Hangout'14

Hangout Music Fest '14 May 16-18

If you were lucky enough to score tickets before Hangout Fest sold out, we hope you're ready for one hell of a weekend. From hip hop heroes to indie icons and everything in between, this year's lineup is prett y much perfect in our book.

Just remember that festivals are a marathon not a sprint, so pace yourself. You're going to want to have plenty of juice left Sunday night for the sure-to-be-epic OutKast set.

At least that's our plan. See you on the beach!

May 15, 2014

7

Twin Heartthrobs

by Sarah McCartan

IN: Do you feel it's a good time to be women in the music industry? And do you find there to be a great opportunity for you to empower women through your music, both those within the LGBTQ community and beyond?

QUIN: I think there are a lot of incredible female fronted, produced, written, performed music/bands right now in the mainstream, in the underground, etc. There definitely seems to be a lot of support for women in the industry currently. Personally, there could always be more, in my opinion.

But I definitely feel like there is room for LGBTQ artists and women right now on radio.

We've been really touched by the support in the mainstream for us and “Heartthrob.”

Things are different than even four or fi ve years ago.

IN: “Heartthrob” has been referred to as "intelligent pop." Can you expand on this?

QUIN: Well, I think some of “Heartthrob” was simplified for effect. But songs like “How Come You Don't Want Me” or “Shock To Your System” and even “I Was A Fool” are thoughtful and creative, while still being pure pop songs. We just ensure everything we write and release has depth.

That's what we meant by intelligent.

photo by Chris Buck If it seems like it has been a decade since the release of Tegan and Sara’s album “So Jealous,” it’s because it has been.

Although this wasn’t their first full-length release, this album served as an introduction to this Canadian twin sister act.

With each passing year and the albums that have since followed, the duo has continued to shift shape. Last year marked their biggest year yet, with the release of their seventh full-length album, “Heartthrob,” featuring the hit single “Closer.”

This synth-filled, pop-driven album is not only their most successful to date, but takes them worlds beyond their early indie rock roots and marks yet another chapter in the Tegan and Sara story.

88

A year later, Tegan and Sara aren’t simply going strong, they are stronger than ever and touring the globe. Thanks to the virtual world of connectivity, the IN was able to catch up with Tegan Quin via email in between show stops on their packed tour schedule.

IN: Do you consider “Heartthrob” to be a turning point musically?

QUIN: We try and do something fresh and different with each new Tegan and Sara record. “Heartthrob” was definitely our most aggressive effort to do something new, but I think our turning point musically was when we were making “The Con.” It was our first time really taking the reins and creating something that felt truly like us.

IN: When revisiting earlier albums, do you find yourself thinking, "Wow, that's an entirely different Tegan and Sara?"

QUIN: Every record sounds like who we were at the time we were making it. I can see Tegan and Sara of the “So Jealous” era when I listen to the record. I think it's like looking back through photos. Each record feels right for the time period, but weird now, because we've changed and evolved so much. Our lives are very rich with experience. And I think you can hear that in the music. From record to record, we're creating a very extensive photo album of our lives via the music.

IN: At what age did the two of you begin playing your instruments and singing, and at what point did you decide to join forces?

QUIN: We started taking piano lessons when we were super young, like six or seven.

When we were 11 or 12, we started taking classical piano and theory and testing for the Royal Conservatory each year. When we were 15, we started experimenting with writing songs on guitar. We took a few lessons but got bored easily. I think we really loved being able to just create our own music on the guitar after years of classical training on the piano. It took a long time for me to feel creative on the piano again. I had to basically unlearn the piano to write on it. And we started singing almost immediately after we picked up the guitar. I think we were maybe two months into playing the guitar when we

Every record sounds like who we were at the time we were making it.

Tegan Quin

wrote our first song together. We mainly used each other for background singing and to run the tape recorder to tape each other.

IN: Do you struggle with twin rivalry or any other variables that come with working with someone you are so close to, or does it merely provide a constant motivational challenge?

QUIN: I think we have normal sibling issues. We've never been super competitive.

We complement each other well, I think.

But there were definitely really hard years.

While everyone around us was going off on their own to university, we were stuck together. I felt stunted sometimes always having to be with her. Now I feel grateful.

And we live so far apart we get a lot of alone time to be ourselves and not "the twins." I think we trust each other so much it makes up for the bad moments.

IN: Any pre-show rituals that you swear by?

QUIN: We just insist on 30 minutes of quiet time with the band. No media, interviews, industry talk. Just laughing and talking and preparing for the show. We do a group sing along to warm our voices up and then we hit the stage. We do the same post show. But only 15 minutes.

IN: How excited are you to team up with Katy Perry this fall?

QUIN: We are thrilled to be touring with Katy Perry. We are huge fans of her work.

And I like her personally. I think she's smart and talented, and I love the way she engages her audience. We met at the start of this record cycle. She was an early supporter of “Heartthrob.” We can't wait to see the show every night and have the opportunity to share the stage with her and play to her fans.

TEGAN AND SARA

SATURDAY, 2:30-3:30 P.M. CHEVROLET STAGE

inweekly.net

A Capital Idea

Take It or Leave It

by Jessica Forbes

We both felt like it needed to be played by an instrument that elevated it and took it to this regal, epic place.

Ryan Merchant

press photo Late afternoon on Day 3 of a festival can be an iffy time—fatigue has likely set in, and you need an act to help you push through and keep your spark alive. For that, Capital Cities is just the ticket.

Happy, catchy and fresh are all words that come to mind when considering the L.A.-based band, currently touring with material from “In a Tidal Wave of Mystery,” their first LP, released in June 2013. Usually labeled as indie pop, Capital Cities, led by founding duo Ryan Merchant and Sebu Simonian, are carving a special niche in the genre with their infectious hooks and dedication to celebrating all things positive—and also fusing trumpets, synthesizers and Daniel Day Lewis references into dance-y pop tunes.

Blazing their own trail has been a pattern for Capital Cities. Merchant and Simonian met in 2008 in L.A. through Craigslist and began writing music for commercials, which they did as a team for two years before forming the band.

“We both played in numerous bands throughout our lives,” Ryan Merchant told the IN. “The commercial thing was actually a very short detour in our musical lives where we found this opportunity to write music and make money, and it was fun. We took a little break from playing in bands, but through that process we started writing songs together.”

