Tag Archives: Brooklyn Bowl
Tinariwen – Brooklyn Bowl – March 24, 2014
Tinariwen are one of those bands that can be all things to all people. There’s the Tinariwen as culmination of a fascinating backstory. There’s the Tinariwen as a metaphor. And, of course, most important, there’s Tinariwen the collective of musicians, playing excellent music all across the world. All of these were onstage at once Monday night at Brooklyn Bowl, and which one you saw was a purely personal experience, from the enthusiastic young guys chanting and waving flags to the middle-aged fans clapping along to the young Brooklynites dancing the night away.
The Malian music group seemed to know no boundaries, turning a brick-and-mortar bowling alley decorated with a disco ball and big screen TVs into a transcendental tent, orange and yellow lights of the desert on the ceiling, with room for all within. The set list drew largely from Tinariwen’s new album, Emmaar, and the musicians, and the words they sang, seemed to blur into a single communal experience. Electric guitars growled and moaned in helical patterns—was it with sorrow or was it with joy? Either or both or neither, you decide. With a popping electric bass and simple rhythmic percussion, this was mostly dance music: magical, beautiful, difficult to resist. The musicians clapping and twisting hypnotically felt just as vital to the experience as the musicians twisting the unique guitar solos, somewhere between Leo Nocentelli and Robert Johnson by way of the Sahara.
The encore encapsulated the night in three pieces: The first began with Abdallah Ag Alhousseyni, alone, chanting and playing acoustic before the band slowly grew, duet, trio until all six played as one, with little boundary between Tinariwen and the audience. The second piece was the funkiest of the night, the electric bass speaking the international language of groove. Finally, the percussion-dominated closer was a rhythmic cacophony, the dancer onstage moving in increasingly faster and more complicated fashion—either he was forcing the band’s tempo or vice versa, but the crowd tried to keep up regardless. The night ended with smiles all round, free of boundaries, at least until the magic wore off. With a final bow, the band repeated the only English words they had uttered all night: “Thank you.” —A. Stein
Photos courtesy of JC McIlwaine | jcmcilwaine.com
The soul-funk trio Soulive—Alan Evans (drums), Neal Evans (Hammond B3) and Eric Krasno (guitar)—formed in the late ’90s and have been bringing their own bluesy, jammy brand of jazz, funk, classic rock and R&B to the dancing masses ever since. Krasno joined the brothers Evans for a recording session in Woodstock in 1999, which eventually became their first EP, Get Down! A host of studio albums, EPs and live discs followed, including 2010’s instrumental take on the Beatles, Rubber Soulive. But despite the trio’s recorded virtuosity, far and away the best way to experience these guys is live. Which works out great because with Bowlive 5 beginning tomorrow, you’ve got eight chances to see them in person. That’s right: Soulive (above, covering “Soul Serenade” with guests) play Brooklyn Bowl eight times between tomorrow and 3/22.
And as always, there will be special guests galore, like Nigel Hall, DJ Logic and the Shady Horns tomorrow, George Porter Jr., Nicki Bluhm, Leroy Justice and the Shady Horns on Friday, the London Souls, George Porter Jr., Nicki Bluhm and the Shady Horns on Saturday, John Scofield, Jon Cleary and the Shady Horns on 3/18, Susan Tedeschi, Joe Russo, Jon Cleary and the Shady Horns on 3/19, DMC (of Run DMC), Talib Kweli, Alan Evans Trio and the Shady Horns on 3/20, Marco Benevento, Roosevelt Collier, Sonya Kitchell and the Shady Horns on 3/21, and finally Bill Evans, Wolf! featuring Scott Metzger and the Shady Horns on 3/22.
Tags: Alan Evans, Alan Evans Trio, Bill Evans, Bowlive, Brooklyn Bowl, DJ Logic, DMC, Eric Krasno, George Porter Jr., Get Down!, Joe Russo, John Scofield, Jon Cleary, Leroy Justice, London Souls, Marco Benevento, Neal Evans, Nicki Bluhm, Nigel Hall, Preview, Roosevelt Collier, Rubber Soulive, Run DMC, Scott Metzger, Shady Horns, Sonya Kitchell, Soulive, Susan Tedeschi, Talib Kweli, Video, Wolf!
