This past week I was asked to give an interview by a freshman student at Berklee School of Music in Boston, for a class project they were working on. After finishing it, I realized that maybe some other young musicians out there might benefit from also having access to it. This is by no means a complete version of my story, but I think some of the broader themes here apply to a life in the arts in general. This entire piece was a stream of conscious response to his questions.
1.) When did music become a serious portion of your life and interest?
Music was always a part of my life, there was no single moment, that I became serious about it. My relationship to music built steadily, over a very long time. I was put into piano lessons when I was about five I think, and had to practice in the basement for 20 minutes a day before dinner, every day of the week, using my moms kitchen timer to keep track. When I started playing guitar at age 10, my dad would show me chords, and then put on records in the living room after dinner, for us to play along to. If they’d made me practice piano 60 minutes a day as a 5 year old, maybe I would’ve burned out. If they’d left it up to me to “practice when I wanted”, I would not have practiced at all. I think the structure of practice, and the reward of listening to records where I could hear piano (Ry Cooder Dark End Of The Street, Derek And The Dominos Layla, etc), was enough to twist my ear, and so over time as a kid, I began to value music (playing and hearing it) the same way I loved skiing, building forts in the woods, just as another outlet. I had some natural talent, so maybe that gave me a leg up, but mostly I think it was the structure.
I had my own learning style when it came to the rest of public school, I won’t say “learning disability”, but I will say that school was very hard for me, and I had to work my ass off to get good grades so I could get into college. I learn from “doing”, visually, and also by listening, and there are alot of other students like me out there that don’t respond to the way traditional curriculum is taught in public schools. That’s all to say, I wasn’t even sure if I wanted to go to college. I knew I loved music and the woods, but growing up in a small town in Vermont, neither me or my family, really knew of any professions I could chase down in either of those fields. Wildlife Biologist? There’s probably only a couple positions that open up a year in any state. Guitar teacher? That didn’t really appeal to me at the time.
I wound up with a music scholarship to The University of Denver, where I went for two years. In the summers I worked in a National Park and on a cattle ranch building fence and pushing cows. There were no musicians I connected to at DU, besides the dean of the music school, Lynn Baker who was a bad ass. But I didn’t see any other students at DU making music that excited me. I didn’t want to play in swing cover bands, I didn’t want to play in funk cover bands, none of that shit seemed real to me. At the time, I was becoming obsessed more and more with bluegrass music, which had been played around the house my entire childhood. There was a tiny record shop/high end acoustic instrument shop in Denver named Swallow Hill, I used to go hang out there, buy bluegrass records, and play their high end acoustic guitars. I decided I needed to move to a better music town, where older musicians whom I idolized lived, and find a college I could transfer into in one of those towns. I visited Berklee Boston, the jazz program at NYU, and Belmont in Nashville. Bela Fleck and Sam Bush and Jerry Douglass lived in Nashville, so I moved there, without knowing anyone. And without knowing that Belmont was a southern baptist Christian school. Hardly anyone spoke to me, I made almost no friends for three years. I didn’t go to church, and even though I was spiritual, I don’t believe in religion beyond the fact that it gives people hope. That’s cool. But everything else seemed fake to me. I didn’t connect. I met one guitar teacher there that realized I was struggling, and resisting, and fighting. His name was Paul Abrams, and he became a hugely important person in my life.
He said that I had talent, but that I was resisting what was the “Belmont guitar curriculum”, because I was. It didn’t make any sense to me. It was their own style of teaching guitar, and their delivery of the material made no sense to me, just like high school math or history. They had renamed all the chord inversions with their own names, etc. Paul told me that if I would suck it up and get thru the basic guitar requirements that Belmont required of me to learn, he would teach me. I took a semester off. Went back out west to guide elk hunts, lost alot of weight, got fit, got focused. Decided to work harder than any guitarist in that school. I came back to Nashville, made it thru the Belmont curriculum, and became Pauls best student. I worked harder than any other guitarist there. Around this time, I started to make friends with other young bluegrass and jazz musicians outside of school, all of whom were better than me. I worked harder. By this time I’m 22 years old. So 4 years after leaving home for college, and 12 years into playing the guitar, I started to work really hard at it.
2.) What was the first moment you fell in love with what you do, if there was a single moment?
