Anna Hamilton was the newcomer most hadn’t been acquainted with, winning a contest to open for Dermot Kennedy as a local act. A Kansas native and one of 12 children in her family, Anna’s music dripped with bits of nostalgia and hopeful thoughts for the future. It was also an insanely beautiful experience, her sweet-as-honey vocals accompanied only by a guitar. It was mesmerizing.
By her third song, we caught a glimpse at specificity in a track about a boy that left her for a city – “Me For Barcelona.” The song had never been played in front of a live audience before and is not currently available, but is open for preorder via her link in bio at clever Instagram handle @a.ham.sandwich. Her fourth trach was about leaving Kansas to pursue her singing career in Tennessee, something so many artists struggle with. She has clearly found a safe haven and inspirational options in her relocation, as her last track – “Self Help” – was realized so early on. Of the track, she admitted that it was about taking care of yourself before allowing others to benefit from you. “You need to be 100% before your cup overflows and they can receive it.”
Bishop Briggs emerged, energetic as ever and donning a leather jacket on a pretty balmy night in the midwest. It was shed quickly, to reveal skeleton-printed fingerless gloves and delicate tattoos dancing across both forearms. The first time this town got acquainted with Bishop, she had barely edged into the world of tattoos. Now, you find yourself mesmerized by them as she jumps across the stage with every robust, belted line.
An artist that truly allows you to feel the songs with her, Bishop has cultivated a fandom that spans generations, cultures, and ideals. Perhaps the show’s littlest attendant – a young man no older than 10 or 11 – could be found belting out lyrics and clapping in time with his family during the intense track “Hi-Lo (Hollow)”. Her set included “Someone Else,” “Darkside,” and her most recognizable hit, “River”, among others.
When you think you’ve read all the end of year lists you can take, we’re still stringing our (very important) short ones out, to make sure there’s plenty of new music discovery at your fingertips throughout the month! 2018 was a year of insane amounts of music coverage, a bevy of incredible artists to choose from, and a really incredible list of new faces to dive into. While we don’t keep track of new artists vs. veterans, we would like to highlight some of our favorite vocalists of the moment with you. Trust us — this was a really hard decision process, which is why it took us a little longer to get it to post. We wanted to highlight people that both entertain like the most insane, and who we believe truly deserve the spotlight for it as well. You might not agree, but this may lead you on a tangent of music discovery, and we’re all for that. Without further ado, check out our Top 7 Male Vocalists of 2018 below!
by meredith schneider
Holy White Hounds is a group of guys we have been following for a while. Hailing from Des Moines, IA, the foursome emerges more triumphant and in-your-face with each new track, paving the way for their most recent full-length release – Say It With Your Mouth – which will make its debut on December 22nd. And don’t let their gritty attitudes and rough exterior fool you. Ambrose, Brent, James, and Seth are full of heart, a force in motion when they’re together, and really know how to relate to their audience. (While also making fun of them. But it’s charming, and we’re totally into it.) That, coupled with those edgy vocals, and we’ve got a rock band that just won’t quit! (Thankfully. Please don’t? We need you.)
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We may have been a little late to the game on this one, but pop/r&b singer/songwriter Dermot Kennedy is the Dubliner of everyone’s dreams. We were wandering SXSW this year when our friends at PlaylistPlay coerced us into popping into a church to listen to one of their favorite musicians. Honestly, we can’t think of a better way to first experience the insanely beautiful vocals Kennedy provides. His soundscapes are freeing, intense and wonderful in their disposition. If you don’t trust us, take a listen to his debut EP Doves & Ravens, or his most recent single “Power Over Me”, which was released in October.
by meredith schneider
Atlanta, Georgia-based Algiers absolutely astonished us at Sasquatch Music Festival this year. Lead singer Franklin James Fisher approached the stage with a Jimi Hendrix flare, and vocals that just do not quit. There is an enticing, soulful energy to their sound, with just a hint of reverb and incredible vintage influence that keeps us coming back for more. We can’t wait to hear their follow-up to 2017’s The Underside of Power, but are totally keen on waiting patiently for their next stunner full-length.
