Praise released their first album in six years — and Revelation Records debut — All In A Dream last week, which included production and guest vocals from Brian McTernan, and next week, Brian’s band Be Well will put out their sophomore record Hello Sun on the same label. Both records put fresh and uniquely different spins on the type of melodic hardcore pioneered during the Revolution Summer and youth crew movements of the mid to late 1980s, and not only do Brian and Praise vocalist Andy Norton share similar influences, they also both write personal, introspective songs, and they’re natural collaborators and great friends. So, on the eve of All In A Dream‘s release, I caught up with both of them over Zoom to discuss working together, their respective new records, influences, their shared love for Revelation Records, the current state of melodic hardcore, the Baltimore scene that Praise and related bands Turnstile and Angel Du$t hail from, and much more.
Praise’s new record especially hearkens back to Revolution Summer bands like Rites of Spring, Embrace, and Dag Nasty, and they also recall the jangly Twin Cities punk style of bands like Husker Du (whose “Keep Hanging On” they cover on the new album), and Andy also pointed out in the interview that Brian’s former band Battery has always been a core influence on him too, so Brian was the perfect person for Andy to bounce ideas off of for this record. “I think it’s one of the best modern interpretations of a style that I’ve spent my life loving,” Brian said of Praise’s new record, and later added, “I think more than the chorus on the guitars and the production and the style of Praise, I think it’s the lyrical content that really actually makes it fit in that ‘inspired by the Revolution Summer’ sound.”
Brian also lends his voice to “Limited Sense of Possibility,” which Andy says took a bit of convincing, as Brian tends not to do much guest vocal work, and Andy’s convincing paid off; Brian’s delivery is impassioned, and him and Andy singing together is one of the biggest highlights of the record. All In A Dream also features Grady Allen of Anxious on a new version of “Return to Life,” which originally appeared on Triple B Records’ 2017 compilation America’s Hardcore Volume 4, and as Andy puts it, it gives the record representation from three different generations of melodic hardcore, with Brian who helped pave the way for Praise’s music, Grady who’s breathing new life into that style of music today, and Praise as the middle child.
If you’re unfamiliar with Praise, they formed back in 2009 and released their debut EP Growing, Changing, Healing the following year. Andy had already been a staple of the hardcore scene, having played bass in Champion, but Praise was his first time fronting a band. Other members did time in Mindset, Sacred Love, Have Heart, and more, and drummer Daniel Fang would soon also form Turnstile, Angel Du$t, and Diamond Youth. A two-song single followed in 2011, succeeded by 2014’s Lights Went Out and 2016’s Leave It All Behind, all released on REACT! Records, the same Baltimore label that housed early releases by Turnstile, Angel Du$t, Mindset and others. They’d been honing and staying true to their Revolution Summer-inspired sound from the beginning, but All In A Dream is their biggest, cleanest, catchiest album yet, and it feels safe to say that that’s due in part to Brian helping Praise achieve the sound they were hearing in their heads.
The same time that Praise were working on the songs that became All In A Dream, Brian — who hadn’t fronted a band in two decades after turning his attention towards his production career and doing records with Snapcase, Drowningman, Piebald, Cave In, Darkest Hour, The Movielife, Strike Anywhere, Fairweather, Hot Water Music, Bane, Thrice, Circa Survive, and many others — had begun writing his own songs for the first time years, and they found him opening up about mental health struggles and coming out with the most personal music he’d ever written. He roped in some of his past collaborators — including members of Fairweather, Darkest Hour, and Bane — and Be Well was born. Their first single dropped in 2019 and their debut album, The Weight and the Cost, followed the next year. It came out in the middle of lockdown, and given the timing plus the fact that all of the members had other musical commitments, Be Well seemed like it might be a one-and-done project. But the band have been touring like crazy ever since live music returned (they’ve got a lengthy upcoming run opening New Found Glory’s Sticks and Stones 20th anniversary tour), and now they’ve already got this second record. The new material might sound even tighter and sharper than the songs on Be Well’s debut; Be Well have become their own band — not a side project or a supergroup — and this new record affirms that.
Listen to new music from both Praise and Be Well below, and read on for my chat with Andy and Brian…
Tell us how you originally connected, and how Brian came to work on the new Praise album.
Brian: I had heard about Andy from a lot of people, and everybody always said “oh you gotta meet Andy, you’ll love Andy,” and then I think it was at the 7Seconds show, is that right Andy?
Andy: Yeah, that was when we met officially, and that was in 2014.