Merchant said the two built a catalog of extracurricular pieces while writing for commercials, including what became “Safe May 15, 2014

and Sound.” Merchant explained that while seeking a direction for the band, the “electronic place” they found themselves in with that track shaped the “electronic, funky, disco-inspired” music that Capital Cities creates. The duo also happened upon what has now become a trademark of their unique take on dance pop while searching for a way to elevate the song’s melody then (in its tenth incarnation) played on synthesizer.

“We both felt like it needed to be played by an instrument that elevated it and took it to this regal, epic place,” Merchant recalled of their decision to use a trumpet on the track. “Serendipitously, a few months later we met our trumpet player, Spencer Ludwig, who now plays with us live. He’s such a creative, amazing musician that we started incorporating trumpet on a bunch of the songs, and it became this integral part of our recording and our live show.”

While generating buzz on the web in 2011, an alternative radio station in Lima, Peru discovered “Safe and Sound,” and put it on heavy rotation. The band quickly built a following in South America. “Given the size we were at in the United States, it was interesting to go there—we could play a show to almost 1,000 people there even though in the U.S. we were much smaller,” Merchant said. The international buzz only helped. From that point, touring (including appearances at South by Southwest for the past three years) and continued blogo-

sphere action resulted in Capitol Records signing Lazy Hooks, Merchant and Simonian’s indie label, and releasing “In a Tidal Wave of Mystery.”

The album showcases the good things in life, most explicitly in the recent single, “Farah Fawcett Hair” featuring fellow Hangout artist, Outkast’s Andre 3000.

“It was the one song on the album where we really were not following any conventions as far as pop music is concerned,” Merchant said. When looking to add a little hip-hop to the mix of elements, one artist came to mind: “Going along with the theme of the song, which is the idea of undeniably good things in life, the person that come to mind was Andre 3000, because we really respect his work and we love the tone of his voice and his whole persona.”

The collaboration occurred and now Capital Cities, like Outkast, are playing some of the biggest festivals in the U.S. this summer, including Coachella and Bonnaroo. The band will follow up the festival run by opening for Katy Perry on multiple dates this summer, a move that may have some raising their eyebrows, but is par for the course for the band’s thus-far wild and self-determined ride.

“This is different because you’re opening up for a much bigger artist and playing to her crowd. It will be an interesting experience because in a sense you’re trying to win over people who might not know you,” Merchant said. “Our goal is to put on a compelling show and have them say, ‘Wow, I really like that opening band. I want to follow them or see their next show when they come back to town.’”

CAPITAL CITIES SUNDAY, 3:45-5 P.M. HANGOUT STAGE

S

unscreen, yes. Weapons, no.

While most of the stuff you can and can't take into Hangout Fest is pretty much common sense (or at least we hope it is), we've included it here for you just in case you have a question while packing. Remember you can bring a bag with all your essentials, just make sure it's small and easy for security to go through because all bags will be thoroughly checked. You don't want to be slowing things up for the rest of us, do you?

Can:

• Sunscreen • Blankets and beach towels • Non-professional cameras (detachable lenses not allowed) • 1 empty water bottle, up to 2 liters in size • CamelBaks are allowed too—but they must be empty (don't worry though—there are refill stations inside the fest) • Prescription medicine—just remember it must be in a marked bottle that matches your ID • Baby Strollers and/or small wagons (for those festing with toddlers)

Can't:

• Weapons of any kind • Illegal substances (including narcotics) or drug paraphernalia • Framed or large backpacks (larger than a 20 x 15 x 13) • Alcohol • Kites • Glowsticks • Glass containers • Outside food or beverages • Skateboards • Motorized carts or scooters (unless ADA verified) • Bicycles (bike racks will be available near the entrance—so you can bike to the fest, just not into the fest) • Large chains or spiked jewelry (anything larger than 3/4 of an inch will be confiscated) • Fireworks, sparklers and/or firecrackers • Chinese lanterns • Umbrellas • Chairs of any kind • Coolers of any size • Tents or canopies of any kind • Pets (except service dogs) • Video equipment • Audio recording equipment • Professional still camera equipment—i.e. detachable lenses, tripods, big zooms, or commercial use rigs • Flags and flagpoles 9

Americana, All Ways

by Jessica Forbes

press photo Valerie June cannot be called anything if not original. While her self-proclaimed “organic moonshine roots music” style—a title as accurate as it is unique—combines characteristics from multiple influences including folk, blues, R&B and country, her sound can’t be pigeonholed as any of those genres.

June’s unique vocal and musical quality, in their category defying glory, are proving exciting to music fans across the globe, more of whom are becoming familiar with June via her third album, “Pushin’ Against a Stone.” The album, released in May 2013 in the U.K. and Europe and the following Au-

gust in the U.S., has garnered attention from NPR, BBC Radio and The New York Times, and the interest continues to build.

“I knew releasing this record would shift my experiences,” June wrote to the IN from France while on tour. “There's only so much an indie artist can do in 24 hours. Having a team is a whole new ball game.”

Being on an independent label—Sunday Best, alongside David Lynch and New Order, among others—the success of “Pushin’ Against A Stone” is quickly changing the game for June, who has been performing music in one way or another for most of her life.

“I've always loved singing,” June remembered. “It's something I found myself doing regardless of anyone else's thoughts or ideas.”

Like many Southerners, June began singing as a child in church. A Tennessee native, June’s interest in blues artists peaked as she began researching early 20th century recordings in her early-20s while singing in bands in Memphis.

“As soon as I heard Mississippi John Hurt fingerpicking folk-country blues on the acoustic guitar, I knew I'd die happy if I could learn to fingerpick even half as well as he did,” June said of one of her major inspirations.

As a kid, June remembers a few specific female artists who put her on a path toward playing blues and other traditional American music, both of whom are notoriously proficient instrumentalists as well.

“Mrs. Bailey, my second grade teacher, played Odetta's record for us during Black History Month. She let us see the cover. I was surprised to see this big, black woman holding a tiny guitar. That image moved me in the same way that Tracy Chapman's ‘Fast Car’ moved me to save my pennies and buy every record she's ever made,” June—who is now commonly linked to Chapman as a similar artist on many websites—stated.

After splitting from the band setup, June taught herself guitar, banjo and ukulele in order to accompany herself and began performing solo. After recording two albums entirely independently, June landed an opening spot with Old Crow Medicine Show, and they invited her to Nashville

to record an EP, “Valerie June and the Tennessee Express.” That EP was released in 2010, and after continued touring and crowdsourcing funds for a new album, June was eventually introduced to and collaborated with The Black Keys’ Dan Auerbach.

She recorded “Pushin’ Against A Stone” at Auerbach’s Easy Eye Studio in Nashville.

In support of “Pushin’ Against a Stone,” June toured Europe and the U.S. in the summer and fall of 2013 before opening for Sharon Jones and the Dap Kings earlier this year, including their February show at Vinyl Music Hall.

June said jet lag is worth the experiences she’s having touring the world. “There are so many beautiful people that inspire me and keep me in excellent company on the road,” June stated, referring to the many cultures and personalities she encounters—and likely, also her tour mates, a growing roster of musical heavy-hitters.

“Booker T. Jones gave me the best advice.

He told me when it comes to genres I enjoy playing and writing, to be fearless.” That’s one piece of advice June seems to have a head start in applying.

photos by Danny Clinch

5 Degrees of The Black Keys

Patrick co-produced the latest Black Lips record "Beneath the Rainbow."

Patrick worked with Wild Belle on their upcoming sophomore album (release date TBD).

010 1

FRIDAY, 2:45-3:45 P.M. PALLADIA STAGE

Dan co-produced Valerie June's "Pushin' Against a Stone."

The Black Keys and new label mate Conor Oberst both have releases out this month on Nonesuch Records.

I

t's hard to find a duo in modern music more connected than Dan Auerbach and Patrick Carney. Maybe Mr. and Mrs. Carter, but even that might be too close to call. Seriously, these Akron boys and their Nashville recording studio pop up just about everywhere if you do your homework—including more than once in relation to artists on this year's lineup.

VALERIE JUNE

Wiz Khalifa may or may not have a track on BlakRoc (the collaborative hip-hop project from The Black Keys and Damon Dash) 2 if it ever happens.

*For reviews of The Black Key's "Turn Blue" and Oberst's "Upside Down Mountain" turn to page 21.

inweekly.net

On A First Name Basis

Don't Hangout Without

by Sarah McCartan

photo by Jonathan Mannion “There’s a reason we’re called ‘Matt and Kim.’ We’re on a first name basis,” said Matt [Johnson], half of the widely known rock, pop duo, Matt and Kim. Between Kim’s high energy drumming and notorious dance moves, and Matt’s upbeat keyboard playing and catchy vocals, the couple is not only on a first name basis with each other, but also with their fans.

While at the present, they're no strangers to extensive tours and playing festivals across the globe, their humble beginnings include underground performances in basements and living room parties in Pensacola.

“Kim [Schifino] and I have a long history in Pensacola. We used to play shows in a friend’s living room and then go out to the beach,” Matt said. “We had never been to a gulf beach, and there was all this white sand and Kim asked, ‘Where do they import the sand from?’ ” In September 2011, the two returned to grace the sand for a memorable DeLuna Fest performance, complete with balloons flying and Kim getting up close and personal with the audience.

This time the two are returning to the Gulf Coast for a debut performance at May 15, 2014

Hangout Festival. Although Matt and Kim have toured in support of some well-known acts, including an extensive tour with Passion Pit last year, they especially praise the festival setting.

“A lot of times people go to a show wanting to see a headliner,” Matt said. “I feel like at festivals people go open minded and want to know about new music. We take pride on being a band that you don’t have to know [beforehand]. We put on a show anyone can really enjoy.”

Despite the growth in scale Matt and Kim have experienced throughout the years, they’ve managed to keep the same spirit they started out with—a spirit that is deeply rooted in simply making party music.

“Given that our first shows in the Pensacola area were in living rooms and now we are playing festivals with Outkast and The Killers, I would say things have changed in scale quite a bit,” Matt said.

“On the other hand the spirit is the same.

We make music that people have fun to.

That has carried on.”

The two have also been able to hold on to their DIY aesthetic and attitude to a large extent.

“We self-recorded and produced a couple of our albums, including our last one,” Matt said. “On the other hand, we have learned what it takes to exist in a larger scale. We play with a lot of large effects— make sounds that sound big and full.”

Matt and Kim’s latest full-length album, “Lightning” was released in 2012, featuring hit single “Let Go.” A year later, a follow up called “Lightning Remixes” was released.

“While we were control freaks with ‘Lightning’ and did everything ourselves, it was kind of exciting to find people who like what they do and trust and give them pieces of the song and see what comes out of it,” Matt said. “We’re fans of a lot of electronic music and dance music. I think we just want to be surprised and hear our songs in a different way.”

In addition to these most recent album releases, the two haven’t slowed down in producing videos. This added visual component is brought to life thanks to Matt’s film background and the two’s joint creative wits. Much like with their live performance, Matt and Kim aim for their videos to offer entertainment for everyone, not merely those who have come to know their music well.

“I want our videos to be ones you can enjoy even if you don’t know the song,” Matt said.

Each video begins with a simple idea, usually a single sentence. “Like, Matt and Kim take clothes off and dance in bed in underwear,” Matt said, referring to their recent “It’s Alright” video, featuring the two executing a choreographed dance in bed.

“I had the vision for that video,” he said. “But I think people were picturing a Mariah Carey video when I was telling them about it. I can’t believe I pulled off looking like I know how to dance.”

When they’re not touring or crafting fun videos, rather than focusing on piecing together their next album, the two simply keep their focus narrowed to writing songs they can stand behind and are excited about.

“We just concentrate on individual songs and then we will figure out an album,” Matt said. “We don’t want to do any filler material. We want every song to be as good as it can be.”

W

e love that at Hangout clothes are pretty much optional. Same goes with shoes. But regardless of if you bring a cover-up or decide to bare it all in your bikini all day long, here are a few things we think should be mandatory for everybody.

� Sunscreen Duh.

� Water bottle

Again—duh. Just remember it can't be glass or larger than two liters.

� Sunglasses and/or a hat

Honestly it's probably a safe bet to bring both. That mid-day beach sun is no joke.

� Cash

Or as we like to call it "Spicy Pie money." Sure, there are ATMs, but you aren't going to want to look for them when you're hungry or you want to hit up the merch tables.

� Wet wipes

Your hands will thank you—especially after a visit to a port-o-potty that's out of toilet paper.

� A paper copy of the schedule and map MATT AND KIM

SATURDAY, 4:45-5:45 P.M. CHEVROLET STAGE

We know there's an app, but you don't want to waste your precious phone battery looking up stages and set times.

Save that for texts that may or may not go through. *We've got one on pages 18 & 19 that we think will do the trick

11

Making Thunder Clatter

by Sarah McCartan

IN: How did you team up with Jeremy and the other members of Wild Cub? DEWITT: They were floating around similarly to me. We all bonded over the fact that we wanted to be in a band rather than be singer/songwriters and all enjoyed electronic, rhythmic sounds and portraying emotions in a less literal way.

IN: Where did the name Wild Cub come from?

DEWITT: It was random, but part of the larger thing. I just wanted to keep our faces off of it. It’s great. It’s fine. It’s Wild Cub. It’s stripping away identity, eliciting emotion, raising questions and letting the music speak to personal experiences.

IN: Were you trying to achieve a certain aesthetic by recording “Youth” with a tape recorder?

DEWITT: It was recorded in a closet. I have a personal pride in that. It is literally homemade and as personal as you can get.

photo by Alysse Gafkjen Typically a band is formed prior to making an album. In the case of the anything but typical Nashville-based quintet Wild Cub, things shaped up a bit differently.

At the backbone of Wild Cub is singersongwriter and film composer, Keegan DeWitt, who moved to Nashville from New York to shift his focus from writing film scores to making music full-time. In conjunction with multi-instrumentalist Jeremy Bullock and supporting band-members, Wild Cub shares the unified drive to tell stories by creating moments through the intricacies of rhythm and melody.

At the heart of this passion is Wild Cub’s organic formation built around their gently captivating debut album “Youth.” Although originally self-released in 2012, “Youth” was rereleased this year since Wild Cub has joined the Mom + Pop record label family.

Bands That Tweet 212 1

Y

The IN caught up with DeWitt to chat about “Youth” and the Wild Cub journey.

IN: Musically, how have things changed for you since relocating to Nashville from New York?

DEWITT: Music was always the thing I did to keep a diary. That’s how I ended up scoring films. Once I got to Nashville, I realized the world does not need more white guys playing acoustic guitar. I realized it especially didn’t need me, and that wasn’t how I would tell stories more effectively. I really enjoy telling stories in a more fragmentary way. Other peoples’ attachment to a song is always so interesting—that’s 50 percent of it. I try to make music in a way to give sparks in darkness to peak emotions inside of anyone listening.

ou can always tell when a Twitter account is ran by PR team or label versus an actual person. We, of course, are fans of the latter.

This year Hangout has booked plenty of acts who run their own show—Twitter wise. So if you're looking to be more in the know this weekend, you might want to do yourself a favor and follow some of these acts. Girl Talk, for example, regularly asks about after parties and then shows up at them. As does Andrew WK. And if a certain GIRLS-y celebrity girlfriend happens to show up to support her man, you can bet there will be tweets to prove it.

IN: Do you think your breakout single “Thunder Clatter” gives individuals a pretty fitting introduction to Wild Cub? DEWITT: So much of it is capturing attention in the first 30 seconds. I’m glad we have that because it’s unique in how it’s constructed. To me it’s both personal and representative. I wrote that song the week I met the person who would become my wife.

IN: Do you approach your songwriting for Wild Cub in the same way you do a film score?

DEWITT: Film gives you the opportunity to be as minimalistic as possible and use restraint.

There can be a single note and it can have huge repercussions because you’re getting this thing in tandem to music. With the band, I enjoy that there are so many pieces to it. The big emotional moments in your life are really complicated—happiness and terror and self-doubt and misguided concepts. With a band and a full record and full song, you can hint at the complex emotions. Vocals can be questions, strings can be doubt. It’s never that literal but you have so many options at your disposal and can paint the complicated big emotions.

IN: Including Hangout Fest, it seems like you are working quite a number of festivals into your tour. Is this a setting you feel allows you to reach a wider audience?

DEWITT: It’s interesting because when you’re in the middle of it, it’s a mess. There’s so much shit going on—is anyone absorbing this? But then they do. People go to festivals that may not go to other things. Maybe they are walking to get a burrito and hear your set and stop.

For us doing the fest—you get to go and be a nerd and stand on the side of the stage.

We leave super excited about making music again, which can be elusive traveling every single night.

IN: You recently returned to South By Southwest (SXSW). How have things changed since playing the fest last year?

DEWITT: Instead of doing eight shows and not knowing what the hell was going on we still did the eight shows, but they were all packed and really fun. In general that’s been the shift. Less about us trying to introduce ourselves, and more about living up to expectations. Instead of playing and being like, “I hope a couple people come,” it’s now hoping it will be a show where we just connect.

IN: Any bucket list dreams for Wild Cub? DEWITT: The coolest thing about this year is we got to pick a lot of things off the list that all of us wanted to do with music: go to London, play a sold out show, play Jimmy Fallon. It’s exciting. Whatever happens next will be larger and more exciting than what we are doing now.

@chancetherapper

@Tromboneshorty

@mattandkim

@PrettyLights

@girltalk

@AndrewWK

@patrickcarney

@wizkhalifa

(of The Black Keys)

@DonaldGlover

(Childish Gambino)

WILD CUB

FRIDAY, 6:30-7:30 P.M. BMI STAGE

@jackantonoff

(of Bleachers and Fun.) And of course, don't forget

@Hangoutfest

@xdannyxbrownx (Danny Brown)

inweekly.net

Looking Forward with Wild Belle

Everybody Loves OutKast

by Joani Delezen

F

ans aren't the only ones buzzing about seeing Andre 3000 and Big Boi Sunday.

Based on their long-standing status, it should come as no surprise that this fan favorite is also an artist favorite—especially with the other rappers on the bill.

Here are some quotes we found that reveal just how deep the OutKast love runs.

photo by Jennifer Tzar

I

f you're looking for a band on this year's line-up that sounds like Hangout Fest feels, look no further than Wild Belle. The duo, made up of siblings Elliot and Natalie Bergman, might have grown up in and around Chicago, but their sunny sound is a perfect fit for the beach.

They've been touring in support of their debut album 'Isles' pretty much non-stop since it came out in 2013, but that hasn't stopped them from looking forward and working on new music. The IN caught up with Natalie while the band was in Mexico doing just that and asked her a few questions about songwriting, recording and getting tough.

IN: Is a sophomore album on the horizon anytime soon?

NATALIE: We've been working on it for the past year actually. We live on the South Side of Chicago, and we have a studio that's just like a few blocks from our apartment, so it's really easy to get over there and we've just been writing and editing.

We also got to go work with our friend (and The Black Keys drummer) Pat Carney in Nashville for a few weeks. We recorded in Jamaica for a week too.

IN: Do you have a release date yet or is still too early to call?

NATALIE: I'd love to put it out in the fall, but I don't know if that's going to happen. We'll probably finish it in the next month or so and hopefully we can put a single out then.

IN: Can we look forward to hearing any of the new stuff at Hangout?

NATALIE: Definitely. The guys in the band are going to come to Chicago a few days before we leave and I'm going to teach them the new stuff.

May 15, 2014

IN: How does the songwriting process work for you as a duo?

NATALIE: It's different each time. We just try and conceptualize a feeling and get into a mood and start from there. Maybe we'll start with a guitar line or bass part, and then we just keep layering. We add a lot of instruments and just keep piling it on and then take it away.

IN: I read somewhere that you named your debut LP 'Isles' because every track resembles its own island. Can you explain this a bit more?

NATALIE: When I said that, what I meant was that I wanted each song to be its own world that you could lose yourself in. I'm excited about this new record because I think we did that. I also feel like it's a little tougher and meaner.

"My favorite memories of OutKast definitely come from my mom because she played so much of their music. It wasn’t like they were old to me, because they were hella relevant, but my mom loved OutKast as much as I did." Wiz Khalifa (Mtv.com)

IN: A lot of people think of Wild Belle as a fun, kind of beachy band, based on 'Isles.' Do you think this "tougher" sound will change people's perceptions of you?

NATALIE: Yeah, I think it sounds like Wild Belle but with some evolution and a progression. It's a little bit like "You think we're a sweet, beachy band? We'll fuck you. Here's the next step." I'm just excited to get something new out and hopefully take people on a journey like we did with the first record.

• Friday, 5-6:15 p.m.

Chevrolet Stage

WILD BELLE SATURDAY, 6-7:15 P.M. BMI STAGE

"But Outkast and stuff like that–when I was in college, yeah that was IT."

Childish Gambino (Okayplayer.com)

• Friday, 6:15-7:30 p.m.

Boom Boom Tent

"I like all the comparisons a lot of people make to Kendrick and Eminem and Kanye and Andre 3000—those are all people I listen to everyday… And a lot of the funk and soul comes from listening to the Dungeon Family, OutKast, and Goodie Mob. I just listen to a lot of good shit."

Chance the Rapper (Pitchfork.com)

• Saturday, 7:15-8:45 p.m.

Red Bull Sound Select Stage

OutKast • Sunday, 9-11 p.m. Hangout Stage 13

Showing Their Sounds

by Jessica Forbes

press photo Technology is an important point of discussion when it comes to Gemini Club’s musical output. When you’re dancing at the Chicago-based band’s set on Friday, the lights you’ll see flashing from the stage aren’t purely for aesthetics—the band is showing you the digital elements behind their sound, often described as indie electronica.

“In the same way that we really wouldn’t have Jimi Hendrix and rock ‘n’ roll without the electric guitar, or hip-hop without the sampler, I think our era is one defined by the computer,” stated Dan Brunelle, musician

Kicking Off the Party

T

hree days and nights of non-stop live music is great, but four is even better. Prior to Hangout Fest’s official beginning, Thursday brings a special celebration to the beach.

The Discover Great Kickoff Party presented by Pizza Hut begins at 4 p.m. and closes out at 11 p.m. The party lineup includes a multitude of acts that are sure to get the weekend jump-started. Here are some of standouts we think are worth showing up early for.

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and producer in Gemini Club. “It’s a little bit nerdy, maybe a little bit academic, but I believe that laptops and MIDI-controllers and all of the new technologies, generally speaking, are really the instruments of our time.”

In his bandmates, Brunelle has found kindred spirits in the pursuit of synthesizing electronic and traditional music. Brunelle and vocalist Tom Gavin first met while attending Columbia College in Chicago, later meeting DJ Gordon Bramli and drummer Ryan Luciani to form the quintet that now writes, records and performs as Gemini Club.

Whether you’re a fan of the band Fun., one has to give lead guitarist Jack Antonoff credit when credit’s deserved.

At the kick off party, Antonoff will be making an appearance in the form of his solo project, Bleachers. Breakout track “I Wanna Get Better” bears a similar catchiness to Fun.’s hit singles, with a bit more of a rough around the edges approach. With only a handful of Bleachers performances under his belt, Antonoff has already been playing to packed crowds in sold out venues. Bleachers, 5:30-6: 15 p.m., Palladia Stage After Iron and Wine sets a nostalgic, low-key mood, perhaps even urging a few tears, Wolfmother might at least get you yell-singing along to “Woman.” Iron and Wine 7-8 p.m.; Wolfmother 9-10 p.m., Palladia Stage Thanks to Girl Talk, you are going to want to bring your dance pants to the Boom Boom Tent as Gregg Gillis closes out the party. Along with classic mashups

“The goal was to create an expressive instrument out of the components of laptops and MIDI controllers,” Brunelle explained of the custom software and equipment he devised—the band’s live re-mix rig that allows Bramli to recompose elements of their songs in the moment.

As a music composition student, Brunelle recalled he was looking for a way to create music that was distinct and decidedly contemporary. “I think part of that education gave me a belief in the structures and the systems of music as much as the expressive qualities of it,” Brunelle said, who delved into the world of Controllerism and custom digital music production software while Gemini Club was taking shape.

“From crawling the forums and thinking about it myself, I just thought of the right structure for us to have a sincere performance, but using those technologies. We flip our rigs out so the crowd can see exactly what knobs are being pressed. We have LED feedback, so every note that I play shows up in a visible way to the crowd,” he said.

But not to fear if you are already familiar with the band’s recordings—the fundamental components of the songs remain the same in Gemini Club’s live performances.

“We play our songs structured just like a regular rock band does,” Brunelle said, explaining Bramli does the bulk of the remix work using the elements of the song that the members aren’t playing, live. “A lot of electronic musicians just hit play one time, and in a sense Gordon hits play 65, 70 times in a song. Everything is broken up into its small bits and then it’s recomposed by him.”

that are sure to be revisited, Girl Talk fans will more than likely get to hear some newer mashups worked into the lineup.

Recent additions include Kanye’s “Black Skinhead” and Marilyn Manson’s “Beautiful People” along with a mashup of Daft Punk’s “Get Lucky” and Michael Jackson’s “Remember the Time.” Gillis has also teamed up with Freeway to release a collaborate EP this spring, titled Broken Ankles, featuring single “Tolerated,” featuring Wacka Flocka Flame. Girl Talk, 10-11 p.m., Boom Boom Tent The kickoff party lineup also includes Danny Brown, Dumpstaphunk, Bonobo (DJ set), Bombay Bicycle Club, Magic Man, CLASSIXX, Jamestown Revival and Go Down Moses.

With two previous EPs under their belts—“Future Tidings” was released in 2009 and “Here We Sit” in 2012—the band has been hard at work writing over the past several months, including utilizing Red Bull Studios in L.A., where they had just completed a second session at the time Brunelle spoke with the IN. “We’ve been really throwing a lot at the wall lately,” Brunelle said of their recent efforts, which have yielded approximately 60 songs in four months, currently in various stages of completion. “I’m really happy with what we’ve got. It’s going to be a wide range of things.”

The band hopes to release a single from the album this summer, around the time of Lollapalooza, Chicago’s famed music festival at which they will perform. As for Hangout, it will be Gemini Club’s first foray into the Southeast, and Brunelle reported that the band is looking forward to playing the beach. “We’re pretty excited about it. It sounds like it’s a really gorgeous festival.”

GEMINI CLUB

FRIDAY, 7:30-8:45 P.M. RED BULL SOUND SELECT STAGE

Bleachers

Iron and Wine

KICKOFF PARTY

THURSDAY, 4-11 P.M. TICKETS: $50; FREE FOR VIP TICKET HOLDERS

Girl Talk inweekly.net

Don’t Take Any Lip

Phoning It In

by Hana Frenette

A

nyone who has ever been to Hangout (or any fest really) can tell you that cell phone reception is spotty at best. But it’s not anyone's fault, so don't go blaming the fine folks at Hangout or your service provider. It's just what happens when 40,000 people descend on one strip of beach and all try and text at the same time.

Despite the logical root of this problem, we know it's still super annoying. Here are some tips we've learned over the years that might keep you from throwing your phone in the VIP pool after a dozen or so failed calls.

Back it up

No matter how limited service is, you're still going to be trying to use your phone throughout the day, so investing in a backup battery is smart. We recommend anything made by Mophie. And even if you aren't willing to go that far, at least bring a charger so you can take advantage of charging stations in the Chevrolet Oasis.

One and done

photo by Mick Rock

B

etween touring the world, filming a documentary, getting arrested in India for kissing fellow bandmates on stage and releasing a new album, Black Lips have a lot on their plate.

The gritty, garage rock band from Atlanta will begin another world tour this month, after spending the better part of 2013 touring and filming for their documentary, “Kids Like You and Me.” The film focuses primarily on their shows in the Middle East and the young people they were able to interact with.

“Well, we wanted to just try and go everywhere while we have the ability, and we really wanted to be the first Americans to play in Iraq,” bassist Jared Swilley said.

“Things were getting worse and worse for Syria while we were over there, but I’m really glad we went. We met a lot of bands and kids, especially in Egypt and Lebanon.”

Some of the Black Lips previous tours overseas weren’t quite as favorable, like their 2009 India tour when they were forced to flee the country or face possible jail time. It just depends on how well a crowd or a country handles nudity and a good ol’ male-to-male embrace.

“We didn’t even think that we were doing anything that bad,” Swilley said. “We kind of got drunk before the show and then just kissed each other on stage a little.”

It wasn’t until afterward when the show promoter expressed his anger and started

May 15, 2014

demanding $6000 in damages that the band realized there might be a problem.

The band canceled their remaining shows in the country and escaped unscathed and un-incarcerated.

But considering some of their antics from years before, like urinating and vomiting on fellow band members or into the crowd, India received a fairly tame performance.

The band seems to be saving most of their rowdiness for the recording studio lately, and has released a new album, “Beneath the Rainbow,” which was partially produced

by Patrick Carney of The Black Keys.

“It was kind of just meant to be,” Swilley said. “We were supposed to record the record with Mark Ronson, who we worked on our last album with, and two days before we were set to go into the studio, we found out that it just wasn’t going to happen how we thought. We didn’t really know where to go from there.”

Shortly after, the band was in Mexico City at the same time as The Black Keys and during a late night conversation in a hotel room, the idea of working together was brought up.

“Patrick just said he’d really like to work with us, and we had been thinking we were going to record soon anyway, so it worked out,” Swilley said.

Shortly after the album had been recorded, yet another collaboration fell in line.

Infamous rock and roll photographer Mick Rock shot the band for the cover artwork.

“I’ve always wanted to work with him,” Swilley said. “He shoots a lot for Vice, and I called up their editor and they set me up with his contact.”

The photos shoot was reminiscent of work by Swiss photographer Karlheinz Weinberger.

“We were inspired by his photos from the ‘50s and ‘60s of teenagers trying to impersonate American rock bands,” Swilley said.

The photographs Rock shot have the band donning lots of leather and slicked back hair, allowing them to look every bit the rebellious, occasional shit-starting band that people have come to love.

The band will play Hangout Fest on Friday before leaving for another world tour where they will most likely offend at least one person or have a really fun time trying.

BLACK LIPS

FRIDAY, 12:30-1:30 P.M. PALLADIA STAGE

You have to take a photo to prove you were there. We've got Instagram followers to make jealous too, so we get it. But keeping your phone out the entire set gets in the way of everybody's experience—including yours. It's also a quick way to drain your battery. So take one and be done.

Be specific

If you're lucky enough to have your texts go through, make sure they are actually worth sending. At a fest the size of Hangout saying "Meet me at Outkast" is pretty useless. Give as many details as possible—"Meet me at the main stage, left side, right in front of the beer tent."

Stamp it

Delayed texts are the worst—especially when you don't know they are old. So do yourself (and your friends) a favor and time stamp every text you send while inside the festival grounds.

That way everyone will know if it's three minutes or three hours old.

Pick a spot

It's a safe bet to assume your phone will either be dead or practically dead by the end of each day, so planning ahead and picking a meet up spot with your friends is smart. We always go with the ferris wheel because it's just so easy.

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Make Out King Comes to the Beach

by Jessica Forbes

press photo If Hangout Fest had superlatives, The Tontons would probably be voted something like “Band Most Likely to Make You Feel Like You’re in a French Film from the 1960s—or the Future.” Being reminiscent of another time and place (while at the same time being distinctly modern) is a hallmark of The Tontons.

Vocalist Asli Omar spoke with the IN and revealed that the four-piece’s range of influences and willingness to try anything musically is helping them gain a reputation as an indie band to keep an eye on.

The members of The Tontons—Omar, bassist Tom Nguyen, drummer Justin Martinez and guitarist Adam Martinez—

met when they were in high school in their hometown of Houston, Texas. “The first time I ever hung out with Tom, we met up solely because we wanted to form a band,” Omar said. “He said, ‘If you’re going to hang out with us, I have to give you a music quiz,” Omar remembered with a laugh, likening the encounter to a record store interview.

Omar recalls the guys listening to a lot of psychedelic music at the time—Can, Frank Zappa, King Crimson and the like— and she was listening to jazz and bossa nova. The members cross-pollinated each other’s musical knowledge despite being separated geographically for the first

several years of the band’s existence.

While some members lived elsewhere while attending college, breaks from school marked the time they reconvened and wrote in person, even releasing their self-titled debut LP in 2009 and a few EPs along the way. In 2011, Omar moved back to Houston from New York, having also spent time in Savannah, Ga. While debating whether to move to New Orleans, the group decided to tour a bit and hasn’t stopped since.

“We went on tour, and it was such an amazing experience. I think we all realized through that that it was what we wanted to do, we needed to focus on it full time. We started writing right after that,” Omar said.

The foursome began developing the songs that make up “Make Out King and Other Stories of Love” while on the road.

They connected with producer Dave Boyle after a member of his staff saw The Tontons perform during South by Southwest.

“It was really different this time around… we lived in the studio for two months and recorded all together,” Omar said of the experience making their second LP and their work with Boyle. “We became a family and grew to love all the people

It’s not about the building, it’s about

in his life and became friends outside of making music. I think it allowed us to make a really intimate album because we weren’t afraid to say things to him, we weren’t afraid to experiment with things.”

The finished product was released in February 2014. Still touring and spending a lot of time together, Omar reports that recent group playlists range from Beyonce to Japanese K-pop. “On a subconscious level, it definitely affects the music we make,” she said of their eclectic mash up of interests on their writing. “We’re not afraid to try things and we’re not afraid to have an acoustic torch song with a psychedelic song, with a heavy rock ‘n’ roll song and a pop song on the same album.”

The tour van isn’t the only venue that the group soaks up influences. Having performed at South by Southwest multiple times, Fun Fun Fun Fest and CMJ Music Marathon in New York, Hangout ranks as The Tontons favorite for connecting with other artists, according to Omar.

“It’s very unique in the setup. It’s not a pretentious festival, they don’t try to separate different levels of artists,” Omar explained. “Just getting to be onstage with artists while they’re playing and sit that close and look at their gear, to look at certain chords they use, notes or progressions—it’s completely different. It’s a music festival for the artists, and I think the artists play really well because they’re really excited to be there.”

THE TONTONS

SUNDAY, 5—6:15 P.M. RED BULL SOUND SELECT STAGE

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Crooning and Swooning

by Sarah McCartan

photo by Dave McClister

D

on’t let the name fool you. St. Paul and The Broken Bones are anything but broken. This seven-piece band from Birmingham, Alabama featuring frontman Paul Janeway, is equal parts gospel-rooted soul and southern charm.

Growing up in church in rural Alabama exposed Janeway to gospel sounds that are evident with each croon, shout and wail uttered.

Although as a teenager, he had his sights set on becoming a preacher, he found his way into the light of a slightly different calling.

The surprising roar bellowing deep from the heart and soul of Janeway finds itself solidly supported by the powerful rhythm and blues of each instrument, including a proper horn section.

The IN spoke with trombone and tuba player, Ben Griner, just as the band was preparing for a show in New Orleans.

“This time last year I was still in college. Now I’m waiting to play a show in New Orleans. I never thought a year out of a college I’d be doing something like

this,” Griner said. “We have been hitting the road hard, from coast to coast, playing just about every big city in the U.S., and the reaction has been incredible. It’s been absolutely ridiculous.”

Just after their Hangout Fest appearance, St. Paul and The Broken Bones will be flying across the ocean to London.

This ongoing momentum paints a telling picture of the energy that’s been continually picking up since the initial buzz that surrounded the release of their first EP at the end of 2012.

Following the release of their debut full-length album, “Half the City” just a couple of months ago, the pedal has been pushed to the floor as the band has received nonstop attention, been featured across countless platforms including NPR and made debut TV performances.

Going into the making of the album, the band was simply excited to get the album out there, having no clue what was to come on the other side.

“There wasn’t a lot of calculation,” Griner said.

“We put it out on a small label and were just excited to have it out. Everything from that point has been icing on the cake.”

Since the band has quickly become known for an engaging live performance—one that draws you all the way up to the altar, so to speak—the album was recorded in a way to remain as true to this live element as possible.

“We definitely realized the reaction we got from the live show was due to the close interaction,” Griner said.

“We were toying with ways to record the album and knew it had to be done live. We tried our hardest to make it as much like the live show as we could.”

When they were approached by and provided the opportunity to record with Ben Tanner of the Alabama Shakes, they finished writing the majority of the album in a short time, collaborating to pull together the many pieces and parts.

“We wrote the bulk of the album in about six weeks. Someone would have an idea and we would jam on it,” Griner said.

The album was released through Tanner’s newly founded Muscle Shoals, Alabama-based label, Single Lock Records.

Tanner, along with Single Lock Records partner, John Paul White of The Civil Wars, not only helped bring the album to fruition, but continue to serve as both friends and mentors to the group.

“John Paul and Ben have just been so great,” Griner said. “They have been in bands that have gone through similar things. They have been helping us keep our heads square on our shoulders and pointing us to the next steps.”

Although these next steps have taken St. Paul and The Broken Bones across the country and beyond, home remains the Southeast United States, and more specifically, the great state of Alabama.

While Griner himself isn’t a native Alabamian, after a decade spent in the South, it’s his home now, as well as a place he loudly praises, and one he and the rest of the band don’t plan on leaving anytime soon.

“Even though some of us are transplants, we’re all Southern guys now. I don’t think we would want to come from anywhere else,” Griner said.

“Alabama is a place you don’t necessarily think of, but there’s so much rich history, it’s almost like there’s something in the water. Great artists have come out of here.

And obviously The Shakes and Jason Isbell are killing it right now.”

It’s safe to say fans feel the same way about St. Paul and The Broken Bones. In just a short time, the band has been able to deliver something that is a rarity in today’s world, taking listeners back in time by offering music that is so deeply rooted in age-old soul, yet brought to life with an unshakeable, redefined vibrancy. To complete the experience, members of St. Paul and The Broken Bones are always dressed in their Sunday best.

“Our music is definitely rooted in Muscle Shoals ‘60s southern soul,” Griner said. “From the beginning, we knew we had a powerful lead singer and tried to build a foundation around that. We just try to make music that is fun to play and we think is good.”

ST. PAUL AND THE BROKEN BONES SUNDAY, 6:15-7:30 P.M. BMI STAGE

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FRIDAY

SATURDAY

SUNDAY

HANGOUT STAGE

HANGOUT STAGE

HANGOUT STAGE

Balkan Beat Box 1:30-2:30 p.m.

Needtobreathe 1:30-2:30 p.m.

Soja 1:30-2:30 p.m.

Dawes 3:45-5 p.m.

Amos Lee 3:30-4:45 p.m.

Capital Cities 3:45-5 p.m.

Gary Clark Jr. 6:15-7:30 p.m.

Modest Mouse 6-7:15 p.m.

The Avett Brothers 6:15-7:30 p.m.

THURSDAY

The Black Keys 9-11 p.m.

The Killers 9-11 p.m.

Outkast 9-11 p.m.

CHEVROLET STAGE

CHEVROLET STAGE

CHEVROLET STAGE

BOOM BOOM TENT

Ingrid Michaelson 2:30-3:45 p.m.

Tegan and Sara 2:30-3:30 p.m.

Bastille 2:30-3:45 p.m.

Wiz Khalifa 5-6:15 p.m.

Matt and Kim 4:45-5:45 p.m.

Portugal. The Man 5-6:15 p.m.

Queens of the Stone Age 7:30-8:45 p.m.

The Flaming Lips 7:15-8:45 p.m.

Jack Johnson 7:30-9 p.m.

BOOM BOOM TENT

BOOM BOOM TENT

BOOM BOOM TENT

Girl Talk 10-11 p.m.

heRobust 11:45 a.m.-12:30 p.m.

PALLADIA STAGE

RAC 1:30-2:30 p.m.

Robert DeLong 1:30-2:30 p.m.

Mimosa 1:30-2:30 p.m.

Claude VonStroke 3:45-4:45 p.m.

Tommy Trash 3:30-4:45 p.m.

Boys Noize 3:45-5 p.m.

Childish Gambino 6:15-7:30 p.m.

The Bloody Beetroots Live 6-7:15 p.m.

Zedd 6:15-7:30 p.m.

STS9 9-11 p.m.

Pretty Lights 9:30-11 p.m.

PALLADIA STAGE

PALLADIA STAGE

PALLADIA STAGE

Complete Schedule - Kickoff Party -

Classixx 4:45-5:30 p.m.

Bonobo DJ Set 6:15-7 p.m.

Danny Brown 8-9 p.m.

Go Down Moses 4-4:45 p.m.

Bleachers 5:30-6:15 p.m.

Iron and Wine 7-8 p.m.

Wolfmother 9-10 p.m.

RED BULL SOUND SELECT STAGE Magic Man 4:15-4:45 p.m.

Jamestown Revival 5:30-6:15 p.m.

Bombay Bicycle Club 7-8 p.m.

Dumpstaphunk 9-10 p.m.

Ozomatli 11:30 a.m.-12:30 p.m.

Allen Stone 12:30-1:30 p.m.

Black Lips 12:30-1:30 p.m.

Daedelus 11:30 a.m.-12:30 p.m.

Los Lobos 5-6:15 p.m.

The 1975 5-6:15 p.m.

Trombone Shorty and Orleans Avenue 4:45-6 p.m.

Andrew W.K. 7:30-8:45 p.m.

RED BULL SOUND SELECT STAGE

Bad Suns 5:30-6:15 p.m.

Gemini Club 7:30-8:45 p.m.

BMI STAGE

Empires 11:45 a.m.-12:30 p.m.

Bronze Radio Return 1:45-2:30 p.m.

Reach for the Beach Winner 4-4:45 p.m.

Wild Cub 6:30-7:30 p.m.

RED BULL SOUND SELECT STAGE

RED BULL SOUND SELECT STAGE Wrestlers (Bagheera) 12:45-1:30 p.m.

The Black Cadillacs 12:45-1:30 p.m.

LE1F 2:45-3:45 p.m.

The Electric Sons 2:45-3:30 p.m.

The Tontons 5-6:15 p.m.

Moon Taxi (as People of the Sun) 4:45-6 p.m.

Mystery Skulls 7:30-8:45 p.m.

Chance The Rapper 7:15-8:45 p.m.

BMI STAGE

Desert Noises 11:45 a.m.-12:30 p.m.

Shakey Graves 1:45-2:30 p.m.

The Lonely Biscuits 3:45-4:45 p.m.

Wild Belle 6-7:15 p.m.

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Tom Odell 12:30-1:30 p.m.

ALO 2:30-3:30 p.m.

Fitz and the Tantrums 7:15-8:45 p.m.

27 S. 9th Ave.

433-WINE or 433-9463

Caked Up 11:30 a.m.-12:30 p.m.

Valerie June 2:45-3:45 p.m.

Conor Oberst 7:30-8:45 p.m.

Join us for Wine Tastings Thursdays 5-7 p.m.

Blackberry Smoke 12:30-1:30 p.m.

Reignwolf 2:30-3:45 p.m.

John and Jacob 2:45-3:45 p.m.

May 15, 2014

Little Green Cars 12:30-1:30 p.m.

Josh Farrow 11:45 a.m.-12:30 p.m.

Diarrhea Planet 12:30-1:30 p.m.

Los Colognes 12:45-1:30 p.m.

NOTE: Schedule is up to date as of Tuesday, May 13 and is subject to change by Hangout Fest. For most current schedule, go to hangoutmusicfest.com

RDGLDGRN 11:30 a.m.-12:30 p.m.

unique & affordable

BMI STAGE

Dugas 11:45 a.m.-12:30 p.m.

Ethan Tucker 1:45-2:30 p.m.

The Wans 4-5 p.m.

St. Paul and the Broken Bones 6:15-7:30 p.m.

DO IT.

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