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NEXT FRIDAY: Light up the Aquarium @ Belle Isle Aquarium 6 December 2013

Fundaising event to bring back an electric eel
and other piscatorial novelties
December 6, 2013
6pm to Midnight
Guests must arrive before 10pm
Tickets $50 — includes admission to the event and one drink ticket

Hors d'oeuvres and cash bar all night
donations are appreciated

FREE VINYL FRIDAY: Voyag3r's Black Friday Night - New Way Bar Ferndale - 11/29/13

Looking to catch some new detroit music?
Want to win a fresh off the press vinyl?
email for your shot to win
the latest vinyl release from VOYAG3R


Voyag3r's Black Friday Night
11.29.13 - New Way Bar
Ferndale USA

The Oscillating Fan Club
Pewter Cub

Doors: 9pm - 21+ - $6


SHOW REVIEW: Kuroma at The Fillmore 11/20

Opening for MGMT at the Fillmore were New York psych-poppers Kuroma. Led by sugar-voiced Hank Sullivant (former Whigs, MGMT), the four-piece ripped through a tight set of catchy, hook-laden rock.

With Hank's history with MGMT, it's not hard to spot the similar influences and psych-pop aesthetic. However with Kuroma, it's a more straight-forward approach without the extra fluff or longer jam songs.

On stage, Sullivant is flanked by Simon O’Connor on lead guitar, James Richardson on bass and Will Berman on drums. O'Connor was the most colorful in terms of wardrobe as well as tasty guitar licks.

The web-presence of Kuroma is relatively obscure, which according to Sullivant was by design. However, it is frustrating to see a band that is so talented and then so hard to find on the interwebs. I was also disappointed that there were no Kuroma records available at the merch booth.

Lack of web notoriety aside, the stage craft of Kuroma is honest and undeniable. The innovative pop-hooks and killer guitar work sets the band apart from the slew of synth-dependent bands on the road right now. The songs are layered, but would stand alone in a sing-songwriter vibe as well.

Will Berman is the new-comer to the group, on full-display at the front of the stage.

For more hot Kuroma-based action, check out


MCB PICK OF THE WEEK: Friday Flux - RODIN DETROIT - Friday 11/29/13



FRIDAY 11/29


Show Review/Interviews - Alestorm/Trollfest - Token Lounge - 11/23/13

Scottish pirate metallers sailed in to the Token Lounge this last Saturday, with Norwegian party animals Trollfest in tow. Rounding out the national lineup was SoCal hard rockers, Gypsyhawk. Local rockers Hazardhead got the party started for the national acts.

Hazardhead played a roughly thirty minute set of throwback hard rock that easily brought thoughts of 80s-era Motley Crue and L.A. Guns to mind, but with a little more kick. Gypsyhawk, before imploring the crowd to share their alcohol with them, belted out some tight hard rock tracks that would have made Led Zeppelin, Motorhead, and Deep Purple proud; I heard elements of all three of those bands in their songs.

Trollfest, to me, was the highlight of the night. Hailing from the northern forests of Norway (well, actually, just Oslo) Trollfest played a frenetic set of folkish black metal, complete with accordions. The musical highlight of their set was their cover of Britney Spears' "Toxic". Yes, that got the crowd going!

Despite his self-admitted ripping hangover, Alestorm frontman Chris Bowes managed to nap it off in time to lead a high-engergy set that started off with "The Quest" and took us through Alestorm's discography. For good measure, they played a rousing cover of The Village People's "In the Navy", which seemed to be a fan favorite.

Both Alestorm and Trollfest took a few minutes to sit with me to discuss subjects varying from work on their respective upcoming albums, experiences on their current tour, favorite American beers, disco, and John Denver. Motorcityblog thanks both bands for their time!

I think I speak for everyone in attendance that night in thanking Alestorm and Trollfest for stopping by Detroit, and that we hope they both return very, very soon.