Posted in House List, Preview, Video No Comments »
Soul Rebels – Brooklyn Bowl – February 14, 2014
While the NBA took over New Orleans this past weekend for its All-Star game, a few NOLA bands sought musical refuge in New York City, beginning with the Soul Rebels, playing the first of two shows at Brooklyn Bowl on Friday night. If you’ve never seen a Soul Rebels show before, there’s a long list of things that you’re missing out on. But in short, their energetic time-traveling mix of cover songs woven around their own music creates one hell of a two-hour dance party.
Blink and you might have missed any number of those excellent covers, which ranged
from Bobby Blue Band’s (and a touch of Jay-Z’s version) “Ain’t No Love in the Heart of the City” and Hova’s own “Hard Knock Life” to Heavy D’s “Now That We Found Love” and “Nuttin’ but Love.” Later on, the encore skewed much newer, with Pharrell’s “Happy” and Daft Punk’s “Get Lucky” getting the New Orleans brass treatment. The energy behind the multihorn take on these songs ran so high throughout the set that it made the idea of a DJ seem boring (although Questlove assumed his post after the show and made a musical counter-argument of his own).
The Soul Rebels’ breathless, nonstop mix of original, traditional and cover songs was backed by a collective energy that each band member helped sustain. With eight of them onstage on Friday, there was never a moment when the crowd wasn’t being prompted by
at least one Rebel, whether it was shouting Valentine’s Day–themed plaudits at them or goading them into letting loose. —Sean O’Kane
My Top Five Favorite Shows
1. The Postal Service, Barclay Center, June 14
My decade-belated live date with the Postal Service finally culminated at Barclays Center, where rabid fans, like myself, roared as Ben Gibbard and Jimmy Tamborello hit the stage. As if acting out lyrics from “Nothing Better,” Gibbard and Jenny Lewis shimmied close for the duet. Old friends reunited onstage never felt so good.
2. Haim, Webster Hall, September 3
I was late to this bandwagon, as fellow House List contributor Alex Kapelman shortlisted Haim last year for his Top Five Bowery Presents Shows of the Year. I knew I was in for a good one when I could barely find a spot in the rafters to catch the three sisters, who charmed with their onstage banter and wicked musicianship
3. Jessie Ware, The Bowery Ballroom, January 17
Straight off her Jimmy Fallon taping backed by the Roots, the British songstress elated the crowd with her effortless, down-to-earth stage demeanor. Her star quickly rose with American audiences, as she sold out shows at Webster Hall, Music Hall of Williamsburg and Irving Plaza throughout the year. I was glad to have caught her earlier in the more intimate venue.
4. Basia Bulat, Bowery Ballroom, November 23
I’ve been a fan of Basia Bulat since I heard her cover Sam Cooke’s “Touch the Hem of His Garment.” This show on a cold night wasn’t sold out, which made me a little sad since she’s quite the talent. But those who were there were enraptured by her prowess on autoharp to the point that you could hear a pin drop during her solos.
5. Daughter, Bowery Ballroom, April 30
Somehow Elena Tonra manages to disguise heartbreak behind soulful lyrics and melody. She has a knack for turning happy dance songs into somber endeavors. The band mashed-up Bon Iver and Hot Chip’s “Perth/Ready for the Floor” that evening. Check out Tonra’s somber retake of Daft Punk’s hit “Get Lucky” for further proof. —Sharlene Chiu
My Top Five Shows I Never Thought I Would See
1. Desaparecidos, Webster Hall, February 26
Desaparecidos (and really any Conor Oberst project) were my bread and butter back in the early aughts, and for a while they seemed to be a one-off, a politically minded side project firmly planted in the past. Fortunately (and unfortunately) the global state of affairs remains messed up enough for the band to regroup to write protest songs for a new decade. It was a nostalgic, sweaty and inspired performance.
2. Shuggie Otis, Music Hall of Williamsburg, April 19
Shuggie Otis began putting out music in the mid-’70s, followed by a long period of laying low. Content to groove along to songs like “Ice Cold Daydream” at home, I never really thought about the possibility of a Shuggie Otis tour in 2013. But when I found out, I was there. And “Ice Cold Daydream” is even better in person.