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You’ve heard of him. We’re not introducing this powerhouse to anyone, and we feel pretty darn good about that fact. Childish Gambino – aka the triple threat of everyone’s dreams – hits our list this year, if not only for his wildly eye-opening video for “This Is America“. We’ve been super into all of his work over the years, and our hearts swoon with each new line he spins, opening our eyes to an array of important – and often overlooked – issues. The man is an absolute enigma, and perhaps that’s what keeps us coming back for more time and time again.
by meredith schneider
We know we’ve harped on how incredible Judah & The Lion is, and now is not the time to stop. On December 12th, the (now) trio – who is joined by a rotating cast of instrumentalists and backup vocalists for their performances – released two singles, titled “Pep Talk” and “Quarter-Life Crisis”, landing themselves back on our radar. Check it out, and then dive into their catalogue if you haven’t already. Their music will throw you into that good mood you’ve been craving.
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Lionman – who we first experienced in May when he released the visual for his single “Don’t You Dare”. His vocals are directly associated with the term “smooth as honey”, and we’re drawn in from the first line. His hair is absolutely divine, His latest single “In My Letter” has a softer sound to it, and a rhythm that reminds us of some of our favorite OG Usher songs. This artist is definitely one to watch.
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If you’re into soulful, robust vocals that establish a mood, and somehow manage to get everyone in their vicinity to “feel the same way,” then Michael Kight is the way to go. In May, we had some thoughts on his track “Clear“, and still maintain that he was impressive on every level of musicianship. We count him as one of our favorite discoveries of the year, and look forward to more from him in the future!
These days, it can be difficult to determine one songstress from another, let alone save a track and keep the name of its creator in your music library. This time of year, everyone is posting their “Best of” lists for 2018. We aren’t doing a super deep dive. We’ve just chosen 7 of our favorite female vocalists that have really ignited our hearts in the last year or so – one we found as recently as a couple of weeks ago! – and we’re all about sharing! Check out some of our favorite non-male performers below, and then maybe go make an entire WHO RUN THE WORLD? playlist featuring each and every one of these powerhouses!
by meredith schneider
Billie Eilish wasn’t someone we saw coming. Having jammed out to a couple of her songs, Bonnaroo 2018 brought her to the stage in front of us for the first time. A look of vulnerability in her eyes, she gave that crowd more than what she had that day, throwing her body into her stage presence and really working the stage so that everyone felt like they were a part of it. Each new release brings with it an extended feeling of empowerment, and we’re keen on what’s to come for this incredibly talented young musician. (See video at the end of this piece: she is one of Tan France’s favorites!)
by christie mcmenamin
Lucy Dacus‘ voice is tranquil, delicate, and perfectly matched to her bittersweet, relatable lyrics. We’ve fallen in love with her as gently as her music progression over the years. We’re super pleased with her new supergroup boygenius (see: Julien Baker below), if not only because it gives us an additional reason to see her live more often. All the heart eyes going into 2019 on this lady!
by jeo taymany
Ness Heads is a Chicago-based artist who sings a soulful mixture of R&B and hip hop, with a bit of a pop flare. Her single “Flip Em” threw us for a loop during the summer of 2018, and we’re keeping that energy going through the next month as we hustle through our last minute year-end “to do” lists.
by christie mcmenamin
The world’s lead producer of sad music, Julien Baker stole our hearts a few years ago, but her stage presence and the incredible way she interacts with her fans is something of note. We were lucky enough to have seen her both locally and at 2018’s last ever Sasquatch Music Festival, and were floored on a number of occasions by her prowess. Check her out with new supergroup boygenius!
by erin p.s. zimmerman
It was 2016 when we first had the unique pleasure of photographing Bishop Briggs, as she prepped for an evening performing at the Midland in Kansas City. Flash forward 2 years and we’ve seen her a number of additional times, photographed her once more (see above photo, SXSW 2017), and have continued to follow each and every impassioned song that she releases as she’s toured the country multiple times, played every festival known to mankind, and as her music has been placed in both television and film. Her energy is unlike any other when she steps on stage, and her compassion is limitless. (See: her recent haircut) Plus, she was just featured on JVN’s podcast, so she’s definitely “having a moment!”
by meredith schneider
Mess lead singer Allison Gliesman is a kind, hilarious, and obscenely generous human soul. We’re fortunate to know them as a friend, but their music stunned us even before we met them face to face. Flash forward to witnessing those powerhouse vocals one night at The Rino in KC and our world was changed forever. If you haven’t yet blasted a Mess song at full volume in your car, now is the time. Keep your eyes peeled for this one.
by dara munnis
I was at Sasquatch Music Festival photographing a female-led band at one stage, when the music from another stage flooded my ears. Like a siren call, I followed it, toting my boyfriend like a rag doll. This. Woman. Has. Chops. Tash Sultana. After three songs, I turned and said, “She can do it all. Seriously. What can’t she do?” As if she could hear me, she got out a pan flute within 30 seconds… and started to beat box with it.