Brian: Yeah, 2014. And then — I had worked with Daniel [Fang], the drummer for Praise, when he was playing in Diamond Youth, he was playing bass for a little while — and then I was always a fan of Praise, so they had me do [“Return to Life” for Triple B Records’ 2017 compilation America’s Hardcore Volume 4]; that was the first time we worked together, it was great. And then Andy and I just really connected, I think we’re similar in a lot of ways and have a lot of the same musical tastes and passions.
Andy: And Brian knows this but [Brian’s former band] Battery was an important band to me, as well as his brother’s band Damnation A.D. All that stuff was really important, and Brian recorded a lot of my favorite records in the early 2000s — Time Flies and Count Me Out, stuff like that — and I just loved the way Brian’s recordings sound, I liked the way he approached music, and I always wanted to record with him. And I think, after we met, and Daniel working with him — Daniel at this point had also done Angel Du$t and Turnstile records with [Brian], and then [Praise guitarist] Anthony [Dye] had done In Between stuff with [him], so all my friends were working with this guy who I wanted to make music with really bad, and then Brian and I became friends, and it just ended up working out, and I’m glad it did.
Brian: Yeah, and it was really cool for me because that whole Baltimore world, I just love all of them. Like Angel Du$t, Turnstile, Praise, In Between, Mindset — it’s just a really, really nice, creative family. It’s really interesting, I think all the time about like, all the bands in the Baltimore scene are really supportive of one another, and it’s always… you see with a lot of bands, there’s competition and this feeling of “this good thing’s happening for them, and it’s not happening for me,” and it’s never been that way for this family of people. So I immediately felt a really strong connection with the whole group of people, but in particular Andy and I have become very close friends.
On that note, I was wondering about your perspectives on Turnstile’s crossover success, as people who are close with the band. What do you think it means for hardcore in general?
Brian: I think it’s amazing for hardcore. I think it’s amazing for fans of music. I don’t think you could have a more deserving group of human beings. I think that they push the envelope, they care about the community that they came from, they treat people with respect, they make amazing music, and they’re just as down to earth and grounded as the day they played me the demo. So, to me, it’s like, everything that is right in the world just coming together, and it’s incredibly deserved in my opinion.
Andy: Yeah, I agree with everything that Brian said. It’s like, who doesn’t want to see their best friends win, you know what I mean? It makes me sad that I can’t see Daniel that much, but he’s doing what he’s loves, the world is noticing, and I think that’s amazing, I’m happy for all of them. And also they’re doing exactly what they want to do, on their own terms, by their own rules, and I like it, it’s great.
Brian: I think one thing that people miss with Turnstile is I think there’s this kind of feeling that this happened overnight, and that’s just not the case at all. I mean, we did Nonstop Feeling in 2013. They have been earning this every day, you know? And even then — and I think about making that record — and I had some, not concerns, but I kinda said, “You guys sure it’s okay to have like: verse, chorus, and then three-minute mosh part?” [laughs] And they’re like, “Yeah that’s what we do.” They’re fearless, and they know themselves and they trust themselves. And they’ve worked really hard, in the right way, and they’ve had a vision of who they are, so to me it’s like, that is the way it should be.
And for hardcore it’s great. There’s a lot of hot takes on what is and what isn’t hardcore, but to me, it’s like a community, it’s a feeling, and to me they represent all of that. And if they inspire bands to be awesome people and move the goal posts about what a hardcore band can be, I think we’re all better for it.
The new Praise record and the new Be Well record are both this melodic hardcore style that’s kind of having a little bit of a moment right now. Like even aside from Turnstile, you have bands like Fiddlehead and Drug Church and One Step Closer generating a lot of crossover interest. Why do you think that’s all happening right now?
Brian: I don’t know — I think it’s interesting, I think it’s good, I mean I have always leaned towards the melodic and introspective hardcore stuff, so it makes me excited just because there’s a lot of new shit that I’m excited to listen to. Why that is? I don’t know [laughs].
Andy: I think music just ebbs and flows, you know what I mean? People get really into stuff, and then you get so much of it that you end up getting burnt out and you look for something new, and then it’s the next thing, and then people burn themselves out on that. It’s like if you watch a hundred horror movies, at the hundredth movie, you might be like “ehh, maybe I should move to comedy or drama now” [laughs]. I think that’s what it is. I don’t know if [melodic hardcore] is what people are looking for, but maybe we’re shifting towards stylistic changes.