3. The Flamin’ Groovies, The Bowery Ballroom, July 6
Instead of discovering the Flamin’ Groovies in a smoky San Fran club in the ’60s, I was introduced to their catchy psychedelia on a Nuggets compilation more than 30 years later. Who’d have thought they’d still be going strong in 2013 and that I’d be dancing right alongside some old school fans at this fun summer show.
4. John Prine, Beacon Theatre, September 26
John Prine has been active since the early ’70s, but unlike Shuggie Otis, he never really went away, writing and recording songs at a steady pace throughout the years. But I still always thought of him as an artist too legendary for me to see in person—or that tickets would be too out of reach. But John Prine put on an amazing show, highlighting his singular skills as a songwriter and storyteller.
5. The Julie Ruin, Music Hall of Williamsburg, October 25
I was late to the party for the original riot-grrl movement, but I became an admirer of Bikini Kill frontwoman Kathleen Hanna during her time in Le Tigre. She’s dealt with some debilitating health issues in the past few years, but I had no doubt she’d continue to make art and music. So I was happy to learn of her latest project, the Julie Ruin, and her energetic show did not disappoint. —Alena Kastin
My Top Five Shows
1. Yo La Tengo, Town Hall, February 16
I don’t like to pick a favorite, but my last.fm account tells me I’ve listened to Yo La Tengo more than any other band since 2007. At Town Hall, they performed an acoustic set and an electronic one, doing two versions of “Ohm,” my favorite song of the year. And then I ran into Tim Heidecker from Tim & Eric’s Awesome Show, Great Job! Had the Red Sox not won the World Series, this would’ve been my favorite night of the year.
2. Killer Mike/El-P, Webster Hall, August 14
I don’t care what anyone says: The best two rap albums of 2012 came from Killer Mike and El-P. And in 2013 they topped them, coming together as one entity, Run the Jewels. The night included a set from El-P, a set from Killer Mike and a combined set with both. El-P’s ingenious production plus Killer “I bleed charisma” Mike equals one concert I will never forget.
3. Foxygen, The Bowery Ballroom, October 21
With Foxygen it occasionally feels like shit could fall apart at any moment. And sometimes it does. But when their shows don’t come unhinged they deliver that sweet thrill of relief, like narrowly avoiding a car crash. And on this Halloween-themed night, the band made a weird show even weirder with homemade costumes and pseudo spooky vibes.
4. Steve Earle, Music Hall of Williamsburg, May 8
You can just tell some people are genuine, and Steve Earle is certainly one of them. Forever wearing his heart on his sleeve, that same energy bleeds right into his music, which he played alongside what he’s calling “the best band he’s ever had.”
5. Meat Puppets, Mercury Lounge, April 4
Not only are the Meat Puppets still kicking (after living through some serious shit), but also they’re thriving. And as much as I respect their legacy, seeing them play for more than two hours with the intensity you’d expect of a band 20 years their junior makes me respect them that much more. Long live the puppets of meat! —Dan Rickershauser
My Top Five Shows
1. Dessa, Union Hall, May 5
There are few performers I feel can move mountains with their vocal chords, and Dessa is one of them. This performance was an eruption of defiant lyrics and bold beats. A sizable crowd of young girls knew all of her lyrics, giving the show a chant-like feel. The only female member of Minnesota’s Doomtree collective practically vibrates with energy, and it’s completely contagious.
2. Kishi Bashi, Irving Plaza, September 12
Kishi Bashi sounds even better live than he does recorded. And he delivered a dazzling set with profuse vocal looping and an excellent backing band. Kauro Ishibashi has a supercharged, effusive aura, and his music embodies that persona. This set took a rowdy turn that involved crowd surfing, strobe lights and an outright jam session.
3. Panama Wedding, CMJ Music Marathon
I happened upon newcomers Panama Wedding three different times during CMJ: Initially, opening for NONONO at Mercury Lounge on the first night. Since the band had only released one song, “All of the People,” I was eager to see what would unfold onstage. Their set was so tight that I caught the fantastical pop group the following night at Pianos and then again at a showcase at Santos Party House.
4. You Won’t, Rockwood Music Hall, October 30
The live iteration of You Won’t is a spectacle to behold. I watched eagerly as Josh Arnoudse and Raky Sastri wielded a slew of instruments with ease, quickly fascinating the audience. The duo took their jaunty music into the audience a couple of times to break the barrier and enlisted some extra vocal support by encouraging us to all to sing along.