My greatest skill, is perseverance, and trying to become better than I am. I am a great collaborator. So combining those two: wanting to be a person who can work hard, create something out of nothing, and then help to curate a group of peers around that, to make something more than I can create on my own, that’s what I’m good at. When I was able to put my first band together, Blue Merle, that was really cool. I sat down, wrote all the songs, helped put the band together, and made something out of nothing. It felt like that making my newest record too, After The Flood.
3.) What non-musical parts of your life/hobbies help contribute to your creativity in songwriting?
Everything. It’s important I think to have a life outside of music. Maybe not everyone will agree with me, but I think that it is. For me at least. You need to have something to say. But it’s mysterious. You never know when you’re going to be ready to write. My mentor Mary Martin, who used to work for Albert Grossman with The Band, Dylan, and later signed Emmy Lou and managed Van Morrison, always told me, “a writer isn’t ready to write, until they’re overflowing”. That is to say, you’ve got a fish bowl, and you gotta fill that bowl up with experiences, until there’s water coming up over the top, until experiences are pouring out spilling all over the floor. That takes just as much to acquire and live those experiences as anything else. But it’s also intangible. You never know when it’s going to happen, or what experience will find it’s way into your writing. You just have to do everything you love, read everything that speaks to you, reject everything that offends you, and proceed.
I exercise every day.
I get out of Brooklyn, and go work on my cabin in Vermont, work on my land.
Fishing, hunting, reading, listening.
Make lists of everything I want to do.
4.) What has been the high point of your career so far?
My new record I just finished, After The Flood, isn’t out yet but it is perhaps the highlight of my creativity so far.
Writing a song for Willie Nelson, and then recording it together.
Making the Blue Merle record, my first real studio experience, finishing a project, front to end.
Learning from and working with the producers I’ve collaborated with on my own records: Jacquire King, Brad Bivens, Stephen Harris.
Working on the Grammy nominated soundtrack for August Rush.
5.) A low point?
There have been many low points. I regularly think about quitting. It’s so fucking hard. I just buckle down, and work harder, and remind myself, if I can hang in there, something good will happen.
It takes alot of guts and courage to forgive those who have wronged you, I would rather keep the low points private, but I can give you some generalities.
1) I was sued by a crooked manager who was out to get us, and settled for $226,000.00 most of which I had to recoup in my publishing deal.
2) I’ve had girlfriends leave me, because they were ready to settle down, and I was still trying to get my career off the ground.
3) I’ve had records that took my years to write, shelved by record labels after a few months of being out.
4) I’ve been rejected over and over and over, and been told no, more times than I can remember.
That is all to say, the high points have been so high, and so pure and real, that they are worth fighting for, and worth living for, and I have faith in myself and the universe, that my obligation in life, is only to work hard, and do good work, and keep trying, because so little else is actually up to me. I can’t make people like me, or like a record I’ve made, or like my playing. I cannot be what I am not. I can only keep working hard, to do my best, and make creative and musical decisions for the right reasons, and trust it will all work.
I should follow this up by saying, I am not a trust funder, I have no financial safety net to fall back on. Sometimes I’m saved up months ahead, sometimes I only have enough money to get me thru the next month, but it’s always worked out, and each year gets a little better. Plus my family believes in the value of real art, and believes in the value that there’s more to life, than getting a job so you can buy stuff, and that we’re only here for a little time, so do what it is that speaks to you.
6.) What has playing with Guster given you as a musician?
I’ve known the Guster guys since I was 22 when I met them in a recording studio across the hall. Blue Merle was cutting demos, and they were cutting, Keep It Together. We had the same booking agent, and their manager (our manager now) Dalton was interested in signing our band. The biggest thing Guster gave me then (10 years ago), was something to aim for. I saw how they got along, and how their road crew was an extension of their family, and I saw how they all had wives, and they weren’t drunks, and so it gave me something to aim for which was: there are good people out there making records, and if you hang in there long enough, you will cross paths with other musicians who are cool and working hard too.
We just finished recording a new Guster record last month, we took the last two and a half years to write it. One thing the process has given me, was that it forced me to be patient and supportive in a creative environment that was foreign to how I write and record on my own. They take a long time, but they do almost all of the writing in front of each other (at least on this record, I can’t comment on how the other records were written because I wasn’t there). Where as I also take a long time, but find that the bulk of what I consider to be my best writing, comes in private after I’ve worked on a song for weeks and weeks. Playing with them has helped make me a better musician and collaborator, because it’s reinforced how important it is to be supportive in all types of creative environments, and has given me the big picture insight that I think will serve me in multiple creative environments moving forward.
