LOLO Wednesday, February 3, 2016 Brighton Music Hall; Boston, MA Review and photos by Kara Kokinos
Last Wednesday, LOLO took the stage at Brighton Music Hall in Boston, bringing a solid set of power ballads and dance jams. Her set started off with the angry, heartbreak driven “Heard It From A Friend,” Donning a fur coat, the petite singer belted her lungs out, welcoming the enthusiastic crowd forward. If you are unfamiliar with the singer, her 2013 video for the song is a fantastic introduction. Rhythmic and self-driving, the track carries the same energy across live. And if her killer voice seems familiar, you have probably heard it on Panic! At The Disco’s, “Miss Jackson,” “Fall Out Boy’s “Centuries,” as well as the original cast recordings of “Spring Awakening”.
Not afraid to get close to the crowd, the singer had beckoned those in attendance towards the stage and discarded restrictive layers and fallen to her knees by the middle of her second song, “Comeback Queen.” The performance aspect of LOLO’s set is not to be understated. Clapping along with the track, dramatic gesturing, eye contact with the audience, and ripping through her vocals all seemed to be second nature to Pritchard. “Comeback Queen” is an incredibly danceable track that calls for gospel backup vocalists and invokes plenty of “girl power” imagery.
This badassery was highlighted not only on her more upbeat tunes. With touring guitartist Josh Hoisington, the duo live mixed some beats and slashed through pre-recorded tracks but on the slower tracks they performed, including new track “The Courtyard” and “I Don’t Wanna Have to Lie,” there was a clear ache behind the words being sung. It would be difficult to compete with LOLO’s vocals but on her slower songs, they were given the opportunity to glisten against the more basic guitar/piano backings. That being said, there was an incredible build to every track performed that night as well as a clear narrative that went into the writing and performance.
Straddling the soul and alternative rock genres, LOLO’s writing is incredibly nuanced and with an obvious jazz atmosphere within a pop track. While on her recorded material the singer’s power is more implicit and backed by more muted instrumentals, her live material is full of raw energy. Closing out the night, LOLO’s “Hit & Run” brought the same hard hitting energy as her opening two tracks, with the attitude of a late 2000s Carrie Underwood with the gritty tone of Juliet Simms. LOLO’s unabashed gesturing and use of the smaller Brighton Music Hall Stage transformed the venue. It was impossible not to be sucked into the space she created.
While on the shorter side, LOLO’s set packed a hefty punch and her natural stage presence reminded me of a set I caught from Halsey at a small, coffeeshop venue at the start of her career. If the new tracks that were performed that night, “Devil’s Gone to Dinner” and “No Time For Lonely,” are any indicator, it shouldn’t be long until LOLO is on everyone’s radar.
Over the course of Boston Calling’s three-day festival just a few weeks ago, there were plenty of moments that struck a chord with the audience. These came from acts big and small, and we at LOL wanted to recap some of our favorite sights and sounds. From fresh faced newcomers to seasoned festival veterans, every act at Boston Calling performed with aplomb – read on for some of the stellar moments observed by our editor, Kara Kokinos, during the three day festival.
Best Stage Show It is not easy to enchant me with heavy bass and lots of
pretty lights, but if there was ever a group that could do it, that would be
Chromeo. While musically their set became a bit of a blur, the infectiously
funky tunes were brought to life by two musicians whose commitment to engaging
their audience was a breath of fresh air. It was a perfect set up for the rest
of the night’s performers and a wonderful way to get everyone’s blood flowing
on a chilly night.
Most Consistent Alt-J have a soft spot in the hearts of many fans of ambient
indie rock because of their ability to churn out well produced and well written
songs that are not necessarily stand alone hits but always have tremendous
musical merit. It doesn’t hurt that the band has been able to craft a live show
that reflects much of the same attention to detail and subtlety throughout.
