Indie singer-songwriter, Marina Laurendi, is back with a second single off her upcoming Sophomore EP. The new track “halloween party,” is an ode to childhood innocence, the comfort and safety of home, and the bittersweet feeling of aging into adulthood, coming just in time for the spooky season.
Marina Laurendi is a singer/songwriter and musician, originally from the Western New York area. She started performing as an actress, singer, and dancer at a young age. Her career in musical theater led her to NYC, where she performed around the East Coast and Off-Broadway. Her music takes influence from the pulse of the NYC scene and the calmness of her Western NY upbringing.
Fusing elements of cinematic pop, alternative rock, and singer-songwriter lyricism, her nostalgic and singular sound is a breath of fresh air. She is poetic and moody, with haunting vocals and catchy melodies. Her music is steeped in personal experience yet is universally relatable.
“halloween party” is textured and dripping in ambiance, balancing soft indie rock with tender intimacy. Featuring undertones of singer-songwriter folk, muted acoustic guitar strums, quiet drums, and melodic lines, she captures the sounds that bring about the warm fuzzy feelings associated with home. The track is authentic and raw, featuring voice memos from Marina Laurendi’s childhood friends. It is honest and builds up beautifully into a bittersweet and nostalgic crescendo.
I wrote the song when we were getting ready to sell my childhood home and I was deciding what was next for me. That transitional period stirred up so many emotions and it got me reminiscing about my adolescence. Halloween parties at my childhood home are such a core memory for me and I associate them directly with my childhood and teenage years. When I think of them, I feel such a fondness for home and an appreciation of my upbringing that I didn’t truly value it until later in life.
Marina Laurendi
“halloween party” by Marina Laurendi is the perfect song to add to your fall playlist. Catch up with her new releases and future shows here.
New Paltz native Ryan Liberty Megan just released his chaotic video for his dreamy and melodic song “Sweep.”
The track hits your ears in all the right places with a groovy trumpet instrumental in the back as well as Ryan’s semi-raspy nostalgic voice. An alt-country track, “Sweep” is a song you can put on when you need a release, swaying back and forth to the guitars and harmonies dancing together in harmony.
Speaking of “Sweep,” Ryan Liberty Megan said “Imagine it like a phone call that’s being made to the most fragile part of you, giving you instructions on how to survive other humans, how to survive humanity. And in the end, the most important part of that advice or sage wisdom is to be able to just sweep it away. You need to be able to let things go.”
Ryan Liberty Megan is a New Paltz native, a doting father who gave up music to provide for his son, returning to music after about ten years, giving him that familiar relief. He started as a noise rock artist known for chaotic and rowdy shows, and turned the page into the simpler yet complex artist he is today. Reminiscent of acts such as Mr. Bungle, Ween, and Melvins, he transcends also into acts like Beck, Wilco, and The Flaming Lips.
Photo by Matthew Hersch.
The video accompanying “Sweep” is chaotic and brings the viewer on a journey. With a kaleidoscope of dark purples and lighter colors, the music video features Ryan singing the sweet tune, transitioning in and out of backgrounds that include things like dogs, horses, and the highway. The most intriguing part of the video is random trivia strewn throughout.
Some say things like “A snail can sleep for three years,” or “The eye makes movements 50 times every second.” About the video, Ryan said “I loaded this video with useless trivia, so no matter what, people will walk away with something they didn’t have before. My buddy owns a float spa, and he filmed me floating in a tank for some of this!”
The music video for “Sweep” by Ryan Liberty Megan is out now.
In 1980, Brooke Wentz landed her dream volunteer job as host of WKCR-FM’s late night radio show, “Transfigured Night.” Billed as an “exploration into the world of new music,” this Columbia University broadcast allowed the then-student free reign to conduct candid interviews with dozens of avant-garde pioneers in free jazz, no wave and electronic and world music before they emerge as internationally-renowned artists.
Thanks to the downtime afforded this busy music executive due to the Covid lockdown, these long unheard interviews are now contained in a fascinating new book: Transfigured New York: Interviews with Experimental Artists and Musicians, 1980-1990 (Columbia University Press). Wentz’ latest writing is a virtual and very vivid time capsule of musical and artistic creation from 1980-1990 – a juncture when New York’s uptown and downtown converged to birth bold new sounds and a new generation of sonic visionaries.