If you aren’t in love just with that statement, then I don’t know who you are. Insane. That’s the only word to describe it.
BONUS – While our other listing pieces will include just 7 representatives, we may have gone overboard BECAUSE WE ARE SO FLOORED BY SO MANY RAD NON-MALE VOCALISTS. So check out our list add-on below, and revel in the glory of 8 incredible humans!
There’s a certain kind of quiet bravery in getting back up when the world is watching. After two years of silence, Lewis Capaldi does just that, standing not in defiance of his struggle, but beside it. His new single, “Survive”, is out now via Capitol Records.
Capaldi, the Scottish singer-songwriter best known for his vocal gut-punches and brutally honest ballads, first captured the world with “Someone You Loved”, a track that’s now certified Diamond in the U.S. and the most-streamed song of all time in the UK. But Survive isn’t about charts. It’s about persistence.
“Most nights I fear that I’m not enough,” Capaldi admits at the start of the track, and that vulnerability doesn’t let up. The song aches. It’s raw. But it’s also hopeful. Lifting itself from the wreckage of self-doubt with a chorus that feels like a breathless, desperate promise: “I swear to God I’ll survive, if it kills me to.”
Co-written with longtime collaborator RØMANS (yes, the same duo behind “Someone You Loved”), “Survive” pairs Capaldi’s scorched cannon of a voice with the kind of swelling, cinematic instrumentation that practically begs for a stadium singalong or a solo cry-drive through your hometown.
It’s no accident this release comes after his powerful but emotionally difficult set at Glastonbury 2023. “Survive” marks a turning point. Not a comeback. A continuation. A choice.
And if the track itself weren’t enough, the accompanying music video, directed by Hector Dockrill, elevates the experience even further. It’s not just a song. It’s a testimony.
Capaldi’s journey has been real. Jagged, aching, and ironically deeply inspired. With over 30 billion global streams, 8 UK Top 10 singles, and a Netflix documentary (How I’m Feeling Now) that laid bare the emotional cost of fame, Capaldi has always sung like survival was the only option. Now, he’s finally saying it out loud.
“Survive” is streaming now on all major platforms. Listen to it with your whole chest.
Alecander Seiler (he/they) is a Creative Writing major with a double minor in Theatre & Studio Arts at the University of Redlands. Passionate about pushing boundaries and amplifying marginalized voices, Alec seeks to create stories that resonate, challenge, and inspire.
Susannah Joffe’s newest EP, Cult Leader, is full of Americana inspired pop ballads and represents the lengths that love and heartbreak brings us to. Susannah Joffe is a singer-songwriter originally from Austin, Texas. She has had recent success on social media, particularly with the song, “Die Your Daughter”, which was on her last EP, Your Mother’s Name. But, Joffe has taken a new look on life on Cult Leader, and it’s full of spite, lovelust, heartbreak, and reflection.
The EP’s title track, “Cult Leader”, sets up the theme as Joffe plays spacey pop with a dark country twang. Joffe’s airy vocals sing about americana ideals and tropes while she professes her love-hatred for an ex-lover and his new flame.
As she sings about her confidence in her superiority, a deep jealousy underlies within her words and sets up a complex narrative of love and the inability to move on. Joffe’s vocals are the shining star of this track as her voice ebbs and flows throughout the verses and chorus (reminiscent of Lana Del Rey), and the instrumentals take the backseat to fully allow Joffe to have her moment.
“Antler Queen” keeps up the spaciness that is a mainstay throughout the EP, moving further away from country influence. It’s a bittersweet romance ballad that explores unrequited love and yet again the struggle to move on. The chorus is infectious with a driving drum beat and Joffe’s love proclamations such as, “I’ll shoot you up, Get high on reluctant love.”
The instrumentals on “Antler Queen” are extremely chill with sweet guitars and a stable percussion section to pick up the chorus. As she concludes the song, she reinforces her love’s bittersweetness as she says, “I pledge my heart to you my antler queen.”
“You’d Kill Me If You Could” is a stripped back ballad that sonically serves as a break in the EP’s sound and leans into a 90’s sound. Joffe has given up the loud emotions present in the previous two tracks, and has become sorrowful and reflective. The heartbreaking lyrics portray a harmful relationship and her dealing with the emotional aftermath.