Another thing that playing with Guster has given me (and this is more literal), is that I’ve had to get alot better at the bass, which I’ve played since high school. The past three years, I’ve spent so much more time focused on bassists, and transcribing other bassists, that I feel like I’ve really stepped up.
7.) IF you had one regret in your career, what would that be?
I don’t have any regrets, but as I get older, I feel more and more confident about asking for what I want. Weather that’s asking to be put in touch with someone I respect (maybe a manager or another producer), or asking of the universe exactly what I want, weather or not it is manifested.
8.) What is your goal as a musician and songwriter?
To make the kind of music, I wish I could find out in the world. When I’m writing, I’m looking for songs, or an angle on a song, that hasn’t been written yet. When I’m producing a record, I’m trying to make the kind of record, I want to hear, that combines elements of all the music I’m listening to that I wish I could find in one place.
My goal is to always be better than I am, and to find ways to stay inspired, which I’ve heard other musicians, gets harder and harder as you get older. The musicians I emulate, have found a way to do this throughout their career. Those are the players I model myself after.
Bob Dylan’s first NYC apartment (3rd floor facing the alley) where he wrote Hard Rain, Don’t Think Twice and Blowing In The Wind.
And earlier, we stopped here. Beneath these buildings, on Feb 23 1940, Woody Guthrie checked into the now defunct Hanover House Hotel, and the next day wrote This Land Is Your Land.
Congrats to our producer Jesse Lauter for pulling off such a rad project and to all the other artists involved, for re-imagining cuts from a period of Dylans writing which is often overlooked, but produced two of my favorite all time Bob records: Empire Burlesque and Oh Mercy.
Spent most all of January, and also late February and early March, camped out in the Pacific Northwest tracking a new Guster record produced by Richard Swift, and mixed by Phil Ek. I learned so much from the two of them.
We played a benefit concert for the Greater Boston Food Bank up in Lowell, MA this past weekend. Probably the most fun we’ve had playing together in as long as I can remember.
Things feel pretty good right now. I got my new record in the can, the mixes are slamming, and it’s been fun turning people on.
On the Guster front, we got a batch of songs we’re really proud of that we’ve been working on for the past two years. In another six weeks, we’ll be flying out to Oregon, to spend the month of January making a new Guster record with producer and artist extraordinaire, Richard Swift.
I’ve been working all week on an arrangement of Hoagy Carmichael’s song, Stardust, that combines the arrangements taught to me by my teacher Paul Asbell, and my hero Willie Nelson. Here’s Willie’s version.
Played with my friends Yellowbirds last night at Messiah College in PA, my first time playing with them as a full band (subbing for Josh’s awesome wfie who usually holds it down on bass), besides the duo sets I’ve done with Sam on Guster tours in the past. And, besides the one track we recorded for an upcoming compilation of Bob Dylan 80′s covers, along with Bob Weir and The National and Built To Spill. But last night was different. I learned two albums in a couple days, and was right on the edge of total confidence and blank slate fear, my favorite place to be playing music that I love.
Anyways I had more fun last night playing blown out Psych rock with my friends, than I have had in a long time. Hope there’s more of that to come.
I co-produced “I’ll Wait For You” with Patrick Hallahan, the first single off Vanessa Calton’s record. Brad Bivens mixed.
PH found the song, on a 7″ in his grandma’s basement (or something crazy like that), which was cut by a relatively unknown artist during the 1940′s named Bernice Parks.
VC’s new record coming in 2014.
I made a new record.
It’s called After The Flood.
The past three years, I’d been bored with the music music I was making, and the songs I was writing. Looking for another way of creating without the burdening pressure of going it alone, I joined a band, built a cabin, and immersed myself in my work as a sideman, and as a session musician in New York City.
This past January, I began to feel for the first time in a long time, a desire to write. On my own, with no expectations of what it would sound like, or any real plans of how I’d put it out. I wanted to get free, and to make songs that didn’t exist yet, the kind of songs I would seek out on my own, if I knew somewhere someone else were writing them.
I had no one to please. No A&R team, no label, no publisher. For the first time since I was twenty two, my only audience, was as they say, an audience of one. I wanted to make new songs that me and the group of musicians I wanted to assemble for these sessions, would love. So after the band I tour with, came off the road the end of January, I took a look at the band calendar, which was wide open until summer tour, and made plans of my own.