The musicians and artists tell their stories and share their thoughts about the creative process, capturing the ambition and energy that animated their work against all odds. Legends in the making like Bill Frisell, Philip Glass, John Lurie, Laurie Anderson and Glenn Branca convey what it was like to be a struggling artist in 1980s New York, a time when the city was alive with possibilities and affordable for artists. Others who were well known at the time, including John Cage, La Monte Young and Ravi Shankar, advocate for their distinctive ideas about art and open up about their creative lives.
Transfigured New York contains an astonishing range of interviews covering the waterfront of creative musical genres – all rescued from dusty cassettes and reel-to-reel tapes of interviews that were only heard once, at their initial airings. Morton Subotnick, Joan Tower, Steve Reich, Joan La Barbara, Vernon Reid of Living Colour, Arthur Russell, Eric Bogosian, Bill T. Jones and many more are included. The scene is set with a forward written by someone who was in the thick of the experimental action, former Sonic Youth guitarist Lee Ranaldo. These interviews are also accompanied by a collection of historic black & white photos, captured by renowned photographers of the era. This book is a one-of-a-kind account of one of the most exhilarating and inventive periods for art and culture in New York City’s history.
Wentz is launching the book at a November 13 event at the home of the New York avant-garde music scene, Roulette (info here) The event will include conversations with many of the artists profiled including Peter Gordon, Zeena Parkins, Brandon Ross, Tim Berne and Ikue Mori. Several, including Don Byron, Elliot Sharp and Shelley Hirsch, are also scheduled to perform.
Wentz is a Billboard Music Award–winning music producer, music supervisor and founder of Seven Seas Music and The Rights Workshop. With Seven Seas, Wentz is a key supplier of world music from 145 countries for licensing in prestige film and television productions including Anthony Bourdain: Parts Unknown. The Rights Workshop has handled music supervision for films including Melancholia and Bill Cunningham New York. Wentz is a leading expert on music copyrights and former ESPN music director. Her other books include Hey! That’s My Music: Music Supervision, Licensing, and Content Acquisition (2007) and Music Rights Unveiled: A Filmmaker’s Guide to Music Rights and Licensing (2017).
Psymon Spine, a Brooklyn-based alt-pop group, recently embarked on their US tour, finishing with a hometown show at Alphaville on October 26. The group recently released their newest single, “Boys,” alongside an official music video on October 10.
Psymon Spine developed as members Noah Prebish and Peter Spears were in college, later adding Brother Michael to the group. Vocalist and former member Sabine Holler lends her voice to the new track, “Boys,” since her relocation to Berlin during the COVID-19 pandemic.
“Boys” is an upbeat alt-pop track, featuring a new-wave-inspired melodic riff. The track features Sabine Holler’s light yet hypnotizing vocals against a synth-heavy dance rhythm. The group cites influences such as Talking Heads, Os Mutantes, and the NYC dance music scene.
By nature every Psymon Spine song must be a little cheeky to bypass our own self-criticism, but in reality ‘Boys’ is just a very earnest song about friendship.
Psymon Spine
Photo Credit: Alyssa Gisselle
Psymon Spine will make their way home for a show at Brooklyn’s Alphaville on October 26, as well as a show in Troy on November 8. The group will play new tracks like “Boys,” as well as hits from their most recent album, 2021’s Charismatic Megafauna. Tickets are on-sale now.
Psymon Spine Tour
10/13 – Madison, WI @ UW Madison
10/14 – Northfield, MI @ Carleton College – The Cave (private event)
House of Saturn, a band of three friends from Troy, will perform in Albany and Troy this fall, showing off their musical talent and eclectic music tastes. The trio define themselves as a refreshing mix of folk, punk rock, and alternative. If you’ve been feeling like you need something more to add to your playlist – something new – then House of Saturn might be just what you’re looking for.
House of Saturn – Jess Bowen (guitar, violin, vocals, synths), Brian Brancato (drums, vocals, guitar) and Malcom Kane (bass, trombone) – met in college during their studies at the Crane School of Music, and soon afterwards relocated to the Capital Region. After several years of late night studio jams, House of Saturn was born. The group has taken on a unique sound, performing original music from a wide variety of genres, but rooted in indie rock.