Most Diehard Fans Friday has almost always been a slower day for Boston
Calling, as expected from a weekday show and its shorter bill. Trust the Avett Brothers
to change all of that. Ticket sales have reportedly been higher this year than
in years past and it was clear from the presence on Friday night that the
choice to book the folk rockers was a wise one. I had the pleasure of meeting
two fans of the band who informed me that this was their 27th time
seeing the group perform live – and that they knew plenty of people in
attendance whose numbers made their own look weak in comparison. Although I was
familiar with the band’s music, I was not prepared for their fans. It’s easy to
go to shows, especially festivals, and see plenty of people with arms crossed
and dead eyes. That simply would not fly while the Avett Brothers performed. The
clamoring of the crowd was coupled with enough dancing and clapping to truly
start the festival off with a bang. While much of the crowd succumbed to the
cold of the night as the group chugged along, everyone who remained left with
broad smiles and a roar in their eardrums.
1-2 Punch Nothing makes my heart sing more than fuzzy garage rock, and
the combination hits of Bully paired with FIDLAR was a tribute to the Allston
Pudding loving, basement show going members of the crowd. Bully’s singer Alicia
Bognanno delivered all of her lyrics with a bite and thrashing guitars set the
tone for the least subtle band to grace the Boston Calling stage. FIDLAR initially
had an audience that was half enthralled and half in a state of utter confusion
but midway through the set everyone seemed to be on the same page, whether you
were there to see the band or just caught up in the infectious energy that
comes with screaming, “I drink cheap beer, so what? Fuck you,” on repeat. The
intensity was enough to make anyone who had partied too hard the previous night
a bit queasy.
Most Heartbreaking Although many of the acts packed an emotionally charged set,
Daughter’s set was incredibly stirring. While the trio’s recorded music is
particularly haunting, seeing it performed was an unsurprisingly moving
experience. While the entire set had a somber tone, the execution of “Smother”
and “Youth” was enough to visibly bring audience members to tears. Singer Elena
Tonra was adorably nervous during the set, the trembling timbre of her voice
coupled with guitarist’s Igor Haefeli’s playing of bowed guitar was incredibly
atmospheric and evocative. With the addition of Remi Aguilella’s supporting
instrumentation, the band was able to take the ethereal and ground it enough to
be hard hitting and captivating for an audience who tuned out a lot of the more
quiet acts of the weekend. All of this was done during a daytime performance,
following the howling intensity of FIDLAR, a feat that deserves respect in
itself. The band, who have opened for fellow performer Ben Howard, was
unforgettable in the best way.
Tame Tidings When Father John Misty takes the stage, you anticipate
something a bit wild. While audience members were able to see that in his wild
motions on stage, J. Tillman was shockingly unshocking in addressing the crowd.
Though he encouraged the audience to “gourge yourself on pleasure”, there was a
slight air of either disinterest or apathy in his performance. In case this
seems like a harsh assessment, the singer recently came out with covers from
Taylor Swift’s 1989 in the style of the Velvet Underground and claimed that the
ghost of Lou Reed appeared to him in a vision and told him to take them down in
order to make a statement about the media’s penchant for all things
nonsensical. The man does not shy away from making a statement, and while he
let the music speak for itself, there was a sense that a ball was going to drop
at any moment but never quite hit the ground.