My girlfriend who teaches writing at a charter school in Brooklyn, and previously worked at an art gallery, helped set me up, and brought me home a stack of huge blank classroom sticky posters for me to write on, so I could step back and see everything at once. I converted my tiny 8×10 studio apartment on Henry St in Brooklyn Heights into a reading and writing room. Stopped sleeping there, and started sleeping over at her house full time, so I’d have a morning walk at 7AM between her house and mine in the morning, to create some sort of transition between where I slept and where I wrote.
It was late January now. Brooklyn was cold, snowy. My girl fed me collections of short fiction and poetry. I developed an unquenchable appetite for the French symbolists (Rimbaud, Verlaine, Baudelaire), Stephen Hawking, and cosmology. Magical realism and Faulkner too. Around that time, my thirst for listening came back. I began devouring records front to end, sometime with a book in my hands, sometimes with an instrument, sometimes with nothing. Post punk experimental, noise, free jazz, Italian film score, psychedelic, hill country blues, surf rock. Thurston Moore played two noise sets in Brooklyn and at the MET that blew my mind. I was trying to get free. We went to see Deerhunter play a one song set at MoMA PS1 that ended in a wall of feedback. Fell back in love with noise as beauty. Went looking for new ways of breaking away from traditional song form. Some of the new songs on the record wound up arranged in a traditional sense. Others did not.
I decided early on in the writing process, that I did not want to make demos, and that I did not want to write lyrics in front of a laptop screen. I stayed off the internet. Everything was either written in pen or pencil, in one of the black and tan note books I kept stacked on the window sill marked, “REWARD IF FOUND”. If I wanted to remember a chord progression, or an arrangement, then I wrote it in marker on one of the classroom wall posters so I could see them standing up while I made coffee across the room. I also made lists of all the musicians I wanted to create with for this album, and family trees connecting the lineage of musicians and records I was listening to. Slowly but surely, the arc of a single body of work began to take shape around me. After playing the songs inside those four walls for the entire winter, I had memorized and worked out arrangements enough to hammer out basic charts on an albums worth of material.
In April, I cashed in 12 years worth of frequent flier miles, called up my friends in Tennessee, Kentucky, California and Brooklyn, and got everyone together under the same roof (or ceiling) in a small studio in the basement of a building under the Brooklyn and Manhattan bridges in DUMBO Brooklyn, down along the water. The studio had a 24 track 2″ tape machine, and 8 channels on Neve which we supplemented with our own gear. I wanted us all to be in the same room, looking at each other. One song at a time, I’d show the guys a tune, teach them the form and the changes, then we’d fire up the tape machine, and cut. Listen. Adjust. Cut. Listen. Move onto the next song. Some songs on this record, appear in their final form to you the listener, as first takes, that is, a single performance, of the first time everyone in the room (besides myself) had ever heard the song. What you’re hearing on record, is the band learning and performing, the song for the first time, in real time.
The moments I’m most proud of on the record, are the moments that to the outside world, might seem inconsequential, but to me feel like huge steps forward in breaking free from what I’d done before. The thirty two measure chord sequence for example at the end of “Late At Night” that never repeats itself once, and the slide guitar solo that used a glass slide as well as a bed spring from the hardware store I beat the pickups with in the back half. The sheer energy coming off the floor of the full take of “A Million Miles Away”, the image of, “a white horse running at me from out in the distance, trying to tell me something with it’s eyes,” in the first verse of the last song, “From The Bottom Looking Up”.
All in all, we cut all the basic tracks in five and a half days. I sang five out of ten of the lead vocals on the same morning. We cut the strings in a day. The recording went surprisingly fast.
The past week we’ve been mastering the album in Arizona, a state which I biked across between Guster tours back in November 2010. I wrapped up that ride in St George, UT, took a Greyhound bus back through Las Vegas and then to Flagstaff where my car was parked, and checked into a tiny hotel (where Linda Ronstadt used to stay), on Thanksgiving eve. There was a foot and a half of snow on the ground, and I stayed there two nights to air out my tent, clean up and read. The image I remember most now about that trip, was of a group of white horses that were grazing free range somewhere North of the Grand Canyon, that saw me coming down a long stretch of empty two lane road, and came up and ran along beside me for awhile. The sun was setting. It was cold. I stopped and talked out loud to them. There was steam coming out of their nostrils. Then we went our separate ways.
If I had to list the three external factors that most influenced this record, it is: Illuminations by Rimbaud, A Brief History Of Time by Stephen Hawking, and that bike ride across Northern Arizona around Thanksgiving. And also Thurston Moore. And lastly, a conversation I had next to a shitty casino along the river in Shreveport, LA with my bandmate Adam Gardner and friend and co-creator Sam Cohen from the band Yellowbirds, “How do you know when a lyric is finished?”.