House of Saturn’s musical catalog centers around the songwriting of Bowen and Brancato, with a handful of covers sprinkled in from various styles and genres. Bowen’s songwriting features colorful chord progressions often with an emphasis on the violin, strings, and rich vocal layering. Brancato writes from the perspective of a folk-influenced punk rocker with a fascination with compound and frequently changing time signatures. Audience members have described the band’s gigs as having “a 90s-esque jangly alternative rock vibe.” Between the contrast in songwriting styles and the group’s shared eclectic tastes in music, every House of Saturn show brings the audience a unique set of songs that everyone in the band is truly excited to share.
What makes HoS different to me is that we’re not afraid to branch out. We all have such varied influences that inspire us which you can really hear in music from our two song writers (Brian v. Jess). You hear elements of bands/artists like That Dog, Bowie, Phish, and on the other side, there’s Green Day, Foo Fighters, and Beirut. It’s just so fun and freeing to be able to explore whatever we fancy that day and I think the audience can feel that and enjoys going for that ride.
Malcom Kane
Their latest single to date, “Waster” opens up with an electronic-feel, introducing the exciting percussion that markmany pop-style songs.
While long intros of songs can get boring for some, this intro is captivating and you can find it easy to sink into the music and enjoy it. Brancato’s guitar solo has a relaxing 70s-feel to it which starts just before the lyrics begin. Jess Bowen’s light, calming lead vocals add to the overall feeling of being transported back to the 70s, complemented by the angelic backup vocals.
The ending is surprising yet fitting, with the introduction of what sounds like a horn solo that ties the piece together.
Processed with Rookie Cam
On top of the musicality of the single, you have to appreciate the lyricism of the song. So many songs today are about how we feel like we’re running out of time, how we won’t have enough time, and we’re getting lost because of it. This song does the opposite: it compels us to enjoy that feeling of losing time, but not in a negative way: just letting yourself be a human and sort of…float.
“I love to waste my time // with all of the weight of the wise // keep on the right path darling.” This section of the song speaks to everyone– sometimes it’s nice to just do nothing, because there’s still beauty in doing nothing. While we may know that we should be doing something– “the weight of the wise”– we also know that we can take a little time for ourselves to stay on the right path.
We, as a society, are obsessed with a “grind” culture, and this song is perfectly combatting it.
House of Saturn will perform on October 27 in Albany at WCDB’s Multi-Genre Night. There will be music from 7pm to 1am, and they will be performing from 9:30-10:30pm. They will also be at the Troy Speakeasy with Brooklyn band Waterfall Strainer on Monday, November 6.
Celebrating 20 years since the release of It Still Moves, My Morning Jacket and their loyal fans descended upon the Upper West Side of Manhattan for three nights of shows at the Beacon Theatre, with Madi Diaz opening up each night.
My Morning Jacket kicked off their 3-night run at The Beacon Theatre with a bang, playing their albumIt Still Moves in its entirety to the sold out crowd. A real treat for fans, the band returned for a 7-song encore, starting with Jim James solo on “I Needed It Most”, played for the first time since 2018.
The encore included a live debut of “Grab a Body” as well as “Feel You,” “It Beats 4 U,” and “Phone Went West” to close out the night. James spoke about how blessed we are to be in such a beautiful place that is the Beacon Theatre.
Friday night of My Morning Jacket at the Beacon Theatre started off with a full version of “Cobra,” clocking in at almost 17 minutes. The setlist that followed captivated the sold-out crowd from start to finish, with stand out songs including “O is the One That Is Real,” “Strangulation,“ and “Victory Dance.”
They returned to the stage for a 6-song encore with opener Madi Diaz joining Jim James and company to perform “The Wind” by Cat Stevens. The highlight of the encore was “Highly Suspicious,” off their 2008 album Evil Urges.
Saturday saw Diaz join the band once again, joining for “I Will Be There When You Die,” an apt song given the first lines being “Joe was born in New York City, Son of Paul and Catherine, Always down and always out, But his ‘morrows always seemed jus’ fine.”
This week, the tour marches on, playing in Albany on Wednesday, October 25 at the Palace Theatre and at The Met in Philadelphia on Friday, October 27, before heading to the Southeast and closing the tour out in Chicago November 9-11.