Brian: I also think it’s cool because of all the bands you listed, I don’t really think any of those bands really sound similar, you know? I think one of the coolest things about Be Well and Praise being on the same label and all of us being such good friends, is I think if Andy and I were to make our top 5 or top 10 records, they’d be really similar, but the way that we take that influence and apply it is so different. From the art to the sound to the production, all of it is different, and I think that’s what’s so cool about music and art in general. You can take the same ingredients, and with different balances and ratios, it’s a completely different thing.
When the two of you work together, do you find that having so many shared influences — like 7Seconds, Revolution Summer bands, etc — also gives you a shared musical language in the way that you communicate with one another?
Brian: I think so for sure.
Andy: So I mean, recording vocals is always a challenge for me; trying to literally find my voice, and figuratively find my voice has always been challenging. And I’ve worked with people who have definitely show me what I’m capable of doing, but the character part, and the part that’s a representation of me and the things I love and the vocalists who informed my way of approaching [my vocals] — if I try to do something, Brian knows the reference I’m going for, and can direct me to my way of doing that, and that was something that I had not experienced before. That was very helpful because Brian knew exactly what I was referencing and could help me apply it in my own way.
Brian: I also really liked Praise, so it was a really fun project to work on, and we did a lot of the vocal tracking during the pandemic. So Andy would come like once a week to my house, and it was super chill and it was great… initially, I had helped the band early on with some pre-production stuff, and at the time that they were going to actually start making the record, I was having a little bit of a tough time in my personal life and I didn’t feel that I could give the record what it needed. And so, when Andy came back after they tracked the music and wanted to work together on the vocals, I was happy to be in a much better place, and also to be able to help and get to spend that time. And it was also just cool doing it at my house, because my daughter was like at home doing school work, and every time Andy would come over she’d be so excited. And she’d like be talking to her friends about her friend Andy [laughs]. She’s got several Praise shirts and wears at least one every week to school. It was just cool. I think Andy sounds amazing on the record; I feel really proud of what I was able to help them do.
Andy: Yeah, and at that time too — like Brian said, we were doing it during the pandemic — I wasn’t seeing anyone, so seeing Brian and his daughter was nice to see people other than my roommates, it was helpful for my mental health and it made me feel better to get to spend time with someone I care about and enjoy being around. That was when Brian was getting the stuff ready for the first Be Well LP, and we were bonding over that and sharing stuff, and it was really exciting that both of us were sharing these similar artistic expressions with each other and bouncing stuff off of each other. It was really, really nice, it was a good experience.
Brian, coming into this project as a fan of Praise, what were you hoping to help them accomplish with this album?
Brian: Nothing in particular, just a record that I wanted to listen to over and over again. It’s pretty rare that I — it’s more of a feeling that you’re looking for, rather than a sound, per se, and I kind of had a sense of what the ingredients needed to be… the thing that’s cool about Praise is everybody in the band has such distinct styles, and such good taste, so I kind of always felt like my role in the project was to just help shepherd that and really help capture what they hearing in their head. There’s some projects where your role as a producer is to help show the band what it should be, but Praise knew exactly what it should be, and they really only needed help taking that last step and capturing their vision. Because I thought what they wanted coming in — the guitar work and the tones — they had such clear vision, and I was fully on board with it. I think it’s one of the best modern interpretations of a style that I’ve spent my life loving. I feel really, really proud of them and excited to have played a small part.
Andy, what would you say was Brian’s impact on this record compared to the way you made previous Praise records?
Andy: Like he said, he helped guide us. Most of the stuff was there, but he helped us get it to where it needed to be, and that was why we wanted to work with him. Again, back to what I was saying about the vocals, is he knew the references and kind of knew what we were trying to achieve, and just kind of led us to that. Kevin [Bernsten] engineered it and tracked everything, but the songs themselves were shaped with Brian.
Brian, in addition to helping with production, you sing backup on “Limited Sense of Possibility.” Andy said that took a lot of convincing — would either of you give some background on that?
Brian: I mean, I don’t do that very often. I don’t do a lot of guest vocals, and I think that Andy had asked me several times and I kind of put it off. Some of it started with the first time I ever recorded Strike Anywhere; they wanted me to do a guest vocal, and it was terrible, it didn’t make it [laughs]. It kind of traumatized me, but there’s also another part of it where, as a producer, I always try to stay in the background, so I’ve always felt a little bit uncomfortable about doing things like that. But this was a very special record, and Andy is a very special friend, and I really connect with Andy’s lyrics, so it was a rare time where I just felt like this is something I could do and feel good about. I’m really glad he pushed me to do it, because every time I hear it… I don’t know, you don’t make a lot of new friends late in life the way I have with Andy, and I love hearing us together. It means a lot to me. It makes me excited, I’m glad he pressured me to do it, because I definitely tried to push him off for as long as I could.