Links -

Concert photos

Interview with Chris from Alestorm

Interview with Trollfest

BLACK FRIDAY: Blaring Division presents ALMOST FREE wsg George Morris & The Gypsy Chorus, Jet Rodriguez, The Ill Itches - HATCHY's Bar Utica - Friday 11/29/2013

Blaring Division presents:

George Morris & The Gypsy Chorus
Jet Rodriguez
The Ill Itches

Friday 11/27/2013

7759 Auburn Rd
Utica MI 48316

Check out new Detroit music - 3FT wsg Wasabi Dream / Frustrations - Tangent Gallery Detroit - Sat 11/30

3FT is a newer band who just finished their 1st record and are playing a record release show at Tangent Gallery Detroit this coming Saturday night 11/30
check them out and get to this show to support local detroit music

Thanksgiving Eve with Six and the Sevens, Mega Weedge & Blaire Alise & the Bombshells - Cadieux Cafe Detroit - Wed 11/27

On Wednesday night, there isn't much better to do with your Thanksgiving Eve then to hang at the Cadieux Cafe with friends and great music: 
  • Six and the Sevens
  • Mega Weedge
  • Blaire Alise & the Bombshells
Even better, it is the record release party for our second record, Not What Ships Are For.  It's awesome and you need to get a copy. 

9:00 PM, Wednesday, November 27
Cadieux Cafe
4300 Cadieux, Detroit


six and the sevens circle


David Cronenberg: Evolution @ TIFF

Wild Bill Ketelhut provides the "blog" to this anti-blog

Wild At Heart

About three years ago I was covering the Tim Burton exhibit at the TIFF and was teased about an exhibit they were working on which really piqued my interest. Three years later, “David Cronenberg: Evolution” has finally come to fruition as it shows at the TIFF until January 19th.

For those not familiar with the name, Cronenberg is a Canadian filmmaker who directed some very interesting and influential 70‘s and 80‘s horror/sci-fi movies like “The Brood”, “Videodrome”, “Naked Lunch”, “The Fly” and “Dead Ringers”, not to mention recent success with films like “A History Of Violence” and “Eastern Promises”. With a few exceptions, most of his films are challenging for audiences and are the types of films that are equated with the term “cult films” rather than box office successes. I got to talk with curator Noah Cowan about why he was chosen by the TIFF for this major exhibition.

Cowan discusses, “For many us he is the most important filmmaker ever to emerge out of Canada. As champions for our National Cinema we (TIFF) wanted to make a big splash with our biggest force. On a second level, we think Cronenberg stands apart from a lot of contemporary filmmaking. He is a unique filmmaker...a unique individual...a unique intellectual in our world. He brings both a rare viserality to his work as well as a philosophical acuity. We have had a personal relationship with David for a long time. He created a series for us in our second or third year on contemporary horror and then he continued to have this rich relationship with the organization including opening the festival twice, having about a dozen films played here and being the first filmmaker to donate to our collection.”

That collection contains over 300 pieces of material from film props, scripts, creative designs, etc. Cowan continues, “It was during those early donations that we knew that an exhibition would be successful. The objects themselves had a very particular power. Most film props look like props and when displayed feel like nostalgia. Cronenberg’s props have a very unusual resonance...their magic is retained so when you see them they still hit you in the belly like you had just seen the film whether is be the Mugwump from “Naked Lunch”, the surgical tools from “Dead Ringers” or even some a bit more benign like the galvanometer from “A Dangerous Method”. They remain very present in your consciousness.”

That is very true. Walking around the exhibit I was amazed by the quality of the exhibit which is a must see for any real fan of Cronenberg or horror/sci-fi in general. It is split into three eras of his work. The first section begins with his early shorts like “Stereo” through “Videodrome” and explores the themes of finding one’s creator or father figure as his characters are confronted by new evolutionary possibilities such as deadly telepaths from “Scanners”, the ‘psychoplasmic’ offspring in “The Brood” or Johnny Smith in “The Dead Zone”.

The second section, covering “The Fly” to “eXistenZ”, sees characters experimenting on themselves from Goldblum’s scientific experiments in “The Fly”, the drug induced visions of “Naked Lunch” (which has it’s own room with tons of great props and you can have your picture taken with a Mugwump) or the sexual exploits of the Ballard’s in “Crash”.

 photo MeandMugwumpatthebar_zps0827ee83.jpg

The third and final section starts with “Spider” and concludes with “Cosmopolis” where his protagonists try to connect more closely with the social world as shown by the recenty released mental patient Cleg in “Spider”, Tom Stall’s desire to remain hidden in his small town in “A History Of Violence” and Sabina’s decent from madness to become a successful child psychologist in a”A Dangerous Method”.