My Morning Jacket – Beacon Theatre, NYC – Thursday, October 19
Setlist: It Still Moves, Mahgeetah, Dancefloors, Golden, Master Plan, One Big Holiday, I Will Sing You Songs, Easy Morning Rebel, Run Thru, Rollin Back, Just One Thing, Steam Engine, One in the Same Encore: I Needed It Most, Old Sept. Blues, Feel You, It Beats 4 U, Compound Fracture, Grab a Body, Phone Went West
My Morning Jacket – Beacon Theatre, NYC – Friday, October 20
Setlist: Cobra, Gideon, The Way That He Sings, Lay Low, Slow Slow Tune, Run It, I’m Amazed, Least Expected, Lucky to Be Alive, War Begun, Strangulation!, Victory Dance, O Is the One That Is Real, Smokin’ From Shootin’, It’s About Twilight Now, Anytime Encore: Butch Cassidy, The Wind (with Madi Diaz), Only Memories Remain, First Light, Highly Suspicious, Touch Me I’m Going to Scream Pt. 2
My Morning Jacket – Beacon Theatre, NYC – Saturday, October 21
Setlist: In Its Infancy (The Waterfall), Spring (Among the Living), Holdin On to Black Metal, Never in the Real World, Evil Urges, I Think I’m Going to Hell, I Will Be There When You Die (with Madi Diaz), Knot Comes Loose, Heartbreakin Man, What a Wonderful Man, Honest Man, Tropics (Erase Traces), Thank You Too!, Climbing the Ladder, Off the Record, Wasted, Dondante, Love Love Love, Circuital Encore: State of the Art (A.E.I.O.U.), Touch Me I’m Going to Scream Pt. 1, Wordless Chorus
Originally scheduled to kick-off in Mexico City on September 10, the rescheduled “40 Years of Morrissey” tour rebooted in Orlando, Florida earlier this month after the British crooner and former frontman of the Smiths had fully recovered from some recent health concerns.
United Palace | Photo Credit: Michael Dinger
After sweeping through Georgia, Tennessee and Washington, D.C., the United Palace – a lavish theater nestled in the Washington Heights neighborhood of Manhattan – welcomed Morrissey (affectionately dubbed “Moz” by Smiths bandmate Johnny Marr) this past Saturday night, October 21, for the first of four shows in a brief residency.
Constructed in 1930, United Palace occupies a full city block and functions not only as a nonprofit performing arts center that has hosted artists the likes of Neil Young, Bob Dylan, Adele, Arcade Fire and Kraftwerk, but also as a spiritual center. You may have also seen the epochal venue as a backdrop for the film John Wick: Chapter 3 – Parabellum and in the Hulu television series Only Murders in the Building.
With showtime looming, latecomers entered the majestic theater from Broadway on a chilly autumn evening and into the grand foyer, many ‘blown away’ (as I was) by the sheer grandeur of the scene. At half past eight o’clock, a pair of square-shaped, side-by-side video screens suddenly came to life and for the next 30-minutes, displayed a barrage of images and video clips featuring actors and musicians who have inspired Morrissey over the years, including Roxy Music, David Bowie, Eddie Cochran and Sidney Poitier. The biggest reaction from the audience occurred when the breakthrough video of “Nothing Compares 2 U,” featuring the iconic, closeup visage of the late Sinéad O’Connor, appeared wondrously.
Morrissey | Photo Credit: Michael Dinger
At 9:10 pm, as the house lights went down, the crowd literally jumped out of their seats and erupted with rapturous applause. It was officially “Game On!” The perpetually suave Morrissey elegantly took the stage, dressed in black from head to toe, as he and his talented quintet of back-up musicians instantly transported us to 1992 with “We Hate It When Our Friends Become Successful” (Your Arsenal). Over the course of nearly 90-minutes, Morrissey gifted his legion of die-hard fans an eclectic set that incorporated a glorious blend of five tracks from his days with The Smiths, highlighted by “How Soon Is Now?,” the beginning of which signaled the simultaneously raising of cell phones high into the air to forever record the moment into eternity.
Morrissey | Photo Credit: Michael Dinger
The remainder of the nineteen-song set comprised tunes lifted from an extensive discography spanning Morrissey’s debut solo studio album released in 1988 (Viva Hate) to his upcoming studio album entitled Without Music the World Dies, with a tentative release date of later this year. As the night turned for home, Morrissey presented “Sure Enough, the Telephone Rings,” recorded in early-2021 and originally intended to appear on the studio album entitled Bonfire Of Teenagers – but will not be released by Capitol Records, the label Morrissey departed acrimoniously and who are now holding onto the album’s rights (at least for the time being). Morrissey and his signature baritone voice, in top form all night, exquisitely delivered the critically acclaimed “Everyday Is Like Sunday,” written shortly after the Smiths break-up, and yet another goosebump inducing moment.