Andy: I didn’t wanna make Brian uncomfortable, so I tried to do it in a playful way. And then once everything was tracked, I just texted him and was like, “Hey man, I’m not gonna ask again and I’m not trying to pressure you, but it would really mean a lot to all of us if you did this. And I think that your voice on this specific song, it’ll fit perfectly.” And honestly, I’ve told Brian this, he probably brushes it off, but like, in the past when Praise has recorded, there are vocal parts where me and Anthony or me and Austin are like “yeah that’s like a McTernan phrasing,” it’s informed by the way Brian approaches singing. So to have him on the record is really full circle for us.
Grady Allen from Anxious is on the record too; how did you get linked up with him?
Andy: I saw Anxious in 2018 or so — when they were a three-piece, like one of their early incarnations — and meeting Grady, he seemed to be cut from the same cloth as me or Brian or something like that. You know, loves youth crew, late ’80s hardcore, loves melody, loves stuff like that. And Grady and I just became friends and acquaintances after that, and we drove up and played their record release for the 7″ right before the pandemic. And when we were recording, we were bouncing ideas for the song “Return to Life,” because it was also on the AHC comp, and we wanted to change it since we were re-recording it, and we decided to ask Grady [to sing on the new version]. And to me it was kind of like this multi-generational thing of having people on the record who celebrate the things that you celebrate, so having Brian and him is this lineage of people who love youth crew but also love melody.
Brian: Yeah, Anxious is such a cool band. I really love them but my older brother who sang in Damnation, they’re like his favorite band in the world. He’s like an Anxious superfan.
Brian you were saying how much the lyrics on this Praise album mean to you, and with Be Well, you’ve also been opening up about a lot of mental health type stuff that you hadn’t sung about previously. Making those records around the same time, did you sort of feel a kinship as two singers talking about these similar topics?
Brian: When I think about the Revolution Summer influence, the thing about that era and those bands for me was the lyrics, the personal nature of them and the openness and vulnerability of it. That’s a huge influence for me personally, and I think it is for Andy as well. […] One of the reasons that I personally connect with Praise — there are a lot of bands that are kind of influenced by that early/mid ’80s DC thing, a lot of bands have that sound, but they don’t have that feeling, that thing where you listen to the lyrics and it really makes you think about how you feel. It doesn’t only make you feel something, it kind of makes you re-evaluate, like, Andy will say things in his lyrics and I will think about it well after the fact. And I think more than the chorus on the guitars and the production and the style of Praise, I think it’s the lyrical content that really actually makes it fit in that “inspired by the Revolution Summer” sound. To me, that was just what I loved most, and I started going to shows right after [laughs]. I started going to shows in 1986 and I missed Rites of Spring and Embrace, but that era has always been the biggest inspiration for me lyrically.
Brian, two years ago Be Well was just this one record, and everybody in the band is busy with other projects too, but now you’ve got this second record, you’re touring like crazy. Did you expect this to become such an active band?
Brian: Definitely not [laughs]. It’s funny when I think about it because — Andy, what was the name of that venue I saw you guys at with Culture Abuse?
Andy: The Windup Space.
Brian: Okay, my professional goals with Be Well were to be able to play at The Windup Space [laughs]. I really was just like, I just would love to have a band where I could play, have things on the horizon, things to look forward to. It’s funny when I think about Be Well; it’s not the easiest thing to start a new band when you have lived as much life as I’ve lived [laughs]. And to be honest, a lot of the times when I hear about, “Oh a bunch of older dudes are in a new band,” I’m kinda like “ugh” [laughs], you know? And I just feel lucky, because I think coming from a straightedge hardcore band background, making a record that’s so personal where I discuss issues I’m having with drinking and depression and things like that — if you’re just trying to recapture the old glory, that’s definitely not how you’re gonna do it. It wasn’t like when we were like, “Oh this style of music is just so hot, let’s do it!” [laughs] I mean the one thing I feel really good about Be Well is that the motivation behind it was always just to make music that’s meaningful to us, and that we really cared about, and it’s been amazing, this work we’ve gotten and the opportunities we’ve gotten. The thing I can appreciate now that I didn’t when I was younger is that it doesn’t last forever, and everything we do could be the last thing. My wife gets really mad when I say that, but it’s like, I had playing music leave my life for 20 years, I know it can go away. I stopped producing records for several years. And I know what a hole not having that leaves. I think about this Rites of Spring lyric every day of my life, and with everything I do with Be Well: “Drink deep, it’s just a taste and it might not come this way again.” That is my mantra with the band. I’m just not worrying what’s ahead, I want to enjoy this moment, enjoy this experience with the guys, enjoy making music, even this [conversation] is so cool. It’s like, I admire your work, I love Andy, and the fact that we’re all sitting here and talking is just rad. So no, I didn’t think any of this would happen, and it’s great. It shouldn’t be working as well as it is [laughs].