Let’s Hear It For The Girls With more and more festivals getting attention for the lack
of women gracing their stages, it was refreshing to see such a strong female
presence in the performers at Boston Calling. While this could be attributed to
the smaller number of total artists performing, eight of the 23 acts performing
had female core members and many had one or more female instrumentalists in
addition to their primary members. This was not counting the many touring
members of several bands, including percussionists, singers, brass, and string
instrumentalists. Although not the strongest showing, it’s a welcome step in
the right direction, especially with such a variety of music styles being
showcased, at all career levels. This was also the first time that a female
fronted act had closed out Boston Calling. Alabama Shakes’ Brittany Howard had the
entirety of City Hall Plaza on their feet by Sunday night but there were plenty
of exciting artists exploring genre and technique. Whether it was Doomtree’s stylized
hip hop led by the unapologetically hard hitting Dessa, CHVRCHES’ Lauren
Mayberry who has made headlines both for her delicate yet commanding voice as
well as her lack of tolerance with misogyny, both online and at her band’s
shows, or Misterwives’ Mandy Lee whose vocal ability keeps getting stronger and
isn’t afraid to voice her own frustrations in the music industry, ripping into
gender stereotypes while doing pushups. It’s always fantastic to see female
musicians advocate for themselves while churning out music that packs a heavy
punch.
Sitting down wih the Have Mercy boys is always a blast and
this Warped Tour was no exception! Andrew Johnson and Nick Woolford sat down
with us to discuss tour grind, recording their last album A Place Of Our Own and their recent split with Somos!
LOL: Hiya! So how’s Warped tour shaping up for you guys? Andrew Johnson: It’s good! Nick Woolford: It’s hot. AJ: Some days are really hot, today and yesterday weren’t
that bad temperature wise but it’s good. I’ve been noticing that the crowds are
getting bigger and bigger for us and the sets are getting better and better.
LOL: It definitely seems like Warped Tour is a time to
expand a fanbase. Have you guys been hitting that hard, meeting new people and
fans?
AJ: We try. Todd, our drummer, and I try to walk the line
every morning but I’ve noticed that there are certain areas where we’ll start
walking the line and we’ll see Attila shirts and we’re just like, “okay, let’s
just turn around”.
LOL: Has your first run on Warped Tour met your expectations
in terms of the grind? NW: I mean, it’s hard. It’s definitely the most grueling
thing. I used to play professional baseball and this is worse. AJ: I was talking to my friends yesterday, they came and
visited and they asked, “what do you do all day?” and I was like, “Well I wake
up at seven, I push snooze on my alarm like fifteen times then I wake up again
and we set up the merch tent, get everything ready. Go to production, find out
our set times, sometimes I get breakfast and sometimes I can’t. Then we walk
the line, come back, we play or we don’t play and just walk. It’s a lot of
walking and not knowing what to do.” NW: It’s a lot of doing nothing!
LOL: What’s the biggest difference between a giant festival
like this and a smaller, club tour? NW: There’s a million different things. It’s completely the
opposite of any other club tour that you’re going to do. AJ: For example, we wake up and we’re here, we’re at the
venue. While on a club tour we’ll stay in that city that we played in or a
little outside of that, wake up at a friend’s house and then start driving and
load’s normally at three or four. Load in here is at 8AM and then load out is
at 8PM. It’s literally polar opposites.
LOL: Warped kind of puts everyone on the same playing field
in terms of artist and fan, have you guys had any jarring experiences with that
or is it kind of the same as you typically operate? NW: Well no one knows I’m in the band, ever, so people
always ask me to take pictures with me and their mom with Andrew but it’s
alright. LOL: Awww! NW: Nah, it’s fine. AJ: I mean, it’s cool. I got really star struck when I met
Jona from I Killed The Prom Queen because I grew up listening to them. I got
hammered at this bar and when we were all coming home I ended up sitting next
to their tour manager and I mentioned the only band I wanted to see was I
Killed The Prom Queen and he was like, “oh, you wanna come meet them?” and I
was on the bus, shaking and I went back to our band and for like forty minutes
I was just telling the story over and over. NW: Yeah, I did tell him to shut up. AJ: Yeah, he did. NW: Everyone was trying to sleep.
LOL: Have you guys made any new or unexpected friends on
this tour or has it been people you already know? AJ: Well we’re usually pretty easy to get along with. NW: We also already know a lot of people on the tour. AJ: I think one of the most unexpected things was that the
bass player from Jule Vera, we were just drinking with him the other day and
found out that he was the only one who was 21. NW: I think they’re all like fifteen! AJ: And then we were just talking about gear and stuff, it
was pretty cool.
