the past three-decades-plus. From working as a drummer and producer, to serving as an educator, Lipson has done a lot to say the least. Now Friday, Lipson will add another mark to his resume when he releases his new album, Realism. Scheduled for release today through DCC Records, the eight song record is entertaining though imperfect. The most notable of the 59-minute presentation’s positives is its musical arrangements. They will be discussed shortly. While the arrangements do plenty to make the record appealing, its lack of any liner notes detracts from its presentation to a point. It is not however, enough to make the album a failure. The songs’ sequencing works with the songs themselves to make this album appealing. In turn, the two elements make the album worth hearing, even with the concerns raised by the noted lack of liner notes.
Mark Lipson’s brand new album, Realism, is a presentation that most jazz audiences will agree is worth hearing. That is due in large part to its featured arrangements. The arrangements in question are diverse. From smooth jazz, to what sounds like hard bop, to even some Afro-Latin jazz and even full-on improve/free jazz, this record’s arrangements reach will connect with a wide range of audiences. The whole thing opens with what can be considered a touch of cool jazz and bop in ‘The Masters.’ This is evidenced especially through the performance of saxophonist Andrew Bishop and pianist Cliff Monear against the drumming of Jesse Kramer. Monear’s own performance easily lends itself to comparisons to works that Vince Guaraldi composed during his time decades ago. Dwight Adams’ performance on trumpet adds its own touch to that feel. The balance in that contrast of the bebop and cool jazz here makes for a wonderfully enjoyable first impression for the album and example of the importance of the songs’ diversity. It is just one of the songs that serves to do just that, too. ‘PJ Lids,’ the album’s penultimate entry, is another entry that shows the diversity in the album’s arrangements and the impact therein.
‘PJ Lids’ opens and closes with an advanced Afro-Latin percussion composition complete with conga drums and cowbell. That is accentuated by the addition of Monear’s performance on piano and the layered effect of Dwight Adams and Terry Kimura on trumpet and Rafael Statin on saxophone. Statin absolutely takes off as the song progresses, going full on improve with his performance. Meanwhile the rest of the group maintains its pace and energy, the whole making for quite the interesting song in its own right. It is an Afro-Latin jazz composition, but still manages to hold its own easily throughout with any and every other opus of its ilk. It also stands alone separate from the rest of this albums works, showing even more, the diversity in the album’s arrangements. The album’s title track, which comes just past the record’s midpoint, is yet another example of the importance of the album’s musical arrangements.
‘Realism’ is an active composition to say the very least. Bishop leads the way in this song on the saxophone while Kramer adds his own powerful touch to the work as he keeps time. His polyrhythmic patters are in-depth, what with the accents and structures in general. Yet Kramer misses not even one note here. Monear, Adams and bassist Miles Brown also bring their own touch to the controlled chaos of this song. The whole is so in-depth and engaging. As audiences engage in the song, they will also become increasingly entertained, even with the song clocking in at more than five minutes (five minutes, six seconds to be exact). The song stands out just as much from the other songs examined here as they do from the album’s other songs. All things considered, the songs featured in this album show clear diversity. That diversity will itself ensure listeners’ engagement and entertaining. Even with this in mind, the album is sadly not perfect. The lack of any background information on the songs in the liner notes detracts from the album’s presentation.
The lack of any background information is especially important to note because what is mentioned here is that the songs were “sourced from emotional experiences from his (Lipson’s) personal life and world events.” That is the extent of what audiences get in the way of background information. It would have been nice to have had more information on each song, rather than just have it stop so abruptly right there. Given, listeners will connect with the songs. There is no doubt as to that reality. However, without any real firm background on the songs, that connection will only be superficial. Audiences will not manage a deeper connection and appreciation for the songs since there is nothing else offered. As this critic has pointed out multiple times, instrumental music is different from music with lyrics. Music with lyrics is typically easier to interpret. On the other hand though, instrumental music is left entirely to interpretation (which can be bad) without any explanation as to their influence. Keeping all of this in mind, the album’s lack of any background information in the liner notes detracts notably from the record’s presentation. It is not enough to make the album a failure, but would certainly have helped advance the album’s presentation had it been there.
Understanding that the album’s lack of liner notes detracts from its presentation to a point, it should be understood that it is the album’s only negative. The album’s sequencing works with the songs and their diversity to make the album even more worth hearing. As already noted, the arrangements featured in this album are diverse. That diversity is accented through their sequencing. The album goes from the noted bebop/cool jazz of the opener to a more Afro-Cuban style work in ‘Tony’s Trip,’ the album’s second entry. ‘Cuernavaca’ continues that Afro-Cuban feel with its gently flute-led melody. ‘Samba De Romance’ also continues that trend before things switch up in ‘Realism.’ ‘Existentialism’ takes listeners back in a more distinct Afro-Latin direction, but instead of just letting it take the lead, the collective leans in a more pure jazz direction. It makes that Afro-Latin influence more of a supporting element here, once again changing things up. ‘PJ Lids’ als already noted takes the group in yet another completely different direction with its borderline free jazz approach set against the more distinct Afro-Latin influence also audible here. ‘Spinning’ closes out the album by taking audiences back in a more bebop/cool jazz direction, really bringing everything full circle. The album’s energy remains relatively stable throughout the course of the album, changing ever so subtly from one to the next. It is one more way in which the album’s sequencing is shown to play its own important part. When this undeniably important aspect is considered along with the diversity in the arrangements, the two elements do well to make this album worth hearing even with the one downside of the lack of background to the songs.