So you both have records coming out on Revelation Records, which I’m sure we all agree is such a hugely important label for so many reasons. What does it mean to you personally to be putting out music on that label?
Brian: If I wanted to try to sum up what I wanted Be Well to sound like, it’d probably be the Revelation Records catalog in a blender. Everything from Gorilla Biscuits to Farside, all of it, you know, Texas Is The Reason… and the other thing is Jordan [Cooper] and Sam [Siegler] have just been dear friends and big supporters of mine, from believing in me with Battery to trusting me as a producer — I mean, that Texas Is The Reason EP I recorded for them when I was 18 changed my life. Like without hesitation. I don’t know that I would have spent the last 30 years producing records if that hadn’t happened. So, to me it means everything to do this with them, and also having Praise happening at the same time, it’s like a dream come true.
Andy: I didn’t know anyone at Revelation very well — I knew Adam [Lentz] casually — but Brian kind of assisted in putting it together, in that after we finished recording stuff, he was like, “Hey, you should send a couple of these songs to Revelation and see what they think.” And then after talking to Sam and Adam, it was pretty much a no-brainer. Where else, what’s better than that? Our record’s gonna be available forever if people wanna listen to it, and it’s our favorite bands. I mean, Brian said it but I’m gonna add: Dischord and Revelation Records, that’s the foundation of everything, so to be on Revelation Records is pretty awesome. And to share this with Brian, and our records coming out two weeks apart, like that’s awesome. You’re on the same timeframe, you get to call each other and gas each other up when the other person’s releasing a song or a video. It’s this shared excitement where I’m just as excited for Brian as I am when a Praise song comes out, so it’s just this lasting excitement for three months. It’s awesome.
Brian: I agree with everything Andy said, and I’ll add that one of my favorite things about Revelation is they have just stayed Revelation. They didn’t go down this rabbithole of being like “Oh wow this whatever dance-mosh-metal shit is fucking huge, we gotta sign that.” They do their thing, and I just have a deep appreciation for all of them. And I think you can see, when you see the relationships that Walter [Schreifels] and Ray Cappo and Sam have, and all these people that are still tied in with that label, it just speaks to how ethically and family-oriented the label’s always been run.
Andy, you talked in a recent Stereogum interview about how you sort of actively want to wear your influences on your sleeves to help introduce people to the bands you love, and obviously the record has a Husker Du cover on it. Could you elaborate a bit on that?
Andy: To start, I love bands that do covers. I just enjoy it. If I go to a show and see it, to me that’s like, “Hey we love this band, we want you to love it too, we want you to know about it.” And I think that within hardcore and punk, or maybe any kind of subculture, there’s this need to kind of hold stuff close and protect it from being tarnished by anything, but I also think that can do a disservice to it, and then this thing you love gets lost and not celebrated and people stop caring about it or don’t know about it. So to me it’s like trying to find this balance of not spoiling something you love but also making people aware that it exists, and offering them the chance to hear it or see it or read it. So for me it’s trying to find the balance of “Hey, these are all the bands that we love, we want you to love them too and check them out, but we’re doing our thing that wouldn’t have happened without them. So if you like our band, you should definitely listen to this stuff.” And that’s how stuff grows in my opinion. You take these bands, you listen to them, you find the elements that you love, and then you make something of your own. And I’m not saying that I don’t like a band that’s just ripping off a band that broke up 30 years ago, that sounds like Negative Approach – I think there’s a place for that. But personally what I’m interested in doing with art and music is taking things I love and creating something of my own.
Andy, this is Praise’s first record in six years – why the long gap?
Andy: We kind of take our time doing stuff for one, scheduling’s hard — it should’ve been out two years ago, but the pandemic delayed it, so it’s a little bit of both, like we didn’t want it to be six years and it shouldn’t have been six years. But that’s how the world works sometimes.
So you think the next Praise record won’t take six years?
Andy: No promises [laughs]. I hope not, I have ideas, I have stuff I wanna do, and we have a home at Revelation now so it’s a little bit easier — that was another thing, we didn’t know who was gonna put the record out while we were recording it, or through most of the pandemic. But yeah, if there’s another record, it’s not gonna be six years.
Brian: There will be another record [laughs].
Is there anything that you want to add that we haven’t touched on?
Andy: I hope that we play with Be Well [laughs]. So far we’ve been trying and it hasn’t worked out, but I would like to do that. I’m excited for people to hear the Be Well record, I’m excited for Brian to go and do these tours and rip it up.
Brian: I’m excited. Tomorrow, Praise’s record comes out. I just went by the record store in Baltimore to take a picture of the banner that Andy hung up. I mean I am giddy with excitement about the record. I mean one of the things that’s really nice for me, I hate to say “professionally,” but as a producer now that I’m not doing nearly as many records, I can appreciate the releases of these things in a way that I couldn’t when I was doing record after record after record. I have legitimately been like counting the days until this Praise record comes out. It makes me excited to be able to listen to it, it makes me excited to see what they’ve accomplished, it makes me excited for Andy as a friend. Making records is hard, and [so is] putting yourself out there, especially when you’re in a band that’s doing something that isn’t what is like — I’m not saying Praise isn’t en vogue, but it isn’t the thing that’s like, like all these super hyped bands don’t sound like Praise, like they’re doing their thing, they’re sticking to what it is that is special about them, and they’re doing it fearlessly. It makes me inspired to make music, it makes me excited for them. It’s just rad.
Praise — 2022 Tour Dates
5/28 @ Metro – Baltimore, MD w/ Ceremony, Glitterer, Anxious, Demand
6/10 – Philadelphia, PA @ TBA
6/11 @ Massapequa VFW – Long Island, NY w/ Stand Still, Rule Them All
6/12 @ Wamleg – Wallingford, CT w/ Drowningman, Soul Blind, Almighty Watching
Be Well — 2022 Tour Dates
w/ Earth Crisis, Snapcase, and Strife
5/13 Buffalo, NY – Town Ballroom
w/ New Found Glory and Four Year Strong
5/26 Franklin, TN – BreakFest at Liberty Hall
5/27 St. Louis, MO – Red Flag
5/28 Chicago, IL – The Riviera
5/29 Detroit, MI – Royal Oak Music Hall
5/31 Cincinnati, OH – Bogarts
6/1 Pittsburgh, PA – Roxian Theater
6/2 Albany, NY – Empire Live
6/3 New York, NY – Terminal 5
6/4 Worcester, MA – The Palladium
6/5 Atlantic City, NJ – AC Beer Fest
6/7 Silver Spring, MD – The Fillmore
6/8 Myrtle Beach, SC – House Of Blues
6/10 Orlando, FL – House Of Blues
6/11 Atlanta, GA – The Masquerade
7/22 Cleveland, OH – House Of Blues
7/23 Milwaukee, WI – The Rave
7/24 Minneapolis, MN – First Avenue
7/26 Denver, CO – The Fillmore
7/27 Salt Lake City, UT – The Union Event Center
7/29 Seattle, WA – Showbox SoDo
7/30 Portland, OR – Roseland Theater
8/1 Berkeley, CA – The UC Theater
8/2 San Diego, CA – The Observatory North Park
8/3 Las Vegas, NV – Brooklyn Bowl
8/4 Riverside, CA – Riverside Municipal Auditorium
8/5 Anaheim, CA – The House Of Blues
8/6 Tempe, AZ – Marquee Theater
8/8 Dallas, TX – House Of Blues
8/9 Austin, TX – Emo’s
w/ BoySetsFire, Hot Water Music, and Samiam
10/4 London, England – Electric Ballroom
10/5 Antwerp, Belgium – Zappa
10/6 Amsterdam, NL – Melkweg
10/7 Dortmund, Germany – Warsteiner Music Hall
10/8 Hannover, Germany – Swiss Life Music Hall
10/9 Berlin, Germany – Columbiahalle
10/10 Nuremburg, Germany – Lowensaal
10/11 Munich, Germany – Tonhalle
10/12 Vienna, Austria – Gasometer
10/13 Stuttgart, Germany – LKA-Longhorn
10/14 Wiesbaden, Germany – Schlachthof
10/15 Wiesbaden, Germany – Schlachthof