The name of the album, After The Flood, comes from the first poem from Rimbaud’s collection “Illuminations”.
Soon I will share the record.
6 days left in my Pledgemusic campaign.
We’re almost finished with mastering the record, which is the final step of any recording. So what is mastering?
After a record has been recorded (that means all basic tracks, overdubs, and comps complete), the last two steps are mixing, and mastering. In both, the record takes two significant leaps which happen very fast (relatively speaking).
Mixing is where you take all the ingredients for whatever you’re cooking (in a song off the new album such as A Million Miles Away 60+ tracks), and blend them to create one final dish (in this case a stereo L+R audio file). Or my 4 hour bolognese sauce.
Mastering, is where you actually plate the food, dress it up and serve it. Present the dish it in it’s final form.
In regards to audio, usually at the end of a record after final mixes have been established (in our case it took about three weeks to get them right, kudos to our fearless recording and mixing engineer Brad Bivens), some songs might have ended up a bit quieter than others. Some might need to be squashed a bit, and some might need little at all. Mastering helps to create a thread of continuity between the tracks, and puts an overall sheen on the final mix.
It’s scary and also exciting for me to hand off a project to someone. I love collaborating, any of my peers will tell you that, but if you ask my girlfriend how it’s been around our apartment the past week, she’d tell you there’s been alot of pacing, running, me trying to keep myself busy while I wait for mastering refs to come back.
Anyways, we’re almost there, and even though I’m so close to this album, I can hardly see straight, in my gut, I know it’s a great body of work. More soon.
Please invite your friends to support my campaign in these final days. I want to push this over the top, make sure everyone who contributed hundreds of hours to this recording gets back what they’ve put in, and give this record the best chance to be heard by as many people as possible.
Here’s where we recorded the album.
Been home two weeks from summer Guster tour, having been gone since May. Brad jumped right into mixing the new album last week. Can’t wait to share this music with the world. Everyone who’s been involved in the making of this album is super proud. Making plans to master, trying to figure out what I’m gonna call this record.
My Pledgemusic campaign is open for another 33 days. I’m trying to figure out how to pull off finishing this record. Any and all contributions are greatly helpful.
I’ve already put in nearly half of everything I’ve earned this year. Another 5k would put me where I need to be. Maybe someone out there wants to Pledge to own one of my dads hand built guitars I have available up there.
Love to all.
Me and the boys have tracked the basics on 11 songs for my new album, in a record three days, and four hours. I’ve never worked so fast, with so little effort, and felt so free. Everything was cut live to tape, without a click track. Can’t wait for you to hear.
Massive thanks to everyone for the birthday gifts of supporting my PledgeMusic campaign. Can’t think of anything else I could appreciate more this week. If you’d like to join in, you can directly support this album being made, and picking up an advance copy of the album, one of my dads guitars, or a shirt HERE.
Thanks so much!
Playing three shows with Dispatch, the first three weekends in June, to warm up for the summer.
June 1 – Chicago, IL – Charter One Pavilion
June 8 – Mansfield, MA – Comcast Center
June 15 – Berkeley, CA – Greek Theater
More info here.
Sitting here on the bus in Lexington, in a hotel parking lot, out back of a gas station. It’s almost midnight, cold and been pouring all day. Had a great sold out show in Durham, NC last night at the Carolina Theater.
Love this clip of Greg Leisz, a multi instrumentalist I deeply admire. Thought I’d share before I crash. Good night.
Well, we’re already a week into January tour. We started off in Dallas, where our whole crew flew in, for a full production rehearsal with the symphony orchestra. Then it was off to New Orleans, where we put on a full rock show at House of Blues, before returning to Dallas, for one last rehearsal with the conductor. I wore a suit. Thanks to our friend Megan at Tommy Hilfiger.
Woke up in Austin the next morning feeling pretty giddy we’d pulled off it off such a relaxed and loose show in Dallas, in spite of what was very much a high pressure situation. Had a show that night at the Central Presbyterian Church. Austin is always great, we’ve got friends there, and I hope someday I get to make a record in that town. We finished every song with an amen, a joke we quickly rode into the ground, and then hung in there strong, till it got funny again. Encored in the balcony. Been having a lot of fun playing in the opening band Yellowbirds every night too. Peace be with you.