When you look at the evolution, as the exhibit title suggests, it is easy to see how his work has remained fresh as a lot of his contemporaries such as Carpenter or Romero have seen there work become derivative. Cowan elaborates, “A bit of Red herring grouping Cronenberg in with the 80’s American horror masters. He was always kind of up to something different. From my perspective, Cronenberg functions much more readily as a science fiction filmmaker than as a horror filmmaker even though there is considerable overlap in the work esp early on. The reason why that difference matters is that when you are a horror director you dealing with the collective unconscious, collection nightmares that need to expedited usually through a monster of some kind or another. That tends to make you very specific to your age. Nightmares evolve and change with collective panic...collective anxiety alters over time. As a filmmaker it is hard to keep up...Cronenberg as a sci-fi filmmaker isn’t bound by those same kind of societal constructions, he is always looking to the future that humanity is craving the next stage of its own evolution.”

“Cronenberg has consciously evolved his own approach to that topic. In early part of career when many of us are more oriented towards the body and panics brought forth in horror films, the way that scientific experiments tend to occur with a very confrontational amount of fluid and a lot of explosions and a lot of violence. As he evolved into his second stage, there is less of all of that though still present but he is still interested in human beings taking themselves to the extremes and finding extreme ways of pushing themselves into their next stage of evolution and make constructive little societies and sustain those dreams of being in that next phase. As he has become older, he has come to peace maybe with the realization you can’t really exist within a bubble like that of a certain new humanity. Takes these evolved humans like Stahl from A History Of Violence and tries to find a way to reintegrate them back into society and recent films have been this ::: with the world but his characters are still victims of or advocates of the new type of human beings. Following his filmmaking, it is like the evolution of generations. Not in control of your own body. Lot of panic about it and how it is going to change when you are young. Sense of being a perfectionist and create your own world. As get older realize you need to make peace with your world and Cronenberg has evolved with this. david Cronenberg is true to his own vision of the world.”

Having said that, I asked which film resonated with him the most. I personally feel that “A History Of Violence” is his best work though the remake of “The Fly may be my favorite and “Scanners” my guilty pleasure. Mr Cowan responded, “I have a strong infinity to Crash. Something about that movie that feels very pure. DC strips away window dressing and bares his soul. Philosophical concerns for him really comes to the fore. People creating their own worlds, a kind of lack of judgment from people engaged in activities which society might otherwise condemn and ability to fascinate audiences with things audiences can never imagine being fascinated by. Still so intense and sure of itself and leads you into another universe better than almost any other sci-fi film I have ever seen.”

When asked about the three must see items on display he brought up the shackled Mugwump in the sarcophagus which “looks so serene”, the “sheer menace of the Dead Ringers gynecological surgical tools” and the collection of 20 props and over 50 drawings covering the Oscar winning transformation of Goldblum into Bundlefly. Along with this, I would have to add the beetle typewriters from “Naked Lunch”. There are a ton of cool items from every film and this exhibit is a great look at a very talented filmmaker. In the middle of the exhibit is a video room where we can hear from Cronenberg in his own words. You will be hard pressed to find an exhibit like this this anywhere else and if you love the cinema, you have to make the trip to Toronto to see it.

Along with the exhibit, they are showing remastered films of all his movies and there are going to be special appearances by people who worked with him introducing his films and doing talks. Cowan mentioned that these were some of the easiest invites to make as they are bringing in people like cinematographer Peter Suschitzky (Dec 7th and 8th), Academy Award winning composer Howard Shore (Dec 8th) and even Denise Cronenberg (Dec 8th). Please see for more info about the exhibit and upcoming talks and films.

In the upstairs gallery, they have a related exhibit which I was given an answer by Ana Serrano, Canadian Film Centre's Chief Digital Officer and producer of Body/Mind/Change which follows:

Q: I am also interested in the concept of "Body/Mind/Change" which is advertised as being an extension of the "intellectual property" as seen in his films "Scanners", "Videodrome" and "eXistenZ". What will fans of those films get out of this experience?

“Body/Mind/Change has been created to offer Cronenberg fans the chance to feel what it's like to live inside one of his films. More than just referencing Scanners, Videodrome andeXistenZ, we are taking the iconic technologies and themes found in those films and making them real. It all starts with the premise that Cronenberg has licensed the IP of those films to a bio-tech corporation called BMC Labs. Together they set out to create a bio-tech recommendation engine called POD that Cronenberg urges his audience to register for. POD is a newly-designed creature that has evolved from all the other creatures found in Cronenberg's films. Fans of eXistenZ will definitely recognize it as an extension of the gaming pod, except in this case no bio-port is necessary. Not only that, but if users present themselves as worthy players and complete their POD training, they actually get to take the physical 3D printed object customized by their gameplay, home!”