5. James Blake, Terminal 5, November 6
In this spellbinding live performance, complete with plenty of vocal looping and haunting electronica, James Blake made a cavernous room filled with people feel intimate. And that he’s such a dapper-looking fellow only helps boost his appeal. I’m still transfixed by this performance nearly two months later. James Blake’s music has some serious lasting effects. —Schuyler Rooth
My Top Five Shows with Regard to Lights, Visuals and Production
1. Umphrey’s McGee, Brooklyn Bowl, January 20
Kick-ass creative lighting and Brooklyn Bowl don’t usually go hand in hand, but Umphrey’s McGee lighting guru Jefferson Waful turned the room into a thing of beauty.
3. Plaza: Portugal. The Man, Irving Plaza, May 20
4. The Flaming Lips/Tame Impala, Terminal 5, October 1
It was almost as fascinating to watch the Lips’ spectacle getting set up as it was to see it in action—confetti, strobes, LEDs and, well, pretty much everything. And Tame Impala’s projections were no slouch either.
My Top Five Albums
1. Phosphorescent, Muchacho
I’d only seen Phosphorescent once before listening to Muchacho for the first time. And while much of Matthew Houck’s previous work is country-tinged (not that there’s anything wrong with that), this album, ostensibly about a breakup, covers more territory, from the meditative sounds of “Sun, Arise (An Invocation, an Introduction)” and “Sun’s Arising (A Koan, an Exit)” to the jammy, driving “Ride On/Right On” to softer fare, like “Muchacho’s Tune,” all centered on Houck’s evocative voice. I still can’t stop listening to it.
2. Foxygen, We Are the 21st Century Ambassadors of Peace & Magic
Foxygen’s third full-length, We Are the 21st Century Ambassadors of Peace & Magic, comes off as a loving mash note to ’70s rock. You’ll hear bits of the Rolling Stones, Velvet Underground and David Bowie, but the album expertly manages to sound like something whole and new rather than something derivative.
3. White Denim, Corsicana Lemonade
Upon the first couple of listens, I found White Denim’s latest, Corsicana Lemonade, to be too singer-songwriter-y, but I continued to give it a chance, and it opened up to something much bigger, with genre-hopping songs like “Let It Feel Good (My Eagles)” and “Pretty Green”—not to mention some searing guitar parts—grabbing me by the throat.
4. Futurebirds, Baba Yaga
Admittedly, I didn’t know anything about Futurebirds, out of Athens, Ga., before writing a preview of their late-May show at The Bowery Ballroom. But while listening to their second LP, Baba Yaga, as I wrote, I became totally enamored of the album—half twangy Southern rock and half spacey reverb.
5. Kurt Vile, Wakin on a Pretty Daze
I love Kurt Vile’s Wakin on a Pretty Daze so much, that I can’t believe it’s only No. 5. Labeling it stoner rock, as many have done, is lazy. Although I supposed me calling it laid-back rock isn’t any better. But the fact of the matter is there might not ever be a better album to listen to while walking the streets of New York City with headphones in your ears. —R. Zizmor
Tags: Barclays Center, Basia Bulat, Beacon Theatre, Ben Gibbard, Bikini Kill, Bon Iver, Bowery Ballroom, Brooklyn Bowl, Chris Kuroda, CMJ, Conor Oberst, Daft Punk, Daughter, David Bowie, Desaparecidos, Dessa, Doomtree, Drippy Eye, EL-P, Elena Tonra, Flaming Lips, Flamin’ Groovies, Föllakzoid, Foxygen, Haim, Hot Chip, James Blake, Jefferson Waful, Jenny Lewis, Jessie Ware, Jimmy Fallon, Jimmy Tamborello, John Prine, Josh Arnoudse, Kathleen Hanna, Kauro Ishibashi, Killer Mike, Kishi Bashi, Le Tigre, Matthew Hock, Meat Puppets, Mercury Lounge, Muchacho, Music Hall of Williamsburg, NONONO, Panama Wedding, Phish, Phosphorescent, Portugal. The Man, Postal Service, Raky Sastri, Review, Rolling Stones, Run the Jewels, Sam Cooke, Shuggie Otis, Steve Earle, Tame Impala, Terminal 5, the Holydrug Couple, the Julie Ruin, the Roots, Tim & Eric’s Awesome Show: Great Job!, Tim Heidecker, Town Hall, Umphrey's McGee, Velvet Underground, Webster Hall, Yo La Tengo, You Won’t
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Joe Russo’s Almost Dead – the Capitol Theatre – December 27, 2013
Last January, NYC drummer Joe Russo gathered some of his best friends for a one-off night of Grateful Dead music at Brooklyn Bowl. It seemed like a lark: buddies riffing on Dead tunes. But it just so happens that Russo’s friends—Tom Hamilton, Scott Metzger, Marco Benevento and Dave Dreiwitz—are also some of the best musicians in the city, and the gig, billed as Joe Russo’s Almost Dead, became the stuff of legend before you could say, “What a long strange trip it’s been.” Naturally, an encore performance was in order, and the long-awaited second gig on the much grander, steeped-in-Dead-history stage of the Capitol Theatre took place on Friday night. Expectations were obviously higher, but in the end, I think, the legend only grew.
It seems impossible to say this, considering that the raison d’être of the Grateful Dead canon is loose improvisation and noodling jams, but JRAD stretched and explored the repertoire like few have. The marathon two-set show stripped off layers and layers of old fraying wallpaper from the catalog, sandpapered through coats of paint and found the raw surface of the music. From the ripping, rocking opening couplet of “Cream Puff War” > “Truckin’” to the lilting melody of “Row Jimmy” to the split-level groove of “Shakedown Street,” JRAD proved to be expert innovators. With these guys, familiarity breeds content: They’ve played countless gigs together in various permutations and it showed as jams zigzagged across multiple themes with ease. From behind the kit, Russo controlled the action, pushing and pulling his pals in various directions, letting things drift into uncharted waters and then bringing back the energy into focus. Hamilton shone on guitar and lead vocals, charging through jams and singing with a comfortable confidence.
Of course any Deadhead worthy of the tie-dye on his back knows the real action is in the second set. JRAD did not disappoint, opening with a racing wet-noodle jam before breaking into the fan-favorite pairing of “Scarlet Begonias” and “Fire on the Mountain.” Dreiwitz bounded through the bass parts here, one foot in Phil Lesh’s shoes, the other firmly anchored in his more familiar, ragged rock-out roots. Metzger, Hamilton and Benevento were mouse, cat and dog, chasing one another through multiple levels of jamming, half homage, half sledgehammer. The set was one jaw-dropping jam after another, peaking with an ambitious rendering of the full “Terrapin Station” suite. With classic skeleton-and-roses iconography spiraling across the Cap’s ceiling, the band raised “just some friends hanging out” to an art form, perfectly hitting every subtle change and movement of the suite while still taking it to new, exciting places. Just like the Dead would’ve done after a superlative show like that, JRAD encored with the heartfelt harmonies of “Brokedown Palace,” Russo and Co. proving they can match the soulful depths of the source material as well as the ecstatic peaks. And as they wished the audience a “fare you well,” we could only guess when these pals would get together next, hoping they’d be kind enough to invite the rest of us. —A. Stein
Tags: Brooklyn Bowl, Capitol Theatre, Dave Dreiwitz, Grateful Dead, Joe Russo, Joe Russo’s Almost Dead, Marco Benevento, Phil Lesh, Scott Metzger, Tom Hamilton
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Lettuce – Brooklyn Bowl – December 20, 3013
Words can’t explain funk. A groove is felt, but when the music stops the feeling fades away. Any attempt to remember the sounds and reflect on the experience is doomed to muddle the truth: that some musical moments happen and then vanish. What can be related, though, is the impression, the lingering feeling, before it’s lost to time. And what can be remembered about Lettuce at Brooklyn Bowl on Friday night is that it felt perfectly right.
For those unfamiliar with Lettuce, the band name doesn’t give much insight, nor does it relate to anything in particular. Instead, the musicians who perform under the name bring their own meaning to the leafy vegetable: playful, soulful and fresh. More plaudits can be applied, but again, this is the cheap press for a band that is better heard than explained. Whether its Eric Krasno’s chatty guitar solos with his mouth moving, half-speaking words to notes, or the playful rhythm section of Erick Coomes on bass and Adam Deitch on drums, there is much to see and hear, and less to write in response.
Except there are those moments that a watchful eye can observe and report, how Neal Evans, who plays with Krasno in the prodigious funk-jazz trio Soulive, directed the horn section for blazing renditions of “Lettansanity” and “Madison Square.” Or how Alecia Chakour and Nigel Hall brought their vocal talents to soul songs from the ’70s to the present. It’s a glimpse into the performance, a snapshot from moving picture. It’s the best that can be done. Now it’s up to you: Go out, hear and see for yourself. —Jared Levy
Andes Osborne – Brooklyn Bowl – December 13, 2013
Friday night was one of those cold December evenings best for curling up cozy in front of the fireplace. But if you happened to be at Brooklyn Bowl instead, you got to see Anders Osborne perform as a human fireplace, ablaze with soulful songs and burning-hot jams. With a warm-you-up warm-up of “Black Tar,” the band—Carl Dufrene on bass, Eric Bolivar on drums and NYC go-to-guy Scott Metzger sitting in the entire night on guitar—was good and ready by the second tune, “Had My Reasons.” A long noodling introduction eventually moved into the song proper, Osborne blisteringly belting out “My sweet Mary!” before leading the band into a smoking climax.
The rest of the marathon show was one slow burn after another, the musicians playing off one another perfectly, in no hurry to get anywhere. On “Sarah Anne,” Metzger played a crackling solo over a bouncing reggae-tinged beat, and then Osborne zoned into a Grateful Dead–esque theme, with Bolivar and Dufrene supplying the kindling for another long jam. Osborne took the metaphor to heart mid-set with the highlight of the night, “Burning on the Inside,” which began innocently in his signature New Orleans–flavored blues rock. But after a couple of verses, the temperature spiked, and the band went totally molten, oozing into a gorgeous ambient section full of exploratory interplay that expertly flowed back into “Burning.” Tony Leone came out on drums for a medley sandwiched around a rollicking cover of “Going Down the Road Feeling Bad” with plenty of audience singing and Metzger and Osborne matching solos.
There was still plenty of heat left in the coals when the set closed, so Osborne threw another log on the fire for the encore with a better-have-your-extinguisher-ready cover of Neil Young’s “Cowgirl in the Sand.” With each verse making way for a far-reaching guitar jam, he curled up around his guitar with such energy that Osborne seemed in danger of keeling over completely, but the quartet was able to pull back each time. It was a monster bonfire of an ending—so much for a cozy evening at home. —A. Stein
Guster – Brooklyn Bowl – December 1, 2013
An eager crowd filled Brooklyn Bowl last night to wish Guster a happy anniversary—the anniversary of the recording of their first album, Parachute, that is. Adam Gardner, Ryan Miller, Luke Reynolds and Brian Rosenworcel took the stage, possibly grinning as widely as they did when they played their first-ever headlining set, to uproarious applause. Miller laid out the plan for the night: “We are going to play some of the old songs and some of the new songs and there will even be a costume change!”
Guster opened with “What You Wish For,” an eclectic selection from their extensive library of songs, followed by “Bad Bad World,” off the band’s most recent studio album, Easy Wonderful, and “Ramona,” from 2003’s Keep It Together. Then “Satellite” rang out with booming clarity. “I never get tired of that one!” said Miller, grinning widely before the band launched into “Airport Song.” April Guthrie (cello) and Charlene Huang (violin) strode onstage to join in on “What You Call Love,” “Rise & Shine” and “Two Points for Honesty” and then provided some spot-on string accompaniment throughout the show.
In order to properly celebrate the 20th anniversary of Parachute, Guster proceeded to play the entire album in order. “You can scream out the lyrics as we go along!” said Miller encouragingly. The band rarely perform songs from Parachute, thus playing the album in its entirety was quite novel. The crowd reinstated the quirky tradition of throwing Pixy Stix onstage during “Happy Frappy,” and the band artfully dodged the shower of sugary projectiles. “We’re gonna make a new record in a month,” promised Miller before launching into Parachute’s title song. After nearly two hours, the four-piece played an encore of “Happier” and “Demons.” And it seems like Guster will continue to perform their charming rock music with gusto for years to come. —Schuyler Rooth
Tags: Adam Gardner, April Guthrie, Brian Rosenworcel, Brooklyn Bowl, Charlene Huang, Easy Wonderful, Guster, Keep It Together, Luke Reynolds, Parachute, Review, Ryan Miller
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