Morrissey | Photo Credit: Michael Dinger
Returning to the stage after a several minute interlude, each band member – Jesse Tobias (lead guitar), Carmen Vandenberg (rhythm guitar), Juan Galeano Toro (bass), Camila Grey (keyboards) and Brendan Buckley (drums) – took a moment center stage at the mic to say a few words (entirely in Español), thanking all of us for being there. Waiting in the wings, Morrissey was now rocking his own T-shirt merch which featured the likeness of Billy Halop, an American actor from Queens who rose to fame in the 1930s. As the encore performance of “Speedway” (Vauxhall and I, 1994) neared its climax, Morrissey shed his shirt and tossed it to a lucky fan, exiting the stage bare-chested to a sustained ovation from the 3,500 capacity crowd that never sat down all night long. As I filed out of United Palace within a throng of highly satisfied patrons and into the chilly October night, I was already thinking about what special surprises lie in store for the next three residency gigs.
Morrissey | Photo Credit: Michael Dinger
Following the final night of the U.S. tour leg at United Palace on October 25, Morrissey’s global trek will resume on November 9 in Singapore, followed by shows in Hong Kong, Thailand, Indonesia, Japan, Australia and Auckland, New Zealand on December 14. Morrissey will then take some well-deserved time off until early-February, at which time he will play the rescheduled Mexico City show on February 3, 2024, followed by South American dates culminating in Brazil on February 24.
Watch Moz’s Saturday night performance of “Please, Please, Please Let Me Get What I Want,” recorded by the Smiths and released in 1984 as the B-side of the single “William, It Was Really Nothing,” below:
Setlist: We Hate It When Our Friends Become Successful > Our Frank > Suedehead > Stop Me If You Think You’ve Heard This One Before* > Alma Matters > Half a Person* > I Wish You Lonely > Let Me Kiss You > How Soon Is Now?* > Girlfriend in a Coma* > Darling, I Hug a Pillow > The Loop > The Night Pop Dropped > Sure Enough, the Telephone Rings > Irish Blood, English Heart > Please, Please, Please Let Me Get What I Want* > Everyday Is Like Sunday > Jack the Ripper Encore: Speedway *the Smiths cover
UPCOMING MORRISSEY WORLD TOUR DATES
11/09/23 – Singapore, Singapore @ Star Theater 11/16/23 – Chek Lap Kok, New Territories, Hong Kong @ AsiaWorld-Expo 11/18/23 – Bangkok, Thailand @ Samyan Hall 11/22/23 – Jakarta, Indonesia @ Istora Senayan Jakarta 11/28/23 – Tokyo, Japan @ Toyosu Pit 12/01/23 – Perth, Australia @ Perth Concert Hall 12/04/23 – Melbourne, Australia @ Palais Theater 12/05/23 – Melbourne, Australia @ Palais Theater 12/08/23 – Brisbane, Australia @ Fortitude Music Hall 12/10/23 – Sydney, Australia @ State Theater 12/11/23 – Sydney, Australia @ State Theater 12/14/23 – Auckland, New Zealand @ The Civic 02/03/24 – Mexico City, Mexico @ Palacio de los Deportes 02/08/24 – Lima, Peru @Anfiteatro del Parque de la Exposición 02/10/24 – Bogata, Columbia @ Movistar Arena 02/15/24 – Santiago, Chile @ Movistar Arena 02/17/24 – Buenos Aires, Argentina @ Movistar Arena 02/22/24 – São Paulo, Brazil @ Espaço Unimed 02/24/24 – Brasilia, Brazil @ Opera Hall
Deliriant Modifier, a new collaborative album by Sally Gates (Titan to Tachyons), Trevor Dunn (Mr. Bungle) and Greg Fox releases on October 20. The record is inspired by a neuroscience thesis by Anil Seth, and explores ideas of limitation, perception, and improvisation in the musical realm.
Sally Gates references neuroscientist Anil Seth’s thesis, saying: “Perception = controlled hallucinations. Hallucinations = uncontrolled perception”. The group took this as inspiration, using controlled perception as a grounding idea in the creation of their record. Deliriant Modifier is entirely improvised, with the exception certain parameters, cues, and duration times set in place for each track.
Improvising is the result of a natural outpouring of everything you absorb. Whatever you’ve been listening to, practicing, or even reading, watching.