LOL: You guys have been touring since you put out your album, A Place Of Our Own last year on
Hopeless, how’s that record label switch been? NW: It’s been great! AJ: They’re awesome. Toby was there today. We had to ask
them if it was okay if we could sign to Fueled By Ramen… It’s just a joke! But
yeah, they’re awesome.
LOL: The record definitely had a very organic, Hopeless
Records/pop punk feel to it. What was it like having a veteran like Paul
(Leavitt, producer) on your team for that? AJ: It was awesome! NW: I mean, I recorded with Paul when I was about twelve but
he is…well he’s weird. He’s a really cool guy, he becomes your best friend.
He’s got a really good ear for what he’s doing and he’s smart and knows how to
write a song. He can be intimidating but he means it in the best way. AJ: Yeah, the one example I can use for “intimidating in the
best way” is that we were doing pre-production for the last album and there was
this one part that we couldn’t get down and he came storming in and was like “I
THOUGHT I TURNED THE FUCKING STOP BUTTON OFF!”, goes back in and slams the door
and we were just “uhhhhh…”
LOL: I love that you guys are still producing splits with
other artists! What was the process behind your recent one with Somos? AJ: Uh, they asked us and we said yes haha
LOL: You guys did an acoustic version of one of your tracks
and then a cover? What was the selection process like for that? AJ: Yeah, ‘Somebody’s Baby’. NW: Well we all thought of a bunch of different songs and
that was the only one that we all agreed on. AJ: Yeah, and No Sleep was like, we’re doing an acoustic
version and a cover so maybe if you guys want to do that, that’d be cool. And
then when we heard their tracks, it was two new ones and we were like oh…okay,
here ya go!
LOL: What are your plans after the summer, anything on deck
in terms of touring or new material? NW: We have two tours for the fall. AJ: I don’t think we can talk about them yet.* NW: That just comes out later. AJ: I can tell you one thing, we are going international
soon. NW: That’ll be our first international tour. AJ: And then we are doing a fun tour after that in the fall.
Have Mercy recently announced their fall tour with Transit,
Somos, and Microwave before heading to Europe! Check out the full list of tour
dates here and be sure to grab your tickets ASAP!
Written by Kara Kokinos and Eric Riley.
Photos by Eric Riley.
After Friday’s introduction to Boston Calling 2015, there was an incredible buzz for what Saturday’s artist would bring. What seemed to be an almost entirely new crowd in attendance held many diehard fans clamoring for spots on the barricades, while other attendees swarmed the various vendors, waiting for their favorite acts or looking for an opportunity to discover a new one. It was pretty easy to discern when fans were waiting for certain artists, specifically those waiting for Gerard Way while donning old My Chemical Romance tees, or the Marina and the Diamonds fans dressed in glimmering neon and glitter. But, as clear (and, to be totally honest, kind of humorous) as it was, it was a solid example of what has made Boston Calling so successful over these last few years – its diversity. A staple of the festival has been its clear effort to cater to music fans of all tastes.
One of Boston’s many basement bands, Krill, were first to open Day Two. These punk darlings had an amazing energy and filled City Hall Plaza with their unapologetically aggressive sound as soon as their set began. The band was a well-oiled machine, though its members were noticeably a bit unsure how to handle playing such a big stage, both literally and figuratively. ( something they even tweeted about here). The young trio, while fresh-faced and eager, acted as true professionals, captivating in a way even some of the weekend’s senior acts couldn’t quite match. Packed with heavy reverb and harsh guitars, comparisons were made to Tame Impala’s set from the previous night.