It’s been a busy fall. I just wrapped up a national tour with cellist Ben Sollee, and am back home in Brooklyn, unpacking, working on new music and playing in the studio.
In between all the touring, I somehow managed to build a 16′x30′ cedar shingle cabin with clean lines and lots of natural light, on my land up in Vermont. It wouldn’t have been possible without the help of my dad, who worked harder than most 20 year olds I know.
Guster heads back on the road in January. Looking forward to playing with the Dallas Symphony, and reuniting with our cellist and violinist friends, April and Charlene, who you may have seen on tour with us earlier this year. In addition to playing Guster songs, I’ll also be playing with the opening band Yellowbirds, whose music I love.
* also performing with Yellowbirds
01.04.13 w/ Guster – House of Blues – New Orleans, LA *
01.05.13 w/ Guster + Dallas Symphony Orchestra – Meyerson Hall – Dallas, TX
01.06.13 w/ Guster – Central Presbyterian Church – Austin, TX *
01.08.13 w/ Guster – Workplay Theater – Birmingham, AL *
01.10.13 w/ Guster – Variety Playhouse – Atlanta, GA *
01.11.13 w/ Guster – Variety Playhouse – Atlanta, GA *
01.12.13 w/ Guster – Carolina Theatre of Durham – Durham, NC *
01.14.13 w/ Guster – Buskirk Chumley Theater – Bloomington, IN *
01.15.13 w/ Guster – Stocker Arts Center – Elyria, OH *
01.17.13 w/ Guster – Calvin Theatre & Performing Arts Center – Northhampton, MA *
01.18.13 w/ Guster – The Capitol Theatre – Port Chester, NY *
01.19.13 w/ Guster – The Music Hall – Portsmouth, NH (SOLD OUT)
LIVE ACOUSTIC ALBUM
Finally, Guster just put out a collection of 16 recordings from the Guster Spring 2012 Acoustic Tour featuring the Guster String Players, which you can find here.
Have a safe and happy holidays. See you on the road in 2013.
I’ll be wrapping up my summer residency at The Living Room in NYC this Friday, with one final show at 9PM. I’ve had a lot of fun playing these shows the past three months. Thanks for being part of it.
Guster has a string of one offs coming up, including our recently announced show with the Dallas Symphony Orchestra in January.
I’ll also be going on tour for the fall with my friend and bad ass cellist, Ben Sollee. For those of you who don’t know Ben’s music, he’s a really talented dude from Louisville, KY who’s collaborated with everyone from Bela Fleck to Jim James (My Morning Jacket).
08.17.12 at The Living Room – New York, NY 9PM
09.01.12 w/ Guster at Montage Deer Valley – Park City, UT
09.08.12 w/ Guster at Downtown Dayton Revival Music Festival – Dayton, OH
10.20.12 w/ Guster at East Tennessee State University – Johnson City, TN
01.05.13 w/ Guster + Dallas Symphony Orchestra – Meyerson Hall – Dallas, TX
BEN SOLLEE DATES
09.21.12 w/ Ben Sollee at Square Room – Knoxville, TN
09.22.12 w/ Ben Sollee at Terminal West – Atlanta, GA
09.23.12 w/ Ben Sollee at DeLuna Festival – Pensacola Beach, FL
09.25.12 w/ Ben Sollee at Ponte Verda Music Hall – Ponte Verda Beach, FL
09.26.12 w/ Ben Sollee at The Pour House – Charleston, SC
09.27.12 w/ Ben Sollee at Stage Door Theater – Charlotte, NC
09.28.12 w/ Ben Sollee at Cat’s Cradle – Carrboro, NC
09.29.12 w/ Ben Sollee at Orange Peel – Asheville, NC
09.30.12 w/ Ben Sollee at The Soapbox – Wilmington, NC
10.05.12 w/ Ben Sollee at Headliners – Louisville, KY
10.06.12 w/ Ben Sollee at Headliners – Louisville, KY
10.11.12 w/ Ben Sollee at Norton Center – Danville, KY
10.12.12 w/ Ben Sollee at Cat In The Cream at Oberlin College – Oberlin, OH
10.14.12 w/ Ben Sollee at Blind Pig – Ann Arbor, MI
10.16.12 w/ Ben Sollee at Capital Theater – York, PA
10.17.12 w/ Ben Sollee at Theater of the Living Arts – Philadelphia, PA
10.18.12 w/ Ben Sollee at Brighton Music Hall – Boston, MA
See you on the road.