Amid all the noise of a party back in 2022, the magnetism between two dreaming musicians, Marcus Gebauer and Jori Griffith, was too powerful to deny. The beauty of their meeting created a gradual collaboration which allowed them both to pursue their dreams. With the help of Mike Gruber on keyboard, Nicholas Kapche on bass, and Eric Matteson on drums, Blue Rose has brought us their debut album Blue Moon, released on May 30.
Blue Moon is a 12-track twister of folk, country, and rock. Filled with short and simple tales that take their time unraveling, we are reminded to slow down and stay in the present to enjoy things like seeing a local band or looking up at the sunset. Besides its relatability, this album evokes a keen sense of nostalgia for watching Hallmark movies with mom, or sitting by the fireplace on winter break. Our storytellers are Griffith’s vocals ranging from nasal croon to edgy twang, complementing Gebauer’s smooth yet gritty guitar from beginning to end. Both are certainly talented, but are far from finished finding the right sound.
“If I Had a Rose” is a cover of a 2019 duet sung by Bruce Robison and Kelly Willis. This is a clever way of introducing Blue Rose to the world, demonstrating their influences and style. However, this rendition is almost too smooth, as syllables stretch for miles in just one direction, taking away some of the rough country character of the original.
Leaning more into rock territory is track 2: “Let Me Love You”. The guitar on this one is electric and exciting, but Griffith’s vocals are out of a commercial jingle, complete with cliche ridden lyrics like “the blue sky’s so bright”. While the song is a fun one, it lacks depth.
“Let’s See a Band” has beautiful hints of Fleetwood Mac. Griffith’s crooning makes for an emotional listening experience that traps you in your seat. Sadly, the trance is broken upon hearing the overly simple chorus. This was a missed opportunity for a really powerful track as the music itself was near perfect.
Griffith brings the bluesy country feelings with “I’m So Tired”. This song is the most experimental track by far. Even though Griffith doesn’t sell her fatigue to the listener, she compensates by adding an intriguing muffled effect in the middle of the song. The lack of crispness adds a layer to the unfortunate message of the song overlaying the upbeat backing music.
Even sadder is country ballad “Remember When”, a generic, yet beautiful movie-worthy tune. Griffith makes ample use of scenic description, slowly and impressively planting a memory into the listener that they may never have experienced. “Remember when we thought we’d never die” is what I find to be the best lyric on this album.
Halfway through the album is title track “Blue Moon” which also serves as a theme song for this duo’s fateful relationship. The song really captures the continuing simple yet easily forgotten message of appreciating small moments. This one is somewhat of an evolution as it shies away from the cliched, and presents a better harmony between each element of the song. The changing layers of instruments parallel spectacularly with the repeated line “once in a blue moon”, developing a sense that time is changing.
“Life is Short” feels like the best of Taylor Swift’s early era. This is a true love song with a rare inclusion of multiple perspectives. Simple and sweet, Griffith skips the pettiness and gets down to what matters. While some lyrics are executed awkwardly, it’s easy to ignore.
“Somethin’ Good” is more relevant and relatable than ever, but not unique in any sense. Taking a page out of the rule book for new pop music, this song throws out short statements of feeling in a diary-like fashion. This song becomes more of an anthem.
Anything but slow is “Slow”. Although still a bit too smooth and commercialized, Griffith’s vocals are really special in this one, grounding the listener in the moment she is expanding upon. While it’s easy to tell this song is new, her voice is timeless.
The first few notes of “Dandelions” mistakenly had me thinking I was listening to a Jim Croce guitar riff. Griffith continues to use the same easy phrases like “above the clouds the sun still shines so bright”, but the way she changes her tone as she repeats them makes them more profound. This song truly sounds like a country poem.
“Just Like Sheryl” is my favorite track on the album. This song is different from all the others, serving as an origin story for Griffith with descriptions of her childhood muses Shania Twain and Sheryl Crow. The way she references their hit songs is cleverly interwoven with her own lyrics, humanizing the nearly anonymous soul we are listening to.
“Sometimes” is the final track on the album, contrasting the previous song as it represents Griffith’s quiet side. The final message from Griffith is one of patience, demonstrated through another simple yet magical love story. She expertly shifts from third to second person, revealing herself as the woman she describes being struck by love.
Blue Moon is a well-produced debut album which serves as a tiny nook of calm in the crazy state of life. While being light and fun, there is a sense of intimacy in each song, a feeling like you and you only are being sung to. Blue Rose doesn’t take itself too seriously, creating music that is hopeful and easily accessible. Most striking is the consistent depiction of senses and seasons which really make the songs what they are. Even the moon becomes a recurring character, bringing the title to life.
Blue Rose has a lot of room to grow, and a lot of emotion to tap into, but this is only the beginning. If you want to see this band blossom more, they will be touring throughout Illinois this Summer.
Ben Kweller is a well established musical artist currently located in Dripping Springs, Texas (another win for the Texas musical scene!) who is currently celebrating the his latest full-length, Cover the Mirrors. This is Kweller’s first release since the death of his son Dorian in 2023 and is dedicated to Dorian. The album explores the devastation and grief that Kweller experienced after his son’s passing, but it also delves into the multifaceted nature of grief to dismantle and alter every aspect of life.
Cover the Mirrors discusses what happens to you and the people around you after a loved one passes, and the alteration of daily life and experience. Kweller explores relationships, depression, emotional wellbeing, isolation, and so much more in this album. The album itself is a testament to the impact that the people we love have on us, and their permanence in our lives long after they are gone.
The first track, “Going Insane”, really sets the tone for the emotional exploration and absurdity the album presents to us. Kweller is talking about serious issues but he doesn’t shy away from making light out of a bad situation or being a little absurd at times. “Going Insane” is a steady piano ballad that explores desperation and dealing with life’s turmoils. This is contrasted by the lightness in lyrics such as “rattlesnake, carrot cake.” It creates an interesting juxtaposition as he writes that he and the people around him are all “balled up inside.” The orchestral strings are a nice touch to this lyrically experimental ballad on struggling through the days.
Cover the Mirrors has many amazing and big name features such as: Waxahatchee, Coconut Records, The Flaming Lips, and MJ Lenderman. “Dollar Store (feat. Waxahatchee)” further expands upon the idea of inner turmoil as he battles with the struggles and standstill of a relationship. Kweller battles wanting to keep trying but also not wanting to dwell on the struggle itself.
The chorus of the song is infectious and Waxahatchee’s vocals linger throughout the background which make for a delightful listening experience. Throughout the album, I noticed that Kweller loves a big outro to a song and this track is no exception as we end with the drums and guitar coming together to assist Kweller scream out the song’s chorus. The music video is a great visualizer for the song’s message and was filmed at Bluebonnet Food Mart and Heart of Texas Hotel right here in Austin, Texas!
“Depression (feat. Coconut Records)” is a sonic shift at this point in the album as they drop the overt folk sounds and lean into electronics and bass. This album has proved to be extremely thematically consistent, as Kweller continues to question his sadness and isolation. The bridge is a real standout on this one, as the drums dominate but allow for some beautiful backing melodies. The lyrics are heartbreakingly honest as Kweller writes, “I used to think that I was strong and tough, but I can’t even get through the day.”
The album feels like it is constantly in conversation with itself, and Kweller is further thinking about the quality and worthiness of his relationship, and his willingness to fight for it. “Don’t Cave” adopts a more hazy and hopeful tone as he navigates uncharted territory of “the goodbye we shouldn’t say” in his relationship. The instrumentals on this track culminate into an uplifting ballad that highlights each element (drums, strings and guitar) wonderfully.
“Optimystic” is one of the standout tracks on the record for me. It adopts a heavier and punky guitar tone and Kweller’s lyrics are a conversation to himself about his delicate mental state during this time. Definitely the most *mosh* worthy track on the album. The guitar tone is infectious and the chorus will definitely get stuck in your head. Also, Kweller’s coined phrase of “pill-popionaire” is just too good!
The music video is essential in my opinion to visualizing the track, and the playful animation done by Mystery Matter is wonderful and engaging.
“Killer Bee (feat. The Flaming Lips)” is yet another killer feature on the album. The song is sonically aligned with the rest of the album and the buzzing bee sound of the keyboard/synth is a great and interesting touch. The scaling guitar during the chorus highlights the song’s message of exploration and insecurity. Kweller posted a demo on Youtube much before the songs release, and the direction they took it in made for a dynamic and explorative listening experience post production.
Kweller’s lyrics are exceptional on this album and they get a chance to truly shine in “Letter to Agony” where he confessionally explores his depressive mental state and how that is affecting his attitudes towards his relationship. It has a similar sound to “Park Harvey Fire Drill”, a previous track on the album, but takes a much more serious tone. He discusses undesirable thoughts of wishing ill will on someone he loves and is remarkably self aware of his own shortcomings and chemical imbalances. The minor chords feed into this sorrowful tone, as he writes, “all of the toxic waste spewing from me tonight, I fear there’s no end in sight.” Kweller is quite literally isolated on this track, as it only features Kweller’s vocals and guitar.
Kweller not only writes about grief, but also how to fight through it. “Save Yourself” starts out with a simple guitar melody and by the chorus becomes a loud explosion of drums and guitar as Kweller fights his way to say, “Don’t let it beat you up.” This is a fight song against the dangers of grief as it emphasizes the importance of saving oneself from the “unknown loss”. The exciting instrumentals and conversation between the guitar and drums create a truly epic listening experience, and has the potential to be very motivating to anyone who has ever struggled through grief and loss.
“Oh Dorian (feat. MJ Lenderman)” is my favorite song off the album and is an excellent close to the deeply personal conversations we’ve had with Kweller as listeners throughout the album’s tracklist. The heartbreak in this song is not only caused by the loss of Dorian, but that Kweller allows us to know Dorian’s glowing personality and traits, and we learn to mourn alongside Kweller for his son.
The charming pianos introduce the song and give it a lighthearted and sweet tone, which coupled with the celebratory and beautiful lyrics about Dorian create a sonic memory and memorial. The electric guitar work from Lenderman and piano from Kweller on this track really highlight the beauty of him and Dorian’s relationship, ebbing and flowing into our ears and delivering the lyrics on a platter for our enjoyment. The lyrics are tear jerking but Kweller will make you smile through the tears as he writes about Dorian,
Crystal child, double-Gemini A million songs in his head Doesn’t care if you’re wrong or right He believes what you said
Kweller further creates an environment where we feel like we know Dorian through lyrics like,
Watch him glow and radiate When he walks through the door Understands a-what you say ’cause he’s been there before
Kweller paints a deeply personal picture on this track, and if you are going to listen to one song on the album this is most definitely the highlight. But I would really recommend listening to all of them! Kweller lets us in on life while battling grief, and how he is navigating the world without his son. He highlights the radically changing quality that grief has on you and the people you love, which makes this album so much more than grief itself.
Cover the Mirrors is a journey through Kweller’s mental, physical and emotional battles and he does not hold back. It is musically and lyrically explorative and provides the listener with sonically diverse tracks with clever and interesting lyrics. It may be about intense issues, but much of the album does not feel explicitly sad, but rather emotionally experimental. Ben Kweller has fully fleshed out what it means to grieve, and has created an album that is a testament to his love for not only his son, but his journey of loving and understanding himself and others.
Beach Bunny has always been something of a paradox: sugary sweet pop-rock with teeth. Formed in 2015 as a solo project by Chicago native Lili Trifilio, the band grew into a full lineup in 2017 and now includes Matt Henkels on guitar, Jon Alvarado on drums, and Anthony Vaccaro on bass. Together, they’ve cultivated a cult-like following with their emotional vulnerability, catchy riffs, and cathartic live energy. After the breakout success of Honeymoon’s bittersweet surf-pop and Emotional Creature’s Y2K-tinged indie rock exploration, Tunnel Vision arrives as their most emotionally charged and sonically bold effort yet.
Beach Bunny’s Tunnel Vision dropped April 25, and to call it a return would be a disservice. It’s an evolution. Their third full-length album is a raw, poetic excavation of existential dread, self-image, and the desperate craving for control in a world that seems allergic to it. It’s loud, soft, sad, witty, and Beach Bunny at their most emotionally expansive and still their most distilled.
Tunnel Vision doesn’t flinch from big feelings. There are repeated themes of self-loathing, disillusionment, and growing pains. The 10-track record opens like a diary page torn out and set on fire. Each song burns in its own way.
“Big Pink Bubble”, the second track, is a standout in both concept and execution. It’s deceptively sweet, light on its feet sonically, yet narratively potent. Trifilio sings about avoidance and self-erasure, using the metaphor of a bubble as a boundary and a hiding place. It’s the last song that made it onto the album, but it feels essential: a thesis on emotional survival in a hypercritical world. Making yourself small to be digestible shouldn’t feel like a universal experience, and yet somehow it does.
Track 3, “Chasm”, hits like an internal scream. Fuzzy guitars and pounding drums mirror the chaos in the lyrics. There’s a sharpness here, a sense of falling into yourself with no rope to hold onto. It’s one of the best examples of how Tunnel Vision balances lyric-heavy intimacy with bold, anthemic production.
The title track, “Tunnel Vision”, takes that tension and gives it form. There’s a fever-dream quality to the way it builds, both focused and frayed. It mirrors the modern desire to disappear into something, anything, just to feel like life has a clear direction again. Trifilio’s vocals stay high and sweet even as she sings of disconnect and overstimulation. It’s the sound of being pulled forward, even when you’re not sure you want to go.
And then there’s “Clueless”, track 5, a classic Beach Bunny bop dressed in birthday candles and quiet dread. Released right before Trifilio’s 28th birthday, the song captures the disorienting, slow-burn panic of aging and not feeling any closer to figuring things out.
One of the most unexpected highlights is “Pixie Cut”, a punky, Paramore-tinged anthem that feels like cutting your hair because your life is falling apart. The production goes a little darker, a little harder, and the result is cathartic and commanding. It’s a side of Beach Bunny we rarely see: less cutesy, more claws. And it works.
And then there’s “Cycles”, the closer, and one of the band’s most interesting experiments in musical reimagining. Originally released in 2019 under Trifilio’s solo name, it’s now reborn as a full-band track. Heavier, more polished, but still aching. It ends the album on a note of resigned beauty, recognizing that sometimes the hardest part of growing is realizing you’re still stuck in the same loops.
Right now, the band is taking that emotional whirlwind on the road. Beach Bunny is currently on tour across North America, bringing Tunnel Vision to life with their signature blend of catharsis and charm. For longtime fans and new listeners alike, these shows offer a front-row seat to a band at the height of their vulnerability and power.
If Honeymoon was the teenage heartbreak album and Emotional Creature was the young adult identity crisis, Tunnel Vision is the mid-20s existential spiral. But it’s also a sign that Beach Bunny is still expanding, still experimenting, still refusing to sit still long enough to be easily categorized. This is messy music for messy people, and Imperfect Fifth wouldn’t want it any other way.
While I have listened to folk artist Jensen McRae’s sophomore album – which dropped in its entirety on Friday, April 25th – I Don’t Know How But They Found Me! in part a few times at this point, I have yet to sit down with the body of work from beginning to end. The album’s title itself is a Back to the Future quote, perhaps the standalone lighthearted aspect of this sonic adventure.
Here, my unapologetic thoughts as I experienced this heavy, beautiful 11-track masterpiece.
To note, the album was born from a period of time in McRae’s life and is semi-autobiographical. “More than anything, I am grateful to have made this album as a record of my transition into real womanhood,” she explains. “It’s me processing girlhood, with all its attendant naïveté and guilelessness and resistance to change, and emerging as an adult who is capable of forgiveness and transformation and measured optimism.”
The work begins with 2 minute, 48 second track “The Rearranger,” which effortlessly gives voice to the feeling of emptiness in a relationship (or, for some, situationship) that does not make plans. To me, this song is about a relationship that seems to have most everything you want, but feels slightly off.
“I Can Change Him” hit me the hardest on first listen. The song tells a story of a smitten relationship that can only get so far without forward momentum and change. We have all been in a relationship (or several) that presents its issues to work on together and through. The hope in McRae’s voice as the chorus comes in:
Maybe I, maybe I just love him Maybe I, maybe I just think All he needs is a little something Maybe that little something’s me Maybe I’ll be his exception And I’ll never be the same Maybe I, maybe I could change him Unless he doesn’t want to change
But you can’t expect yourself to be the change someone else needs in their life. They have to be willing to change, which is why the “Unless he doesn’t want to change” is so heartbreaking. It is almost as though, over the duration of the song, the narrator is coming to a slow realization that the only true thing she has change over is herself.
More heartbreak comes in third track “Savannah,” which was released alongside a Rena Johnson directed and produced video. The song – and its accompanying video – questions alternate life outcomes based on boundaries and how you make decisions in your life. You can acknowledge what once was and what could have been while also creating a life of your own design, and this song really drives that truth home.
Fourth track “Daffodils” examines a relationship plagued with substance abuse, the push and pull of the life that supports. From one line to the next, this dichotomy keeps the narrator in this cycle of bad to good on repeat, when everyone deserves better.
Anyone who has ever been a rule follower may identify with the lyrics of “Let Me Be Wrong,” which feels a bit revolutionary and positive when compared to its predecessors. The rasp in McRae’s vocals hits correctly at the end of the verses, as she encourages people to let her learn her own way. This song has Top 40 potential written all over it, something we can all get behind at the level of The Chicks or Shania Twain.
The cadence to this song is absolutely magnetic, as Jensen McRae sings “Novelty” with her velvety vocals. She tells it like it is in this track, fully aware that some people are into the novelty of a person, environment, or otherwise. And, worse off, she has been in this place before. Having any type of relationship with someone who isn’t invested in you as a human being can subdue the entire thrill of dating, and you can feel the ice and indifference as it comes to its conclusion.
“I Don’t Do Drugs” slows things down and simplifies them a bit. Singing of how healing isn’t linear, patterns permeate, and the familiar can be addictive, this is an eye-opening piece of art at just 2 minutes and 19 seconds in length.
After hearing “Tuesday,” I was wondering how Jensen could have possibly survived a one-sided relationship as severe is this — how anyone could. But this song also stirs up feelings in people who have felt unseen in their families, friendships, or romantic partnerships. With such conviction, this ballad is specific, intense, and relatable. Unkempt in some ways, it is tinged with fire from her emotions and the rasp in her vocals.
“Mother Wound” hits pivotal aspects of successful relationships — communication and expectation management (which, to its credit, comes from communication). For an artist who has referenced Biblical text and Jesus in other songs on this record, her ability to “read your cards right” and tap into intuition in other lines throughout this album encourages open-minded spirituality and trust, almost. This song is one of those times.
“Praying For Your Downfall” could be a take down track, as vindictive as I would be given the circumstances. However, the beauty in it is that she reads him for trash in the lyrics. Lines like “keep whistling, boy, I was never your dog” hit with an unrelenting attitude that she has more than earned. She repeats “I don’t need to see you fall down” as she releases her energy from the negativity. The bridge brings us out light as a feather, layered in a way you would almost expect from HAIM.
She ends the album with fan favorite “Massachusetts,” a track that gave her a little bit more momentum with listeners. The immediate reference to Batman hooked me when I saw her perform it on Kimmel (directly after Ben Affleck was a guest), but the idea of affiliating an entire place with a person is what kept my attention. As someone who has had the fortune of living in and traveling to many places, I associate these places with people and memories.
Every young relationship leaves stamps on your heart. Marks on your memory. But that doesn’t mean you have to keep it. You can keep the good, and release yourself from what belittled you and told you that you didn’t meet its expectations. This entire album is both a testament to the pain that so many people go through while they learn themselves and their partners, and a beacon for people who are nostalgic for sweet memories that didn’t necessarily pan out.
I Don’t Know How But They Found Me! is a massive feat of strength… for McRae and all of her collaborators. Listen to it dancing around your room on a rainy day, in an air conditioned metro car on your way to a weekend spot, or with the windows down in the sunshine. It will deliver an exuberance to your nervous system that outweighs the empathic, heavy nature of it all — and validates anything you have been through or are currently experiencing.
Americana sensation Eddy Lee Ryder releases her first LP titled Sweet Delusions today. This NY-based artist is gracing us with 11 beautifully made songs, each piece delivering a romantic and almost magical experience.
Ryder’s voice has a distinct country twang to it, with soft-spoken and whimsical tones. I absolutely love the layering done with her background vocals– it truly adds an angelic element to the entire ensemble. As a previous string musician myself, I believe the album’s classical musicality is nothing to gloss over; almost every song is blessed with a symphonic melody, made possible by effortless violin and piano riffs.
“Highwaymen”, the focus track of the album, is a perfect representation of the youthful side of Sweet Delusions. Ryder yearns to travel and finds solace in being on the road. In order to be with her, you have to understand that sometimes she needs to get away from it all– but that doesn’t mean she wants to be alone. Ryder is looking for a partner-in-crime to accompany her on all life’s journeys. As a homebody, I cannot relate, but I can definitely see the appeal of “Highwaymen” for people my age. This song was made for all the free-spirited girlies out there! The chorus goes:
I hear the highway’s my man Left my man for the highway If you want to be free you must do it my way~
Her song titles do well in describing the message underlying each song, gracing the audience with straightforward and relatable phrases. Songs like “Sweet Delusions”, “Bad Decisions” (my favorite of the whole album), and “Joke is on Me” showcase the self-deprecating aspect of looking back on romantic relationships. As the titles imply, Ryder holds onto beliefs that she knows are not likely, but desperately wants to believe in them. She even fantasizes about her love interest ditching his current lover to go after her instead– delusional right? She wants to be with him forever, quite literally singing that she refuses to let these delusions go.
The rest of Sweet Delusions is filled with purely delightful symphonies and vivid imagery. “Smoke and Mirrors” implies the obvious– everyone puts on a front; Ryder and everyone else knows the lives people display on social media are not real, but what she does know for certain is that her love and connection with her partner is real. There’s a verse in the song that goes “Now they’re all changing their looks, buying self-help books” which I can relate to wholeheartedly!
The last couple of songs of the album are what really bring the whole LP to life. In “Only Real Cowboy”, Ryder depicts herself as a cowboy-era vixen at a nearby saloon; she is watching in awe as her love interest takes on the big, bad sheriff in town. In “County Fair”, Ryder does a wonderful job at illustrating the almost surreal county fair experience: summer heat, loud attractions, and fast crowds. Best of all, this song encapsulates being in the moment. Going to the county fair is a great first-date idea for young couples. Ryder is once again reflecting on past times, looking back on a romantic experience she had with a boy in her youth.
Having DC-based bands Pretty Bitter and Flowerbomb join forces together on a project weirdly makes sense, which is why their split EP Take Me Out was so exciting to listen to. I’ve written about Pretty Bitter before (here, in a review of their single from January, “Roadkill”), and listening to a handful of Flowerbomb’s songs showed a lot of similarities between both bands, in terms of music and lyrics. Each has an indie sound rooted in throwback alternative rock trends, with obvious influences from grunge and shoegaze. Their songwriting focuses on raw, personal lyricism that draws on the backgrounds and experiences of their members, and the chemistry between each performer in the band is clear in every song or show.
Evan Weiss handled the production of the EP, which is comprised of five songs. It has two original songs from each band and a closer written and performed by both. As Take Me Out starts, it’s apparent that the tracklist was ordered so the songs complement each other. “Never Better” by Pretty Bitter and “Nothing to do with me” by Flowerbomb, the first two songs respectively, have obvious musical similarities and play to the strengths of both artists. Both are mid-tempo rock songs that, through careful production and mixing, have a focus on vocals and lyricism without sacrificing the abrasive guitar playing both bands frequently use. They’re both hugely enjoyable, with “Never Better” functioning as an almost new-wavey rock song, and “Nothing to do with me” being more rhythmic and focused on hard-rock riffs.
As the EP continues, the next pair of songs allows each band to experiment with some interesting genre pairings and new ideas. “youbuiltafinelife” by Pretty Bitter is a buffet of great musical textures, with the highlights being the funky bass playing and the hazy, dreamy atmosphere that comes through the production and keyboard effects. It’s slightly different for Pretty Bitter while still representing their sound. “I Always Knew” by Flowerbomb also combines a lot of ideas, working as a slow-burn indie rock song with grungy guitar distortions and bits of glittery synths. The EP closes on a track both bands worked on together, the title track “Take Me Out”. It’s the most unexpected musical diversion of the whole EP, with a jaunty, folky twang and featuring great steel pedal guitar playing. Both vocalists duet with each other, and they provide a good contrast with Mel Bleker’s soft and sweet vocals against Rachel Kline’s more gruff and dynamic singing. While it may not represent each band particularly well, it’s more emblematic of two groups of talented musicians having fun and creating art for their own sake.
Take Me Out is a hugely enjoyable diversion for both bands and makes one hope for more collaborations between the two in the future. Each group gets the chance to have the spotlight, as well as experiment and try new sounds that may not have fit on another release. Both Pretty Bitter and Flowerbomb recently performed together earlier this month at the Black Cat in DC with no more joint shows currently planned, though it would be shocking if the two didn’t cross paths again soon enough.