The echoey vocals, acoustic guitars and stripped back percussion, make the song feel like it could’ve been written 30 years ago. Bright synths work with Joffe in the bridge, as she repeats, “Like mother, like daughter.” The phrase is almost a mantra, increasing in intensity the more Joffe says it, and deepens the song’s meaning when you consider the cycle of abuse and what people pass down with them.
“Shit Out Of Luck” is a hazy heartbroken ballad that speaks to unfulfillment and unresolved promises. It is threatening, vengeful and passionate, as she sings, “I’ve got passion and I’ve got a gun.” Electric guitars squeal in the background and Joffe employs a strong percussion section yet again. Joffe’s vocals are the shining star on this track as she uses layered harmonizations to sing words of spite and biblical musings.
“Sofia Coppola” went mildly viral on social media and is a bright lesbian pop power ballad. The song is flirty and full of lust and unabashed attraction. The prechorus is infectious and feels almost like a nursery rhyme, which leads into the double infectious chorus in which she professes, “Idolize you, My Sofia Coppola.”
The bridge is wonderfully layered and Joffe’s vocal capability is put right on display in this track. “Sofia Coppola” is a gorgeous listening experience and uses a blend of strings, synths and percussion, which culminates into a twinkly and magical song about bright eyed love and attraction.
Joffe leans into another consistent trope present on the EP as she writes about a love-hate relationship in “Call Me Pretty.” It’s a complicated dynamic of wanting to both be devalued but cherished as she sings, “I’m your dog and nothing more.” It’s a casual relationship gone wrong, as she invests more than her lover. Her breathy vocals in contrast to the heavy electric guitars build power and tension in the song. The guitars aid Joffe in relaying the final rendition of the chorus and concludes the heartbreakingly honest and self deprecating track.
The EP finishes off strong with the final two tracks, “Stillborns and Six Lane Highways” and “Horses Can’t Outrun Me.” “Stillborns” discusses biblical conflict and terror, as she speaks directly to the people that peddle hate singing, “Heaven hates you” repeatedly. The melodic guitars backing instrumentals are stunning as the beat uplifts the depressive nature of the song. Her echoey and hazy vocals blend amazingly and the rich instrumentals coupled with the lyrics behind create a complex and enjoyable listening experience.
“Horses Can’t Outrun Me” is an excellent end to the EP and is a highlight of the tracklist. Joffe’s bright vocals begin the song as she sings the chorus. A deep electronic bass beat is introduced as she sings of feeling freed of a suffocating relationship and environment. She strips it down and speaks in the pre chorus and then dives into her airy vocals once again.
There is a deep, radical sense of freedom as the lightness of her vocals and the bright guitars, keys and drum beats feed into the energy of the song. As Joffe sings, “Heaven’s where you can’t reach” she ties all of the themes on the EP into one reflecting upon freedom, religious ideation, relationship issues, love, and heartbreak. We are allowed the opportunity to watch Joffe grieve, grow, and change, as we watch her learn and reflect upon her experiences and heartbreak.
It’s an exciting high to leave off on and leaves us wondering what will Joffe take on next in her musical journey? Cult Leader asks a lot and leaves behind very little, as Joffe proves her vocal and musical capabilities and has created a piece of work that is sonically and narratively consistent and clean.
Buick Audra, Nashville singer/songwriter and guitarist, released her fourth album Adult Child on June 13th. She writes for both herself and other artists, and is half of the musical duo Friendship Commanders with Jerry Roe. Her music has a unique style that emphasizes her written lyrics in a way that is reminiscent of something like spoken word poetry. For example, her third album Conversations with My Other Voice was released with a matching memoir of essays. But the production doesn’t suffer for this, instead changing intensity and even genre to match each song.
Adult Child continues this style, never staying in one place for too long. The album mostly fits into the indie rock genre, but songs such as “It All Belonged to Me” are more folk-inspired. Songs like “Birthdays & Bullshit” are full of rage and dominated by drums, but there are several moments on the album where it’s just Audra and her vocals.
At its core, Adult Child is about family and relationships, and the patterns and cycles that we repeat in our lives from our family. But the takeaway from the album is that our origins don’t define us, and we can choose to form an identity all our own. Buick Audra touches on her own estranged relationship with her family, and the album’s title Adult Child reflects the expectations and responsibilities that were placed on her as a child.
“The Worst People Win” is the first track on Adult Child and “Questions for the Gods of Human Behavior” is the lead single off of the album. They serve as the intro into this album for us listeners, and these two songs are instantly relatable to almost anyone. “The Worst People Win”, like it sounds, is about the “fact of life” that the worst people in life are often the most successful. That is insanely relatable to myself, and I’m sure that almost everyone has had a moment in their life where this “fact” comes up. “Questions for the Gods of Human Behavior” looks more inward, questioning why we as humans repeat behaviors that hurt us–also probably a relatable idea for many. These songs also provide an introduction to the indie rock production of the album, which is mostly drums and guitar. Both songs utilize these instruments to provide tension to match the themes of the songs.
“Yellow” takes a turn away from the first two songs to look at Audra herself, and about how she’s internalized what other people have said about her. Again, the production echoes this shift, as the focus is more on Audra’s vocals, and the end totally strips the production down to just a percussion beat and Audra’s vocals. The lyrics repeat three times, with each repetition increasing the layers of her vocals.
“One-Step Close-Up” goes in a different direction again, being a more upbeat song off the album. It uses photography imagery to convey the theme of Audra prioritizing herself rather than others. The fifth song “Birthdays & Bullshit” is the epitome of female rage. The drums are loud, louder than the rest of the album. The song is about the responsibilities that women are expected to have, like being in charge of birthdays. Like the rest of the album, these two songs reflect on Audra’s experience as an adult child and the difficulty that comes with breaking those expectations and relationships.
For me, “It All Belonged to Me” is one of the most devastating songs on this album. The beginning is almost ethereal, all plucky strings and humming, but it isn’t light at all. In this song, Audra writes about where she grew up, and about how she doesn’t go home anymore. “Losing My Courage” is also an emotional song and contains only Audra’s vocals. This song is about just wanting to be listened to–and by design, you as the listener will listen to Audra. It’s truly a beautiful and powerful effect.
As the only acoustic song on the album, “Firstborn” starts to close out the album on a more hopeful note. Like earlier songs, “Firstborn” touches on Audra building a life of her own separate from her past and her family. And like a mantra, the phrase “I got here on my own” is repeated several times. It’s a nice statement for the last “real” song of the album.
“A List” is not a song. Instead, we just hear Audra speaking. This track was recorded on a tape recorder, which does add another layer to her voice here. “A List” is directly about the two pieces that make up this album: Audra’s past and her future. The end also fades into “The Worst People Win,” a nice touch to wrap up this album.
This album serves as a reflection into what being an adult child was like for Buick Audra, and how it still affects her. However, within this reflection, there’s hope that she can and has built her life and identity on her own. The five stages of grief are a cliche idea, but they’re all present in this nine-song album, with acceptance being an essential part of Audra’s journey here. “A list” ends Adult Child with the click of a tape recording. Audra leaves uswith a sense of finality and the hope of moving forward.
Wednesday’s single “Wound Up Here (By Holdin On)” signals the beginning of a new era for the band, and gives audiences the first taste of their new unreleased album, Bleed. “Wound Up Here (By Holdin On)” is the follow up single to “Elderberry Wine”, which embraced a more light romantic tone compared to their newest single, which is darker and heavier.
Karly Hartzman does what she did best on the band’s last album, Rat Saw God, which is to write heartbreakingly real and specific lyrics that somehow have a universal quality to them. “Wound Up Here (By Holdin On)” embraces Hartzman’s literary passion for a narrative, and portrays the darkness and irony of the human experience with lines like, “Mounted antlers in the kitchen on a crooked nail.”
The absurdities present in Hartzman’s narrative are juxtaposed with haunting statements like, “Your faceless fear gathers like a mob.” The lyrics are not the only contrasts within the track, as Hartzman’s vocals drastically shift from the beginning to the end of the song. She starts off soft and melodic, and by the track’s conclusion, goes into a full scream. It represents the turmoil that the song offers, and contributes to its chaos.
The instrumentals are divinely executed, as Hartzman’s vocal desperation becomes increased, so does the band. The guitars are heavy and distorted and the drums have an uplifting steadiness to them. From beginning to end, the guitars follow the vocals lead, and serve to emphasize the turbulent narrative within the song.
The instrumentals truly shine during the two instrumental breaks which hike up the action and discordance to create a symphony of angst and turmoil. The track closes with loud heavy drums, screeching guitars, and screaming.
“Wound Up Here (By Holdin On)” is representative of what Wednesday excels in, which is creating music with intense emotion and real life narratives packaged in beautiful lyrics and sounds.