Mark Lipson’s new album, Realism, is a mostly positive presentation from the highly experienced percussionist/drummer/composer/educator. Its appeal comes in large part through its featured arrangements. The arrangements in question are diverse from one to the next. The subtleties in the arrangements’ variances require audiences’ undivided attention. That attention will lead to the noted engagement and entertainment from that aspect. When the diversity in the arrangements pairs with the sequencing thereof, the whole makes the album a presentation that jazz audiences in general will agree is worth hearing. That is even despite the one short coming that is the album’s lack of background on the songs. Keeping that in mind, the album proves to be a mostly positive work that jazz audiences will appreciate. Realism is available now through DCC Records. More information on the album is available along with all of Mark Lipson’s latest news at https://marklipsonmusic.com.
Independent rock band Westwood wants its audiences to face their fears and take control of their lives.
That is the message in the band’s recently released single, ‘Rag Doll.’ The band debuted the single, which boasts a steady, guitar-driven arrangement, June 25. The arrangement, as noted, is an upbeat work that is a good fit for any mainstream rock radio programmer’s play list.
The band talked about the song’s lyrical theme in a prepared statement, pointing out that the theme encourages listeners to be brave in every aspect in life.
“When we tend to think about our fears, the reasons why we don’t try to pursue the things we love doing, it seems to take the form of a creepy, beat up, possessed rag doll,” the statement reads. “We can sit here and talk whatever about the characters in these famous horror movies, screaming at them to fight their fear from the very beginning. But in reality, we all have fears just like them that we need to face, whether we like it or not! This song is about fighting your fears head on, and taking all of your energy to defeat the doll-like thing that’s been holding you back from your full potential!”
More information on Westwood’s new single is available along with all of the band’s latest news at:
The band is scheduled to release its new EP, Purgatory Friday through Fantasy/Concord Records. In anticipation, the band will release the alternate version of its single, ‘Wasteland‘ Tuesday. The song was originally featured in the band’s 2020 album, Si Vis Pacem, Para Bellum. The new “alternate take” stays true to the source material, with the band opting instead this time for a softer, semi-acoustic take on the song. The updated take is comparable to works from Staind.
Front man Shaun Morgan said during a recent interview, he was looking forward to the release of the band’s new EP.
“We are really excited to release The Purgatory EP as a companion to our latest single, ‘Wasteland,’ he said. “I’m especially proud of how the alternate version of the track turned out and really happy that people will finally hear it!”
In other news, Seether launched an extensive new tour in support of its new EP. The tour launched July 17 in Huber Heights, OH and is scheduled to run through Oct. 16 in West Palm Beach, FL. Performances in cities nationwide, such as Nashville, TN; Boise, ID and Sterling Heights, MI are among the many dates on the tour’s schedule, which is noted below.
Jul 29 Thu- Bossier City, LA-Brookshire Grocery Arena
Jul 30 Fri-Sugar Land, TX-Smart Financial Centre at Sugar Land
Jul 31 Sat-Irving, TX-Irving Music Factory
Aug 5 Thu-Tinley Park, IL-Hollywood Casino Amphitheatre
Aug 6 Fri-Indianapolis, IN-TCU Amphitheater at White River State Park
Aug 7 Sat- Sterling Heights, MI-Michigan Lottery Amphitheatre at Freedom Hill
Aug 12 Thu-Council Bluffs, IA-Harrah’s Council Bluffs Hotel & Casino
Aug 13 Fri-Moorhead, MN-Bluestem Amphitheater
Aug 14 Sat- Belcourt, ND-Sky Dancer Casino & Resort
Aug 19 Thu-Wantagh, NY-Northwell Health at Jones Beach Theater
Aug 20 Fri-Baltimore, MD-MECU Pavilion
Aug 21 Sat-Philadelphia, PA-The Mann Center
Aug 26 Thu-Kennewick, WA-Benton Franklin Fair & Rodeo
Aug 27 Fri-Boise, ID-Expo Idaho
Aug 28 Sat-Salem, OR-Oregon State Fair
Aug 31 Tue-San Jose, CA-San Jose Civic
Sep 2 Thu-Corning, CA-Rolling Hills Casino Corning Ca
Sep 3 Fri-Reno, NV-Grand Theatre at Grand Sierra Resort
Sep 5 Sun-Las Vegas, NV-Fremont Street Experience
Sep 7 Tue-West Valley City, UT-USANA Amphitheatre
Sep 8 Wed-Denver, CO-Bellco Theatre
Sep 10 Fri-Newark, NJ-WDHA’S Family Reunion
Sep 11 Sat-Danville, VA-Blue Ridge Rock Festival 2021
Sep 17 Fri-Minneapolis, MN-93X’s Family Reunion
Sep 19 Sun-Maryland Heights, MO-105.7 The Point 2021 Fest
Sep 23 Thu-Brandon, MS-Brandon Amphitheater
Sep 24 Fri-Rogers, AR-The Walmart AMP
Sep 25 Sat-Nashville, TN-Ascend Amphitheater
Sep 26 Sun-Louisville, KY-Louder Than Life 2021
Sep 30 Thu-North Myrtle Beach, SC-House of Blues Myrtle Beach
Oct 1 Fri-Atlanta, GA-Tabernacle
Oct 2 Sat-Tampa, FL-98ROCKFEST
Oct 7 Thu-Sacramento, CA-Aftershock 2021
Oct 10 Sun-Tempe, AZ-Marquee Theatre
Oct 14 Thu-Jacksonville, FL-Daily’s Place Amphitheater
Oct 15 Fri-Orlando, FL-Hard Rock Live Orlando
Oct 16 Sat-West Palm Beach, FL-iTHINK Financial Amphiteatre
More information on Seether’s new single, tour, and EP is available along with all of the band’s latest news at: