Cannes Film Festival 2013

Album review: Is Arcade Fire's 'The Suburbs' worth a visit?

Listen to the band's third full-length in it's entirety

<p>Arcade Fire's "The Suburbs"</p>

Arcade Fire's "The Suburbs"

Credit: Merge

It’d be a farce to compare Arcade Fire’s new album “The Suburbs” to its previous couple of efforts – 2007’s “Neon Bible” and 2004 debut “Funeral.” The Montreal-based rock outfit proves itself to be a new band with each new record. What each has, though, is a running theme, and each a march down memory lane. 

For this one, its concept is the title: the term “Suburbs” sparks imagery of safety, samey-samey and family. For frontman Win Butler, the suburbs bring up strong (dis)illusions of his upbringing outside of Houston and his move from there, written in love letters and hate mail.
 
It all begins with the bounding piano-led title track, like an ornate, sunny arch entryway, tricking one into thinking this drive through the ‘burbs is gonna be easy. The arch falls down on its plywood supports as “Ready to Start” proves to be the real mood-setter, with its ominous strings and polarizing lyrics: “All the kids have always known / the emperor wears no clothes / but bow down to him anyway / it’s better than being alone.” In a perfectly paced chorus, he sings “If I was scared, I would / If I was bored, you know I would / If I was yours, but I’m not / Now I’m ready to start” waging an ambiguous battle against the false idols (and straw men) of his idyllic prison.
 
The rest of the album continues this trend, in Christian metaphors, narrative attacks on “the kids” sung with a snarl and a mix of nostalgia and dread, similar to the sentiment in The National’s “Bloodbuzz OH.” It’s a look back for Butler and his coming into the light, or rather, the “Half Light,” a theme in two movements. “Half Light I” is the cool down from the work-out that is the first half of the record, while “Half Light II” is a another warm-up, with a bleating synthesizer, orchestral umph, a gorgeous build and shared vocals between Win and wife Regine Chassagne on lines like “Pray that god won’t live to see / the death of everything that’s wild.”
 
Regine takes full lead on “Empty Room,” a fast-tempo rocker, with a whale-wail on guitar like a My Bloody Valentine cut; she’s also on closer “Sprawl II,” a dance track that Columbia records probably wished that MGMT wrote instead of “Congratulations.”
 
“Rococo” has great sonic dynamic and melodic ideas, but the lyrics really “burn it back down.” It works better as an art experiment – just like “Suburban War,” which just feels like a long, sad nursery rhyme with an ill-fitting chorus, like two songs cut and pasted together.
 
Snotty punk-ish “Month of May” perfectly transitions into a sweaty exhale, “Wasted Hours,” like plopping down into a hammock on a summer day. That song’s sweet, vulnerable refrain is cheapened with the “la la la las,” making it seem like Arcade Fire is making fun of itself for even writing the tune to begin with.
 
Overall, it’s obvious the band took their time recording “The Suburbs”; the melodies fresh the arrangements creative. In much the same way, Butler’s self-conscious lyrics sound like well-edited drafts of a thesis; he says precisely what he means in a wealth of metaphors, sometimes in ways that only he understands, and sometimes in ways that we all can understand (like in “We Use to Wait”:Now our lives are changing fast / Hope that something pure can last”).
 
So many songs on “The Suburbs” are perfect – it’s a shame that the album is too long. At 16 tracks, it makes me think they wrote a good amount of material and had a passionate debate over what to cut – or they wrote exactly 16 and couldn’t bear cutting anything at all. Either way, it leaves this listener exhausted and feeling a little bit down; “The Suburbs” is great, really, but I wouldn’t want to live there.

Arcade Fire's "The Suburbs" is out tomorrow. Listen to the album in its entirety here; what do you think?

 

From the file of bad ideas: Jennifer Lopez judging on 'American Idol'

Can the show help the 'Louboutins' singer? Can she help them?

<p>Jennifer Lopez</p>

Jennifer Lopez

Credit: AP Photo

If it wasn’t obvious before, it is more so now: “American Idol” is making some bad decisions.

I’m speaking specifically in regards to reports indicated that Jennifer Lopez is next in line to fill a chair at the judge’s table.
 
Yesterday, we got news that Ellen DeGeneres is exiting, and today, word is spreading that Kara DioGuardi may not be returning next year either, as her contract has run out and no new deal has been announced. Randy Jackson remains the show’s sole founding judge on the panel
 
The strongest rumors have indicated that Steven Tyler may be judge #3, but today, it seems to be but a press release away that Lopez has signed on.
 
Jennifer Lopez is great to look at, would be recognizable to “AI’s” core audience and could bring a wealth of knowledge to the high-topped table. Could.
 
The singer/dancer/actress’ job for the last handful of years has been managing her celebrity status, at times, even more than her artistry. Her last hit, “Do It Well,” did OK in 2007 (her Latin pop hit that same year did better), and her newest single “Louboutins” is more of a punchline than an indicator of success. She’s at a point in her career when she’s on the defensive to stay relevant and she’s been guarded -- and rightfully so -- in public appearances. And she did a fine but forgettable job mentoring on “AI.”
 
This all doesn’t bode well for a personality who needs to bring new spark and critical necessity back to the show, after a dismal drop in viewership this past season and the loss of a certain cranky British man who guaranteed tearing into mediocrity as much as he did the mush pile. “American Idol” set and nurtured its own archetypes for the first handful of years of the series – the “dawging” Randy, the loose screw in her second act (Paula Abdul) and the spiky Simon Cowell. Ellen was funny, but didn’t have any claws; Kara was savvy but dispensable.
 
At this juncture, I wouldn’t trust Lopez to be the entertaining critic, and she can’t be the sage second act if she hasn’t finished redefining her first. She shows no signs of giving up on making new music, and being on "AI" isn’t going to turn her back into “Jenny from the Block.” Even if she signs the dotted line for her own financial and career uptick, she’d better turn her eyes to what matters. What she needs is a hit, or a great script -- not a judge spot on a reality television show. And what “AI” needs is a marquee entertainer, and not a reserved one in the frantic throes of self-reinvention. It’s hard to tell who’s more desperate.

What do you think? Would J-Lo make a good AI judge?

Watch: Kanye West performs at Twitter headquarters

And thus ends our stories of Kanye rapping a cappella at social network corporate offices

<p>Kanye West</p>

Kanye West

Credit: AP Photo

The same day that rapper Kanye West joins Twitter, he makes a pit stop at the tech co.'s headquarters.

Yesterday (and the day before), the rapper made our headlines for putting on a little lunch room a capella performance for the folks over at Facebook. Yesterday, in between Tweets via his newly christened account, West went to Twitter's Silicon Valley corporate office.

Sadly, the audio on this puppy can't compete with the videos posted yesterday, but he at least tackled a new tune.

In this case, two make a trend and, unless West shows up to another tech HQ in the buff, we'll just call this a tour kick-off and keep our eyes out for when more solid promotional material from West becomes available. So far, there's just "Power," the prospect of the new set dropping in September and an album title change: as previously reported, the set will no longer be dubbed "Good Ass Job." Which is a good ass move.

Today in Twitter land, West has been extolling the virtues of classical music and Leonard Bernstein. And, no, he's still not following anybody on Twitter. Should he pull a Conan?

Watch: Nas, John Legend 'Fall in Love' in two different Estelle music videos

A reminder that 'Grey's Anatomy's' Jessie Williams is really pretty

<p>Estelle with Nas</p>

Estelle with Nas

At some point Estelle and her label people decided that two is better than one -- even if one is almost exactly like the other.

That's the case with the British singer's video for "Let's Fall in Love," the lively dance track that could sell a thousand pairs of shoes. She made two different versions of the same love story: Estelle, the girl next door, and the her light-eyed patootie (Jessie Williams from "Grey's Anatomy") next door fall in love. Some adorable mishaps occur, there's some flirting and then a branding placement, a make and model on which I will not linger (as I'm not the one getting paid to do so).

The only difference between the clips is that one features an appearance and verse from John Legend and one from rapper Nas. Legend took time for a second shoot with a big-haired girl. Nas had no such time, but instead reps the Mets and name-checks Donald Trump and Frank Sinatra because now, apparently, Nas is my dad.

I live next door to an auto mechanic shop. I have never seen it overflow in an eruption of club-going beautiful people. The entertainment industry continues to heap disappointment on that which is my life.

Check out both videos below. "Let's Fall in Love," at the end of the day, is disgustingly infectious (wait, I mean in the good way), boding well for her forthcoming "All of Me," due sometime this fall. It comes on the high heels of her Grammy win with Kanye West for last year's "American Boy."

 

 

Nick Cave penning 'The Crow' reboot: Is this a good idea?

Veteran rocker also behind a pair of screenplays and a number of novels

<p>Nick Cave</p>

Nick Cave

Credit: AP Photo

In a move that may shake some recovering teenagers to their core, "The Crow" is getting a cinematic reboot and Nick Cave is the man behind the script.

According to the Wrap, the ultimate Bad Seed is working over "Blade" director Stephen Norrington's screenplay, which itself was a new take on the comic book . No lead actor has been picked out to fill the cumbersome shoes of the late Brandon Lee, killed on set of the 1994 film.

Cave, while better known for his seriously dark rocking, is a damn fine writer. Of his novels, I've only been savvy to his "The Death of Bunny Munro," which was self-assured, unmuzzled, a little sick and certainly more dramatically cinematic than cinema allows itself to be sometimes. It was complimented by an audiobook version, complete with original soundtrack and sound effects, very artistic.

He also penned two proper Hollywood scripts, though they were years apart: 1988's "Ghosts... of the Civil Dead" and 2005's "The Proposition." He's also apparently on tap for developing project "Death of a Ladies' Man", a title culled from a Leonard Cohen song (coincidentally, Cave played a great part in "I'm Your Man," a documentary on the still-thriving Cohen); the plot of it sounds eerily similar to that of "Bunny Munro."

And then there's the endless music and soundtrack credits, from "The Road" to "Batman Forever" to "The Assissination of Jesse James...".

So is it the right move for Cave? Or, rather, the right movie? Norrington's last directorial project was "League of Extraordinary Gentlemen," another comics adaptation, and we all know how that went. The macabre appeal and lore of the first "Crow" has been fading for more than 15 years.

But "The Crow" has always had an intriguing, gothic protagonist that was more an artist than superhero: author James O'Barr was inspired by punk and rock musicians Bauhaus, Joy Division's Ian Curtis, the physical presence of Iggy Pop, the Cure and Jim Carroll Band in creating Eric, "The Crow's" main man.

Which leads to why Cave would be good to give the characters that gift -- of music and historical influence.

I'd be eager to read that script. In an era of constant comic book and reboot films, it's up to casting now to make this into a truly winning formula. Pal Russell Crowe would be better served as a mentor than as Eric... perhaps Cave could give Jack White a call? He at least looks the part.

Cave is releasing another album under the Grinderman moniker this September.

Listen: Guster warns us of the 'Bad, Bad World' in advance of new 'Easy World'

Trio's first studio set in four years

<p>Guster</p>

Guster

Guster is back with a new studio album, "Easy World," but want fans to consider the "Bad, Bad World" first.

The latter -- which is the first song available from the new set -- can be downloaded for free via the band's website, or you can just stream it below. Warning: pop inside.

The Aware/Universal Republic record will drop on Oct. 5, making it the group's first album in four years, since 2006's "Ganging Up on the Sun." The standard lineup of Ryan Miller, Adam Gardner and Brian Rosenworcel has the additional aid of multi-instrumentalist Joe Pisapia. It was recorded starting in 2008 in New York, then Nashville.

The road warriors have set some tour dates and are in the midst of planning more.

Bad Bad World by guster

Here is the tracklist for "Easy World":

1. Architects and Engineers
2. Do You Love Me?
3. On The Ocean
4. This Could All Be Yours
5. Stay With Me Jesus
6. Bad Bad World
7. This Is How It Feels To Have A Broken Heart
8. What You Call Love
9. That's No Way To Get To Heaven
10. Jesus & Mary
11. Hercules
12. Do What You Want

Here are Guster's currently scheduled tour dates:

 

Oct. 1 Nashville, TN—War Memorial Auditorium
Oct. 2 Charlotte, NC—The Fillmore Charlotte
Oct. 8 Columbus, OH—Newport Music Hall
Oct. 9 Saint Louis, MO—The Pageant
Oct. 10 Indianapolis, IN—Egyptian Room
Oct. 12 Omaha, NE—Slowdown
Oct. 13 Kansas City, MO—Beaumont Club
Oct. 15 Madison, WI—Overture Center for the Arts – Capitol
Oct. 16 Royal Oak, MI—Royal Oak Music Theatre
Oct. 22 Philadelphia, PA—Electric Factory
Oct. 23 Washington, DC—DAR Constitution Hall
Oct. 25 Ithaca, NY—State Theatre
Oct. 27 Portland, ME—State Theatre
Oct. 28 Burlington, VT—Flynn Center
Oct. 29 New York, NY—Beacon Theatre
Oct. 30 Providence, RI—Lupo’s Heartbreak Hotel

 

The xx, Paul Weller, Mumford & Sons make 2010 Mercury Prize short list

Can Dizzee Rascal nab another win?

<p>The xx</p>

The xx

Credit: Katie Hasty

Biffy Clyro, Corinne Bailey Rae, Paul Well and Dizzee Rascal are among the 12 nominees for this year's Mercury Prize. More than 200 acts and their albums were up for the Album of the Year honor, given out to U.K. or Irish bands who have released new sets in the last 12 months.

The winner will be announced at the Barclaycard Mercury Prize Awards Show on Sept. 7.

The xx is estimated to take the £20,000 prize home and, while I may not be a raving fan of the band, I do appreciate awards such as these going to new and breaking artists rather than the standbys (like 2003 winner Dizzee Rascal).

My hope of hopes is to see Laura Marling take it. I've always very much liked her voice and her style, but she truly came into her own with "I Speak Because I Can," which doesn't miss a single note, and every song necessary and surprising. (Jack White agrees.) I do have a soft spot, too, for Mumford & Sons and Foals, and the very nature of Corinne Bailey Rae's intimate "The Sea" cries out for a little more attention (see: sad). Villagers and Kit Downes have the most outside of chances.

The Paul Weller set is an achievement just in a notable guests it roped in: the former The Jam frontman was joined by his former bandmate Bruce Foxton for the first time since 1982. This would be the first time in 16 years he gets the nod.

Other previous winners include Elbow, Klaxons and Arctic Monkeys.

Here are the nominees for the 2010 Mercury Prize:

Biffy Clyro "Only Revolutions"
Corinne Bailey Rae "The Sea"
Dizzee Rascal "Tongue N' Cheek"
Foals "Total Life Forever"
I Am Kloot "Sky At Night"
Kit Downes "Trio Golden"
Laura Marling "I Speak Because I Can"
Mumford & Sons "Sigh No More"
Paul Weller "Wake Up the Nation"
The xx "xx"
Villagers "Becoming a Jackal"
Wild Beasts "Two Dancers"

Jimmy Eat World 'Invent' new album for September

Will the new album triumph over their flatlined last?

<p>Jimmy Eat World's "Invented" </p>

Jimmy Eat World's "Invented"

Credit: DGK/Interscope

 

A couple years ago, I had a very short but sweet debate with a co-worker about Jimmy Eat World. When the rockers announced they were to release their new full-length “Chase This Light” in 2007, I was a defender.
 
“Jimmy Eat World?” he snickered.
 
“Yeah!” I said, cawing, as I did my freshman year in high school, “They’re awesome.”
 
There was a pause.
 
“Clarity.”
 
“’Bleed American’.”
 
“Yeah, you’re right. They’re awesome.”
 
“Chase the Light” definitely wasn’t the album we expected, nor, upon listening, the album we hoped for. There constant hiccups of required renewal and, while I personally thought “Big Casino” was a killer single, I can hardly remember any of the rest of it.
 
But I’m allowing the heart on my little sleeve to skip a beat again. JEW is releasing another new set, “Invented, “ on Sept. 28, and at least one tidbit of information gives me hope: producer Mark Trombino, -- who produced those two aforementioned solid records, plus “Static Prevails” -- is back on board.
 
It’s not that “Chase This Light’s” engineers Chris Testa, John Fields or exec producer Butch Vig weren’t able-bodied. Their body of work combined would put any middling pop producer to shame. Frontman Jim Adkins’ strength is in writing pop songs for a Big Rock Record, but there was too much lean on pop and not enough rock. The delivery was tepid. It’s like they all just started getting to know each other and then it went to mastering.
 
So we’ll see what happens when the first single from “Invented,” “My Best Theory,” hits in August. I look forward to hearing the band working behind the decks again with a guy who clearly knows them at their finest.
 
JEW will hit the road later this fall, and are likely happy to be done with their Clarity 10th Anniversary Tour, even if it was a great success and good fun (for me).

 

‘Double Rainbow’ connection: Gregory Brothers ‘honored’ by remix’s reception

Interview: The makers of ‘Auto-Tune the News’ talk kitsch and identity

<p>The Gregory Brothers</p>

The Gregory Brothers

Unless you don’t read or use the internet, you have been clued in to the existence of the popular YouTube clip “Yosemitebear Mountain Giant Double Rainbow 1-8-10” or, abridged, “Double Rainbow.” The rainbows themselves are somewhat astonishing, but double rainbow encounterer Paul “Yosemite Bear” Vasquez’s reaction to them is, in a word, excitable. You can see the clip embedded below. As of this morning, it’s been viewed in excess of 5.62 million times.

There have been 3.2 million viewers of what could be considered “Double Rainbow’s” musical counterpart, the “Double Rainbow Song,” which remixes Vasquez’s vocals using auto-tune and folded into a dance track. It goes for about 1:30, and is on sale on iTunes for $.99. Just before the weekend, the track showed up on the digital music retailer’s top-sellers pop chart, in the 70s.
 
The men (and one woman) behind the clip is Brooklyn band The Gregory Brothers, who you may recognize as the “Auto-Tune the News” masterminds. While there’s no exact numbers yet how many people have purchased “Double Rainbow Song,” the group hopes to make “a couple bucks” to share with Vasquez, who gave them permission to rework and sell the song. (Vasquez, who has described himself as “in poverty” in other recent interviews, has started selling double rainbow-themed t-shirts.)
 
Evan Gregory, one quarter of the Webby Award-winning group, spoke to HitFix this weekend about the phenomenon, “Auto-Tune” and making serious music when you’re better known for funny.
 
What did [Vasquez] think of your idea for the song?
 
He’s just very generous and sincere. We proposed splitting [the proceeds] out of the gate. We didn’t wanna offer it on iTunes if he wasn’t going to have a part in it… He had enjoyed the song, though at first he was skeptical of our motives. He’s just super nice guy and eventually saw the song we produced done in the celebratory fashion, with respect for the original intent of his posting it.
 
But isn’t part of people enjoying the video and the song out of making fun of the guy’s intensity?
 
Some of the viral explosion is surely due to ironic enjoyment, or speculating or commenters being like, “Is he under the influence?”. Over time, though, especially when you see his interviews, you understand that [he’s] really genuine and excitable. I can assure you what Paul meant and felt was that he was high on life.
 
Are you looking to remix other YouTube phenom?
 
We’re not looking aggressively to remix that kind of stuff. If there’s something that catches our eye, sure, like there needs to be a miracle in demand of a bassline. We noticed that last year: there was a severe dearth of basslines and accompaniment in news.
 
So where are you at in making more episodes of “Auto-Tune the News?”
 
We made six episodes in the first five months [of “Auto-Tune the News”] last year. In the 10 months since then, we’ve put out another 6. We’ll continue to produce it, but we refuse to put ourselves on a schedule. We’re planning some now and we’re gonna keep doing it as long as it’s fun for us… I will let slip that we have a couple pretty tasty articles selected and we have a celebrity cameo coming, but I can’t quite tell you who it is yet.
 
Are you going to find out soon? You know how fast the internet news cycle works.
 
If our celebrity confirms, I’ll be sure to let you know by the end of the day if, y’know, Justin Bieber is down for showing up with us. [Ed: Considering Gregory’s propensity for deadpan humor, I have no way of confirming or denying if he was just joking about the Bieb.]
 
You all have your own more straight-forward musical acts of your own. What are your shows like, and does your audience come expecting “Auto-Tune the News?”
 
When we play in new York, the bulk of the audience is made up of people who’ve known our stuff for years. We’ve been a quartet for three years or so. Since the advent of “Auto-Tune the News,” a lot more people found out about our band and so we’ve started including some different kinds of versions of “Auto-tune” in the show [Ed: see an example of what that may look like at the very end of the “Double Rainbow Song” clip, below]. We’ve also sung along to our own videos. For Vid-Con, we did a very stripped down version of “Double Rainbow,” four of our voices with just acoustic instruments.
 
But some of your separate projects’ music is so much more serious than comedy bits. Do you want to keep the two worlds separate?
 
Being separate doesn’t mean unrelated. We have different bands, but the videos have gotten each a ton of attention, it moves virally. That’s awesome for us. Traffic on YouTube has driven a ton of fans to our other music projects. It’s been really worthwhile enterprise in its own right.
 
Has “Double Rainbow” opened any new doors for you in the music biz?
 
Yes, the song has done well on the iTunes pop chart, but it remains to be seen when the numbers come out what it actually means. We’re not kidding ourselves. It’d be nice to make a couple bucks and share it with Paul. We have heard from numerous fans that the song has been played by radio stations here and there, but we haven’t been contacted about that. Since its not our faces or anything in the video or the song, it’s less tied to our identity. We’ve had some really great doors opened for our video work, though.
 
Do you get a big check from YouTube, considering the millions of views you’ve gotten?
 
We get a small check from YouTube. It adds up in a series in four to five trickles. Perhaps even medium sized rivulets. It funds our band’s bagels. A larger stream comes from people who wanna jog to our tunes on their iPod. And then there’s work for hire. People that like the videos wanna ask us to do music or video of whatever. Last fall, we did a viral piece for Sony. And we did a radio spot this spring for Chipotle, which wasn’t even auto-tune related at all.
 
Check out the thegregorybrothers.com for all the group's videos.

 

Exclusive: Will Taylor Swift be on the next Owl City record?

Interview: Adam Young discusses Sky Sailing project and his dream collaborators

<p>Owl City's Adam Young</p>

Owl City's Adam Young

Adam Young, the mastermind behind Owl City, says he's only "knee-deep" -- five or six songs -- into his sophomore set, but already has some idea of who may be on it: namely, Taylor Swift.

In an interview with HitFix, Young said he has a track in mind for the county-pop superstar to sing on.

"I have talked to her. She's so busy, but she said if there’s time, she said it’d be lot of fun," Young explains. "There’s this weird hybrid country song I'm working on. There's no title 'cause I haven't made any lyrics yet. But that would be the one."

The pairing isn't firm, though Owl City's management said there's definitely "talking among themselves" for a collaboration. A rep for Swift said the singer is on the road and unavailable for comment.

On its face, the idea wasn't inconceivable to begin with. Swift has been known to Tweet to her pal, and even showed up in the VIP section of his show in New York last year. And Young has said that her "Love Story" is the best love song he's known (and, no, the two have never dated).

Young also has John Mayer on his collaborator wish-list for the follow-up to his 2009 debut "Ocean Eyes," a possibility he hopes to present to the veteran songwriter as they tour together this fall. Coincidentally, Swift and Mayer are close friends as well.

But writing a new album and prepping for that cross-country stint isn't all that's on Adam Young's plate at the moment. There's another release and another high-profile tour to attend to.

Young just released a new set "An Airplane Carried Me to Bed" under the moniker Sky Sailing on Tuesday (July 13). It's a collection of songs written before Young's Owl City project, with emphasis on acoustic instruments rather than synthesizers and keyboards. It's still undeniably Young's voice, but he wanted his two releases to be heard as totally separate projects.

"These came from two different eras," Young says. Sky Sailing's 12 tracks were written three-and-a-half years ago. "I just started writing music, and whatever came out went down on of two different avenues. It's been pretty intuitive. I think it's pretty interesting multiple views from the same guy."
 
He presented the idea to "pretty much" release "An Airplane" as-is to his label Universal Republic and "they were all for it." He essentially took his original recordings, spruced up a couple vocal tracks, added some tambourine and mastered it.
 
"The timing's worked out perfectly," he says.

Timing has also allowed Owl City to serve as tour support for Maroon 5 (along with V.V. Brown) in August. He says he's going to perform Owl City material, rather than Sky Sailing songs, throughout the fall.

"I think it's best to stick to what [fans] might know," he says.

Young says a new Owl City album can be expected late this year or early next.

Here are Owl City's tour dates with Maroon 5 and John Mayer:

Aug.     5th        DTE Energy Music Theatre w/ Maroon 5                    Clarkston, MI
            6th        Verizon Wireless Music Center w/ Maroon 5             Noblesville, IN
            7th        Constellation Performing Arts Center w/ Maroon 5   Canandaigua, NY
            10th      Comcast Center w/ Maroon 5                                     Mansfield, MA
            11th      Nikon at Jones Beach Theater w/ Maroon 5              Wantagh, NY
            13th      Jiffy Lube Live w/ Maroon 5                                        Bristow, VA
            14th      Susquehanna Bank Center w/ Maroon 5                    Camden, NJ
            15th      PNC Bank Arts Center w/ Maroon 5                           Holmdel, NJ
            18th      Cricket Pavilion w/ John Mayer                                  Phoenix, AZ
            20th      Shoreline Amphitheatre w/ John Mayer                     San Francisco, CA
            21st      Sleep Train Amphitheatre w/ John Mayer                  Wheatland, CA
            22nd      Hollywood Bowl w/ John Mayer                                 Los Angeles, CA
            24th      Verizon Wireless Amphitheatre w/ John Mayer         Irvine, CA
            25th      Cricket Wireless Amphitheatre w/ John Mayer          Chula Vista, CA
            28th      Pipeline Café (Headlining)                                          Honolulu, HI
            31st      USANA Amphitheater w/ John Mayer                         Salt Lake City, UT
Sep.     1st        Red Rocks Amphitheatre w/ John Mayer                    Morrison, CO
            4th        Superpages.com Center w/ John Mayer                     Dallas, TX
            5th        Cynthia Woods Mitchell Pavilion w/ John Mayer       Houston, TX
            6th        Amphitheatre at The Wharf w/ John Mayer               Orange Beach, AL
            8th        Aarons Amphitheatre at Lakewood w/ John Mayer    Atlanta, GA
            10th      Ford Amphitheatre w/ John Mayer                             Tampa, FL
            11th      Cruzan Amphitheatre w/ John Mayer                         West Palm Beach, FL
 

 

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