Watch the music video for “Wound Up Here (By Holdin On)” here!
On its surface, KRAMON’s latest single “Morning Vapors” is a trance-like ode to early, easy smokes. It opens with an invitation to take a ride, offered via a sweet serenade from Meredith Adelaide over a gentle yet addicting guitar riff. From there, it takes the listener’s on a journey through an atmospheric headspace. The tune feels like a long, slow drive on Highway 70, with very few bumps in the road.
The second single of Josh Kramon’s newest project, simply titled KRAMON, follows in the footsteps of its predecessor “Crush.” It’s a dreamy, joyful rock tune, reminiscent of the psychedelic hippie hymns of the ‘70s.
Like “Crush”, “Morning Vapors” is spurred forward by Meredith Adelaide’s laid-back vocals. The multi-medium artist sounds like an old friend on the track. She overextends herself, rather choosing to float over the crisp instrumental.
It’s the instrumental that holds this piece together. It holds hands with both the lyrics and the vocals, guiding them along the journey the song promises.
The song gains its weight in its final minute and half. A slower, heavier harmonized bridge cues the audience to this shift in musical character. The ending chorus, a steady repetition of the song’s title, fulfills the promise of a new mood with the introduction of a tambourine and an increase in tempo. These last few minutes take the track where it’s been longing to go.
The direction of “Morning Vapors” paints a promising picture for Kramon’s newest project. And that direction is one full of potential for the composer, singer-songwriter, and multi-instrumentalist.
In what might be his better known work, Kramon has composed for various Television series, such as Veronica Mars. However, in his personal work, Kramon has explored his struggles with addiction and his complex relationship with his Jewish heritage.
Kramon is holding onto his vow to make music that speaks to him, rather than “chasing the latest musical trend.” So far, this latest project seems to break away from the themes of his previous work. Instead, “Morning Vapors” promises a future with less tears and more relaxation. Kramon is taking a ride, away from the heaviness of the past, in a vehicle that feels most authentic to himself – and he wants us to come along for the journey.
Yelawolf has been around in the music industry for a powerful fifteen years: founding record label and brand Slumerican, working with artists ranging from Eminem to Ed Sheeran, and now rapping his way through “Searching for Heaven”, a sneak peek from the album Whiskey and Roses, which will be released on July 11. The album is a collaboration with upcoming artist J. Michael Phillips, who combines raspy country vocals with trap beats, telling stories of his rough past which he has fought tooth and nail to push through.
“Searching for Heaven” aims to highlight the moment where life’s momentum breaks through distracting temptation. Phillips’ vocals traverse pop, rock, and country, piercing with genuine exasperation, as the path to salvation is broken. However Yelawolf plays a mere part in the song, leaving the impression that he is a featured artist rather than a partner. His verse picks apart the song’s rhythm, which is seemingly discombobulated either way.
There’s still a lot of promise with eight unreleased tracks from the Whiskey and Roses which you can pre-save now. The new duo has fresh music and messages for you to listen to and you won’t want to miss them.
Yelawolf & J. Michael Phillips – Summer 2025 Tour June 13 – Colorado Springs, CO at Ford Amphitheater June 14 – Denver, CO at Mission Ballroom July 3 – Charleston, SC at Refinery July 11 – Cleveland, OH at House Of Blues July 12 – Harrisburg, PA at XL Live July 13 – New Haven, CT at Toads July 15 – Albany, NY at Empire Live July 16 – McKees Rocks, PA at Roxian Theatre July 18 – Cadott, WI at Rock Fest July 19 – Grand Rapids, MI at Upheaval Fest July 20 – Cincinnati, OH at Bogarts July 22 – Louisville, KY at Old Forester’s Paristown Hall July 24 – Fayetteville, AR at JJ’s Live July 25 – Jefferson City, MO at Capital Region MJ Healthcare Amphitheater July 26 – Wichita, KS at Cotillion Ballroom July 27 – Oklahoma City, OK at The Criterion July 30 – Salt Lake City, UT at The Complex August 1 – Sacramento, CA at Channel 24 August 2 – Rancho Mirage, CA at The Show at Agua Caliente August 3 – Santa Cruz, CA at The Catalyst August 5 – San Luis Obispo, CA at Fremont Theater August 7 – Santa Fe, NM at The Bridge at Santa Fe Brewing August 9 – Sturgis, SD at Iron Horse Saloon August 10 – Sioux Falls, SD at The District