I just finished stage two of three of this at home and waiting excitedly for part three. The website is kind of fascinating and has some video work with Cronenberg himself narrating as I am trying to create my own pod. This is a lot more engaging than I thought it would be and it was cool seeing the mock lab set up when at the TIFF.

After I left the exhibit, I went to get a great sushi dinner and took a trolley to the MOCCA on Queen Street West. The MOCCAis working with the TIFF to present two art exhibits tied to the Cronenberg though they both end on Dec 29th. “Transformation” features commissioned artworks from international contemporary artists that share the same inspirations with Cronenberg. “Through The Eye” is a curated exhibit by Cronenberg himself featuring artists that inspire him and includes works from his own collection (William S Burroughs and Charles Burns). This is a nice companion piece and well worth the side trip.

In closing, Toronto has always had a lot going on for fans of film and sci-fi and this exhibit at the TIFF w/secondary exhibits at the MOCCA really gives fans an awesome getaway opportunity. Cowan ended the interview adding "TIFF been a leader insisting Cinema doesn’t have boundaries, always felt genre cinema has a place at the dinner table and strong relationships with people into the genres" and they did a wonderful job giving us this insight behind Canada's greatest filmmaker. Take some time and see this exhibit.

If you make it up before Wednesday, you can also take it the David Bowie exhibit at the Ontario Art Gallery. Yeah, I know it is late telling you guys about it but this was the first opportunity for me to get to it and it is great for fans of early pre-1980's Bowie. I will also be working on a review of the new Ripley's Aquarium in the next couple of weeks.

In the meantime,here are a few shows worth checking out this week:

Wednesday (11/27) - Jessica Hernandez and the Deltas @ St Andrews Hall, Reefermen @ Callahans, Whitey Morgan and the 78s w/ Doop and the Inside Outlaws @ PJs Lager House

Friday (11/29) - Cherry Poppin Daddies @ Macomb Music Theatre, Uncle Kracker @ Royal Oak Music Theatre, Mahones @ Magic Stick Lounge, Howling Diablos @ PJs Lager House

Sunday (12/01) - Lupe Fiasco @ Royal Oak Music Theatre, Straight No Chaser @ Fox Theatre, Tom Paxton @ the Ark



Show Review: Emilie Autumn and The Birthday Massacre, the Crofoot, Nov. 22

Putting the Birthday Massacre and Emilie Autumn on the same bill was a stroke of gothic genius as fans witnessed a show that both rocked and went overboard with theatrics at the Crofoot last Friday night. The show started early, in fact, too early for me as I arrived a few songs into the Birthday Massacre’s set which featured songs from their past decade of music. I have seen Birthday Massacre play Pike Room the past few years so it was nice to see them get a large stage to really showcase their set. It was easy to see there were fans to see both bands as TBM trademark bunny ears were spotted and loud cheers after each song. They played a tight 50 minute set wrapping things up with “In the Dark” from their last album “Pins and Needles”.

It took nearly an hour to set up Emilie Autumn’s elaborate stage set which resembled a scene outside a gothic insane asylum. Emilie puts on a stage show in the literal sense so there was no backing band, only Emilie and two of her “Bloody Crumpets”. The Bloody Crumpets are Emilie’s stage partners and they are as much a part of the show as she is, sharing vocals and interacting with Emilie throughout the show. Her Bloody Crumpets for this tour are the Naughty Veronica and Amalthea. The performance included several songs from Emilie Autumn’s latest album “Fight Like A Girl.” Other parts of the show involved a reading of fan fiction with Naughty Veronica acting out parts of the fiction and some crowd participation as 2 crowd members with unicorn horns were pulled onstage to share in a kiss.  While parts of the show may have dragged on a little longer than welcomed, the entire show was an extravagant display of burlesque and vaudeville entertainment.

You can see more photos from the show at my flickr page.

Post by Mikel O.D. of MPAD Media.


INTERVIEW: Citizen Smile - Record Release tonight! @ The Loving Touch Ferndale 11/22/2013 wsgThe Ill Itches and Haunted House

MCB's Al Bruting had a chance to talk to the guys from Citizen Smile before releasing a new record tonight at the Loving Touch Ferndale

get on out and support local music!


Citizen Smile
Album Release Show
The Loving Touch Ferndale 
Friday 11/22/2013 
The Ill Itches 
Haunted House

Interview by Al Bruting (Rockhounding)
MCB  - Tell us about the musical journey you have taken since you decided to pick up instruments.  You were friends....  Who was the first to pick up an instrument, and was it the guitar or something else? Who did you want to be like and how did that change over time?

James and Kory started playing around thirteen years old. James originally played keyboard because he felt awkward just singing but was too lazy to learn to play guitar. While in Smile, James started a side project when he was twenty one called Firs and Spruces. He asked me to be his bass player even though I was just his server at mongolian barbecue and I didn't know how to play bass. I went to high school with Will and knew him as the drum guy. So I told James we should meet him at Wendy's and see if he wanted to vein the band. He did. After the bass player left Smile, I was asked to join. A few months later, Will did the same as the drummer left. We have all grown together over the last three years and our deep rooted friendship has helped shape us as artists and made this album what it is.

MCB  - Talking about your friendship, does it make it easier to write and play music together or harder? Do you feel it contributes instrumentally or lyrically?

MCB  - All music has some influences that comes through in varying levels.  When your crafting your music is any part of the creative process influenced by a desired outcome of wanting to sound like something specific.  For example, there was a time period when John Lennon wanted to be Elvis and this could be both heard and seen.  Was there an artists or a sound you had in the foreground writing of any of the songs on the new release and if so tell us about that.

When James and Kory started playing together ten years ago or so, it was all about Weezer and The Get Up Kids. MXPX was the first band the two ever bonded over. Obviously we are in a totally different spot now. Main influences for this record were Tokyo Police Club and Yuck. On Leslie, James wrote the song with Feist in mind and we wrote our parts with Limbeck in the back of our heads. At the end of Right Here, all we could hear ourselves doing was throwing in a Wilco style instrumental jam. So influences for us definitely vary from song to song.

MCB  - These influences will often be heard in earlier work and your sound develops and evolves over time into something purely your own.  Have you noticed this in happening in your musical catalogue?

MCB  - Give us your process on songwriting.  Is it shared, does one guy bring in a thought that the others help him finish, or is the song written and then the parts played like studio jocks with prearranged book to follow adding some flavor only.  Does a song happen quickly?  Talk about crafting the tracks on the new release.

It varies from song to song. A Plan came together in no time. James brought it to the table, we wrote parts to it and it came out pretty much how you hear it today. But People I've Done Wrong is a whole other story. James brought it to us as a low key folk tune and we just couldn't get it to work. So we jammed on the progression until we found a new groove for the song. Then abandoned James's old part entirely and rearranged the format of the song. The original version is barely even a ghost of the current song. Some songs weren't even finished being written until we got in the studio. Right Here was super open ended. We even turned off the click track at one point and just saw where the song would take us. So the writing for this album was definitely approached many different ways.

MCB  - As for the future, where do you see yourself going?  Is there a plan to hit the road, are you currently traveling around or outside Michigan and do those plans include any festivals or double bills with other groups?

MCB  - One of the challenges a lot of bands hit is the decision to pick the band over the day job or the demands of relationships and family.  How has this impacted you so far what’s helped bring balance and make it manageable if its occurred?

Will and I really would like to do music full time and hit the road. James and Kory, understandably, don't share the same interest to do music full time due to work and family life. So we are going to do as much with Smile as we can from Detroit. We made an album we all really believe in and we just really want people to hear it.

MCB – You are throwing a CD release party November 22nd at the Loving Touch.  Can you give us a preview on what we might see?

We have two AMAZING bands opening up for us and both are good friends. Haunted House is made up of four gentlemen that have been making music and inspiring us for years. The Ill Itches are great friends of ours who have tons of energy and a super fun live performance. 

Our album will be available for $2 tonight ONLY. 

This will also be the only night we will play the album from front to back in it's entirety. 

So it will be a special night.

HAPPY NICK CAVE DAY IN DETROIT - Enter to win FREE TICKETS: Nick Cave & The Bad Seeds - Masonic Temple Detroit - July 29th 2014

Yes - you heard us right...
we have a very special ticket giveaway to run on this gloomy dreary day here in the many of you heard last week Nick Cave & The Bad Seeds booked a summer show in Detroit at The Masonic Temple on July 29th 2014

Well tickets to the public just went on sale about an hour ago and if you plan on being part of this historic event then you better mosey on over (mosey a little faster now) to Ticketmaster and pick up a set before it sells out and you're shit out of luck....if you are going to depend on your "luck" and hope to win a pair from MOTORCITYBLOG then go ahead and email to be entered into the contest

We will collect all entries through Tuesday 12/24 11:59pm EST
Winners will be drawn and notified on Christmas Day 12/25


On the heels of a completely sold out North American tour earlier this year, Nick Cave & the Bad Seeds return! 
Kicking off on June 16 in Louisville, this North American tour will hit 19 cities. 
Full tour dates are available via:

Nick Cave & the Bad Seeds


FREE Admission Today at The Henry Ford Museum to Commemorate 50th Anniversary of JFK Assassination

JFK Remembered

This year marks the 50th anniversary of President John F. Kennedy's assassination on November 22, 1963.

The Henry Ford will reflect on this significant date in American history with special programming.  Take time to reflect and see the limousine the president was riding in on that fateful day in Dallas.  Also receive a complimentary JFK Remembered souvenir program.

The museum is open on the anniversary date, November 22nd, with free admission courtesy of Target.

The Henry Ford is located in Dearborn, Michigan on the corner of Village Road and Oakwood Boulevard, just west of the Southfield Freeway (M-39) and south of Michigan Avenue (US-12).
The Henry Ford
20900 Oakwood Blvd.
Dearborn, MI 48124-5029

From the East or West via I-94:
Take I-94 to the Oakwood Boulevard exit; go north on Oakwood. The Henry Ford is 2.5 miles from the exit on the corner of Village Road and Oakwood Boulevard.
From the South via I-75:
Exit to northbound Southfield Freeway (M-39); drive 4.1 miles to Oakwood Boulevard (Exit 4). Left on Oakwood and drive 1.8 miles.
From the North via Southfield Road (or I-96):
Take Southfield Freeway (M-39) south 4.5 miles past I-96 and exit at Michigan avenue (Exit 6). Continue on the Southfield service drive (veer left) for .5 mile. At the first stoplight, turn right onto Village Road (through the iron gates) and drive .75 mile.


With the holiday creeping up on us it usually means that the MCB takes a little bit of a break but before we throw in the towel for a few days we wanted to knock out another Free Vinyl Friday giveaway since we know how you savor and crave these free platters almost as much as Aunt Millie's homemade pumpkin pies!

email for you chance to win

email for your chance to win 
a fresh off the press vinyl from The Lone Bellow

plus we got a free pair of tickets to the show tonight if you ask nicely


The Lone Bellow will continue to take its highly-lauded show on the road this fall -- this time as headliners.  
Fresh off a series of opening slots and high profile festival/event plays - Stagecoach, Newport Folk, Taste of Chicago, and Celebrate Brooklyn to name a few - the band will round out the summer with appearances at Bumbershoot, Austin City Limits and supporting dates with Dwight Yoakam and Deer Tick before 
beginning its fall headlining tour in New Jersey on October 19th.

The Lone Bellow was greeted on release as one of the best albums of the year by People Magazine, 
and the band has garnered critical acclaim from everyone from USA TodayThe New York Times and 
The Associated Press, to PasteForbes and Filter. The band appeared on Conan O' Brien in January 
and on The Tonight Show with Jay Leno in late spring. Radio station WFUV praised the album's "charm, 
radiant hooks and intense emotions," noting also, "The Lone Bellow performs with a sense of necessity."  
NPR's Bob Boilen simply stated: "The world of acoustic music is about to get a new household name."

The band has garnered significant engagement around the track and video for "Bleeding Out," 
having been featured on both VH-1 and CMT, with extensive regional support at radio, including 
WXRT's The River in Boston. The Lone Bellow will perform at the station sponsored 
Riverfront Festival on Aug 31st in Newburyport alongside Brett Dennen and Matt Nathanson.

 In addition to completing a summer-long national tour of festivals as well as supporting slots with 
such artists as Brandi Carlile, Robert Plant and The Civil Wars, The Lone Bellow headlined 
Celebrate Brooklyn last month, attracting a jubilant crowd of over 3,000 on a rain-soaked Brooklyn night.

The Lone Bellow Tour Dates:
 *Headlining Show

Detroit, MI
Magic Stick*
Toronto, ON
Horseshoe Tavern*
Cleveland, OH
Beachland Ballroom*
Feb 7 - 15
Miami, FL
Cayamo Cruise

The Lone Bellow: Online | Facebook | Twitter

We have a few copies of NOMAD to giveaway
 for your chance to win

Bombino Tours North America This Winter in Support of Nonesuch Debut Nomad;
Stops Include Performance at Carnegie Hall’s Zankel Hall in NYC
Record named in Rolling Stone’s “50 Best Albums of 2013 Mid-Year Report”
Produced by The Black Keys’ Dan Auerbach

Catch Bombino live at The Magic Bag 
Sunday 11/24

Nonesuch Records released Tuareg guitarist, singer, and songwriter Omara “Bombino” Moctar’s label debut, Nomad, this spring to critical acclaim. Rolling Stone gave the record four stars describing it as “a perfect match of sound and soul” and hailing Bombino as “a new guitar hero.” In June the record landed on the magazine’s “50 Best Albums of 2013 Mid-Year Report.” At the invitation of The Black Keys’ Dan Auerbach, who had become a fan of the Niger-born artist’s unique style of desert blues, Bombino and his band traveled to Nashville for the recording of Nomad, produced by Auerbach at his studio, Easy Eye Sound. Bombino will tour North America this winter including stops in Nashville, Chicago, Philadelphia, and New York 

Born and raised in Niger, in and around the northern city of Agadez, Bombino is a member of the Tuareg Ifoghas tribe, a nomadic people descended from the Berbers of North Africa. The Tuareg people have fought the Niger government to secure their rights on numerous occasions, causing Bombino and his family to flee several times. During one such exile, relatives visiting from the front lines of the rebellion left behind a guitar, and Bombino began teaching himself to play it. He eventually studied with the renowned Tuareg guitarist Haja Bebe, who asked him to join his band, where he acquired the nickname Bombino—a variation on the Italian word for “little child.”

While living in Algeria and Libya in his teen years, Bombino’s friends played him videos of Jimi Hendrix and Mark Knopfler, among others, which they watched over and over in an effort to master their licks. Bombino worked regularly as a musician and also as a herder in the desert near Tripoli, spending many hours alone watching the animals and practicing his guitar. Eventually, Bombino returned to Niger, where he continued to play with a number of local bands. As his legend grew, a Spanish documentary film crew helped Bombino record his first album, Group Bombino’s Guitars from Agadez Vol. 2, which became a local radio hit. Following the release of his 2011 solo album, Agadez, Bombino sold out venues across the U.S. and garnered the praise of outlets ranging from Pitchfork to NPR’s Fresh Air, whose critic Milo Miles called him “a young performer with the charisma and probing imagination to become the first Tuareg star.” 

Bombino North American Tour Dates
Wednesday, November 20, UNC Asheville, Asheville, NC
Thursday, November 21, Exit/In, Nashville, TN
Saturday, November 23, Martyr’s, Chicago, IL
Sunday, November 24, Magic Bag, Ferndale, MI
Wednesday, November 27, Thunderbird Café, Pittsburg, PA
Thursday, November 28, Measure, Toronto, ON
Friday, November 29, Neat Coffee Shop, Burnstown, ON
Sunday, December 1, The Sinclair, Cambridge, MA
Monday, December 2, Columbus Theatre, Providence, RI
Tuesday, December 3, The Hamilton, Washington, DC
Thursday, December 5, The Blockley, Philadelphia, PA
Friday, December 6, Zankel Hall, New York, NY

We have a few copies of NOMAD to giveaway
 for your chance to win

Looking to catch some new detroit music?
Want to win a fresh off the press vinyl?
email for your shot to win


Voyag3r's Black Friday Night
11.29.13 - New Way Bar
Ferndale USA

The Oscillating Fan Club
Pewter Cub

Doors: 9pm - 21+ - $6

Last week we posted a ticket giveaway for the upcoming Reverend Horton Heat show 

We got a few more tickets and a few copies of the soon to be released self titled vinyl from Victory Records which will be shipped direct once release in January sometime around the 1/18 Detroit show date at Majestic Theatre

email for your chance to win

REVEREND HORTON HEAT is hitting the road in January with support coming from Nekromantix!
Show Details:Date/Time: Saturday, January 18, 2014 – 8PM
Venue: Majestic Theatre – 4120 Woodward Ave, Detroit, MI 48201