Sally Gates
The first track, “Macro/Micro,” is an eclectic exploration of percussion, strings, and guitar, forming a captivating opening to the record. The improvisation begins sporadically, and as the track continues, the musicians find clarity and cohesion.
The sixth track on the record, “Limits Of A Circle,” begins with a striking, wavering percussive introduction. A strong, gritty guitar interrupts it with thrilling riffs and solos, but the track truly shows the group’s skill in creative percussion.
“Excise Spurious Time,” the closing song, introduces a clear, nervous piano, responding to itself with higher and lower harmonies. The piano exudes nimbleness, as the musicians form what could be soundtracked against a harrowing film.
Using limitations as a framework for improvisation is one way to set goals, think about form, and harness the freedom. Anarchy is ok some of the time, but it’s also nice, for the listener and the performer as well, to keep things from going off the rails all the time.
Trevor Dunn
The three New York-based musicians began the composition of Deliriant Modifier by asking the question, “Do limitations aid or hinder the functionality in composition?” Answered by the unique composure and creative responses to the improvisational prompts, it aids their originality and bold appeal.
Deliriant Modifier released on October 20 on Riverworm Records. The artists are Sally Gates, Trevor Dunn and Greg Fox.
Toronto-NYC indie rock power trio ON has unveiled the music video for their latest single release ‘Gator’, an infectious groove and rock waltz, released via Toronto’s Indiestructable Records on October 10.
The band ON is a power trio including lead vocalist Lucy Di Santo, drummer Dan Cornelius and guitarist Steve Fall, they continue to carry out the legacy of previously formed 90’s Sire Records band ACID TEST. The newest single ‘Gator’ encompasses infectious guitar riffs with a dash of groove that honors their post-punk, grunge, old-school funk and 90s college roots. The song is a clever blend of pop melody and raw rock, with a tight weave of classic and alternative coated with grunge. ‘Gator’ follows up the bands latest single ‘Make Me’, a song of frustration and wanted to recapture that euphoria in the new video.
“The song has a strong guitar hook and melody – and the drums are tailored to support and enhance those elements. So I thought the drums should be a drum pattern that anyone could tap along to ON their steering wheel while waiting in traffic. Simple drum groove. Simple drum fills.”
– Drummer Dan Cornelius
Upcoming Tour Dates
Sun 10/15 Toronto – Bovine Sex Club (with Snailmate, Second Wife)
Tues 10 /17 Ithaca, NY – Deep Dive (with Snailmate)
Wed 10/18 Buffalo, NY – The Lounge at Revolution Gallery (with Snailmate & Daisy Chain)
Thurs 10/19 Kingston, ON – The Toucan (with Snailmate)
Sat 10/21 NYC, NY – Bar Frida (with Snailmate)
‘Gator’ is out now and available from fine music platforms, including Spotify, Apple Music and Bandcamp.
Metric is one of those bands I had heard so much about over the last 20 years, yet never got to see live, that is until Tuesday, October 10 at New York’s intimate Bowery Ballroom.
Fresh off the Gargage/Noel Gallagher tour this summer, the band has often been comfortable as an opening act, even opening up for Paramore at Madison Square Garden. To Celebrate the 20th Anniversary of their first album Old World Underground, Where Are You Now? they set out on a short run of small intimate clubs.
The Canadian synthpop four-piece (though this night they were nothing short of high energy rock show) really held nothing back last night as they strolled out in style onto the stage at the Bowery. No fluff, not even an opening act booked, just doors at 8pm, Metric at 9pm, as the sign at the door stated. Front woman Emily Haines came out with nothing to prove as the room erupted and the band plowed through a few songs before she addressed the crowd.
It’s hard to keep your eyes off her on stage, the band was really tight and energetic, a crammed stage full of keyboards facing pretty much every direction, rotating between rock, pop and some acoustic numbers. Half the set was of course songs off Old World, followed by 5 off Formentera, a few covers and one song off the new Album out Today, Formentera II.
Metric – Bowery Ballroom, NYC – Tuesday, October 10
Setlist: IOU, The List, False Dichotomy, What Feels Like Eternity, Succexy, Dead Disco, Who Would You Be for Me, Love Is a Place, Formentera, Just the Once, All Comes Crashing, Calculation Theme, On a Slow Night, Anthems for a Seventeen Year-Old Girl, Doomscroller, Hustle Rose, Combat Baby, Nothing Is Perfect