Day Two had no shortage of diversity, and from the earliest moments of the day, the crowd devoured it. DMA’S Oasis-like sound gave the shoegazers something to sway to, while Gerard Way [& the Hormones] showcased the performer’s musical range, transforming from emo-scene royalty to a glam-pop all star. His set was a standout of the day, but more important than his music was his message, on multiple occasions taking time between songs to speak about the need for acceptance between all people, no matter their gender, their sexuality, their race, class, or health. It was a beautiful example of an artist recognizing their platform and taking advantage of it to do something positive.
Much like Tove Lo, newcomer MØ (the third performer of the afternoon) was a hidden gem within the lineup. A bundle of energy bounding across the stage, she performed like a headliner and owned the audience for every moment she could. The former had the disadvantage of following Run the Jewels’ crazed set, so there were some in attendance who say she fell victim to some slight eclipsing. The one-two punch of Marina and the Diamonds followed by St. Vincent was arguably the best pairing of the weekend, showing the two different sides of theatricality.
With Marina, her trademark blend of her operatic voice and sweet-toothed sound was a real treat, capturing everyone’s attention before opening song “Bubblegum Bitch” even kicked off. She was a dog off of its leash, exploring every inch of the stage and running wild. On the opposite side of the coin was St. Vincent – equally theatrical, but far more staged than improvised. Each movement was planned, from things as obvious as their entrance onto the stage and choreographed guitar solos to things as minimal as reaching for a guitar pick. The performers acted as marionettes gradually cutting their strings before finally gaining their freedom as the set came to a close. Vincent (Annie Clark) played the part beautifully, transitioning from a rigid, brittle wind-up doll during introductory “Birth in Reverse” into an energetic rock star by the end, eventually falling into the crowd and collapsing onto the stage floor. It was a performance in every sense of the word, and without question one of the best I’ve seen on any stage.
Written by Kara Kokinos and Eric Riley.
Photos by Eric Riley.
Still a relatively new addition, the Friday night performances of Boston Calling have gone a bit unnoticed, or rather underappreciated, over these last three festivals. Neutral Milk Hotel’s media-blackout performance in September was a wonderful springboard into The National’s return to the BC stage, and last weekend’s opening night was another one to be remembered.
Beginning with the angelic-voiced Sharon Van Etten, Boston Calling 2015 was officially here. Combining her strong vocals with the dreamy, airy tone of her backing music, Van Etten lulled the crowd into a soft stir of excitement. Though that sounds like a contradiction, it’s a positive one – the performance was calm and light, but still powerful and hypnotizing. It was a wonderful fit for the setting – chill-inducing music on a warm Friday night, in the center of the city, getting a crowd of fans ready for the very busy weekend to come.
STAND OUT SONG: “I Don’t Want To Let You Down”
Bookended by a band on either side of them, Australia’s Tame Impala filled the second of three slots on Friday. Though they didn’t have the booking as top headliner, neither the band nor the crowd seemed to let that sway their intensity. A stark contrast to the ambient Van Etten, Tame Impala’s spacious psych-rock shook the walls of the plaza. Without much time or indication of a change between songs, the set was very well-received by the fans hoping for an experimental, “jam-band”-esque performance. Performing on a weekend that also featured the atmospheric My Morning Jacket made for a success.
STAND OUT SONG: “Eventually”
Lastly, there was the man of the hour – the one and only Beck. Reminiscent of the aforementioned Neutral Milk Hotel performance from last year, Beck also limited the presence of media and photography during his set, aiming for a performance that relied on the music rather than how it would be taken in. A risky request, but one that a performer such as he could execute. If Tame Impala drew a crowd, Beck brought along a flock of fans. Having been at or near the top of his game for the better part of two decades, his fanbase has had a very long time to reach its current size, and those in attendance did not disappoint.
His set showcased songs throughout the various stages of his career, with each era being performed as if it was his newest, going off without missing a beat. By the time his hour came to a close, the plaza was buzzing with what they were able to just witness – a living legend doing what he does best.
STAND OUT SONG: “E-Pro”
Friday night delivered everything that it was expected to, and then some, much like the festival itself has always done. Just when you think it has reached a peak, it climbs a little further.
Kara Kokinos, a new addition to the LOL team, had the opportunity to sit down with Nick Fotinakes, Travis Hawley, and Mikel Van Kranenburg of Night Riots this past Sunday (3/8/15) at the Brighton Music Hall during the East Coast leg of their tour with Draemings. The CA gentlemen, previously known as PK, released their “Howl” EP this January and have been featured on Sirius XM Alt Nation and placed on the Billboard Heatseekers chart.
Catch up on the band’s recent signing with Sumerian Records, Kickstarter, and SXSW and be sure to follow their socials for upcoming tour dates!
LOL: Hi guys! First off, I want to congratulate you guys on the release of the “Howl” EP! So how has the reception to that been so far? Travis Hawley: It’s been great! Nick Fotinakes: Yeah, it’s going surprisingly pretty well. Well, not surprisingly, but you never know what to expect. It’s been received super well and all these shows we’ve been playing have been really great, people are responding to the new stuff. So better than anticipated.
LOL: Very nice! You guys premiere the first single, ‘Contagious’, a while back and did a video for that. Can you tell me a little bit about that process? Travis Hawley: Yeah, I mean we have a certain aesthetic that definitely follows us, it’s just how we like to see the world in general. But we’ve been working with a music video director named Chris Buongiorno and he has kind of captured that for us and it’s really helping realize that. We’re discussing different ideas, we had some really elaborate plans before and then, with the label, we wanted to put a simple, solid performance video out first before we got into the crazy stuff, that’s for the future.
LOL: You guys are a newer Sumerian Records signing, how’s that been going? Travis Hawley: It’s been amazing, it’s been a platform for us and we’ve been surprised how many people have been greeting us with open arms. Especially because we’re an alternative band on a metal label, it’s very different. But it’s cool, we’re not the black sheep, we’re set apart and we stand out, which is very cool.
LOL: You guys actually crowdfunded the last EP you did before signing to Sumerian, “Young Lore”, how was that process for you guys? Did you enjoy it or was it more of a struggle? Travis Hawley: I think that the decision to do it was a little bit of a struggle. Just because it’s hard to ask people who have always supported you and they’ve already given so much coming to your shows so it’s hard to say, “Would you give us money?” We really tried to give cool, unique rewards out. We tried to make it worthwhile for everybody and put everything we could into it. We figured that’s the only way people would give back to us. And they did! It was huge, we didn’t want to be one of those bands that starts a Kickstarter and then gets halfway through and then just dies. So for us it was amazing because we got our goal really fast. And it wasn’t even a rich aunt or uncle that came in and was like, “Hey, here’s five grand. We’re gonna give it to you.” It was just a bunch of little purchases all over the United States. All over the world, really. So that was really cool.
LOL: Have you guys seen a lot of those people who donated when you’ve come through on tour? Travis Hawley: We’ve seen the shirts and sweatshirts! Nick Fotinakes: Part of the rewards for it was doing a string of acoustic, private shows so it was a good chunk of those people that we see at shows all the times and have become friends with too. We basically went over to their house and played and ate dinner with them.
LOL: Very nice, how is this tour going? Nick Fotinakes: Good! It’s been cold. Travis Hawley: Best tour. Nick Fotinakes: Yeah, that’s for sure. Mikel VK: I like it, it’s a nice change of pace.
LOL: Well you guys are going back down to SXSW next week- Nick Fotinakes: Is it that close? Travis Hawley: Yeah, and that’s usually hot and humid. But last year it wasn’t too bad. Nick Fotinakes: It was pretty cool.
LOL: How was your experience there last year? Nick Fotinakes: It was good! We weren’t there for too long, it was a pretty quick trip. Travis Hawley: It was perfect. We played really good shows and that’s actually where we met Sumerian for the first time. They came to a show and we had some perfectly packed performances. Nick Fotinakes: We were there for three days, we weren’t there for the whole time. So we came in, played a couple cool shows. We had a hotel right down town and we got to come in and get out of there really easily. Got to get out of there before all the bands and before we got too tired so that was the perfect SXSW experience.
LOL: What does this year’s SXSW look like for you guys? Travis Hawley: I think it’ll be a good one. Nick Fotinakes: Pretty similar, we’re only there for two or three days. Travis Hawley: You know what I think it is? I think that everybody in the industry is so pumped on SXSW. Everybody is, except, and I can’t say this for all bands, but I will say that for our band, we’re not super pumped on it. This thing is that it is amazing, you get to see a lot of great artists but it is so overwhelming. And we do this all the time, we’re on tour living that lifestyle, the party atmosphere, all the time. So for us it’s just another one of those except to the tenth degree. Nick Fotinakes: Yeah, times one hundred.
LOL: And you guys just did CMJ. Travis Hawley: That was different though, that was cool cuz it’s kind of spread out over the city, which I thought was cool. Nick Fotinakes: SXSW is that whole party crammed into that one street so it’s just like a Mardi Gras for bands and no one cares that you’re playing music because everyone’s i a band there so it’s like, “’Oh, I’m playing a show, you should co- oh shut up.” Travis Hawley: Well how we did it last and year and how we’ll do it this year is really fun if you come in there and you’ve got a place to stay. We went the year before and we stayed in our van, we had bunks in the back, and we were about two miles out. Nick Fotinakes: {groans} It was really hot. Travis Hawley: So we would park outside of the downtown and just hike. Nick Fotinakes: About a mile out. Travis Hawley: We would carry all of our gear, it was humid and hot. You would wake up and you’re drenched in sweat and then you have to load in gear. We were playing shows at around ten in the morning at a bar on the outskirts and there would be nobody there.
LOL: Looks like it paid off though! {all agree} Travis Hawley: I was just about to say that. Mikel VK: It’s not to say that SXSW is a terrible place, there are upsides to it as well. Travis Hawley: There are so many rad bands. Mikel VK: You get to see awesome bands, there are awesome people, you make tons of connections, and we’re super grateful for the showcases that we do have this year, they’re going to be awesome. It goes both ways. Nick Fotinakes: Yeah, I think it’s about how you go into it. That first year we had no idea what to expect so we did it completely wrong so now that we’re going into it knowing things – Mikel VK: That first one just put a sour taste in our mouths. Nick Fotinakes: But we have good showcases, we get to see a lot of friends. We get to see bands that we never cross paths with and hang out. We saw some cool people last year like The 1975, CeeLo, Young The Giant, it’s great. Travis: I really liked CeeLo.
LOL: Is there anything you want to tease after the end of festival season? Nick Fotinakes: Aww man, is there anything we want to tease? Travis Hawley: Do a little tease. Nick Fotinakes: I don’t know if we have anything teasable, we’re playing a couple of festivals, one in FL after this, doing something in NY too. Hopefully maybe some UK stuff, that’s a tease. Travis Hawley: We’re also at South By So What. Nick Fotinakes: Oh yeah, that’s at the end of SXSW for us, we go there. I guess the only tease is that we’re going to be touring all of the time, you won’t be able to get rid of us. We’re going to be in your backyard all of the time, in your ear like a little bird chirping. Travis Hawley: It’s true.
LOL: Sounds great, thanks guys! Anything you want to leave us off with, social plugs? Nick Fotinakes: Oh yeah, follow us on Facebook.com/nightriots. Instagram is @nightriots. Twitter is @nightriots. The website is nightriots.com. It’s really easy. Travis Hawley: Night Riots across the board Nick Fotinakes: You can follow Mikel’s personal account as well. Mikel VK: Oh yeahhhh. Travis Hawley: You can also find that @nightriots 😉
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