The Big Payoff

Band of Skulls / Ponderosa
Monday, October 15
Old Rock House

God save a touring band. There are nights when you play to a handful of people, thankful that you have one of the most fun jobs ever, but really wishing you had a few more people there to make it feel less like work. Those nights are hard. They make the tour almost not worth it, a real ego-killer. You pack up your gear hoping against hope that next time it'll be better.

photo bandofskulls.com

Ponderosa arrives in St. Louis from their home in Atlanta, GA, and referred at one point to playing here to exactly four people their last time out. Happily, this was much closer to that hoped-for night, as there were plenty of St. Louisans out to catch the early band. Ponderosa is a study in strange mashups that wouldn't work on paper—lead guitarist Kris Sampson draped himself in what looked like an Afghan rug, while the rest of his band leaned into hipster or rockabilly costuming. The music blended AM radio vocal harmonies with Ian Moore/Nick Lowe-style songcraft and washes of very loud surf guitar. Despite the strange-sounding combinations, the best songs recalled a heady mix of Kings of Leon's early work and Band of Horses, which points to great things in their future.

By the time Band of Skulls stepped up onstage, the Monday night crowd had closed on about 150 souls—not a bad turnout for a Southampton, UK band whose main successes have been a pair of stellar rock albums (Baby Darling Doll Face Honey from 2009 and 2012's Sweet Sour), touring with Black Rebel Motorcycle Club and appearing in the background of numerous video games, movies and TV shows.

Despite the Cardinals playoffs displayed on every TV in the Old Rock House, and their own tale of a tiny STL crowd back in the day, lead singer/guitarist Russell Marsden and bassist/vocalist Emma Richardson had the crowd well in their hands as the lights came on. The band is known for being "alternative," though one wonders if that means anything anymore. What they really are is a small band with a big sound, full force blues-rock that stomps and sways and crunches in all the right places. It's the kind of alchemical mixture of heavy and pop that brings to mind the southern rock traditions of archetypal rock n' roll distilled by current practitioners like Band of Horses and Kings of Leon.

Marsden certainly was aware of all rock n' roll traditions, stomping around the stage with his long hair, beard and Gretsch guitars while blazing through some impressive playing. All this while the rest of the band—Richardson and drummer Matt Hayward—played it cool and kept the beat alive. Their songs were greeted with huge cheers from the audience. Highlights include "The Devil Takes Care of His Own" and the new single "You Ain't Pretty But You Got It Goin' On," as well as "Friends" and "Fires." But "I Know What I Am" got some of the loudest response, likely due to its near ubiquity three years ago. From TV's "Friday Night Lights" and "Degrassi : The Next Generation" to videogames like "MLB 10 : The Show" and "Guitar Hero : Warriors of Rock," this song was everywhere.

And, like all of Band of Skulls' music, there's good reason. Their songs and records are streamlined American-sounding rock grab bags that constantly surprise and delight with both elegant simplicity and a deeper, darker undercurrent. This should play well with fans of fellow UKers MUSE, whose tour Band of Skulls jumps on starting this spring—and who are going to continue turning up in droves for this kind of music, hopefully banishing Band of Skulls' single-digit crowds for good.

by Jason Robinson

The Baseball Project 7"

Baseball Project 7" with lenticular cover

The Cards just did it! Yay, sports! Okay, so let me just say that I am not a sports fan – which is a statement that can be downright blasphemous in this town – but I do enjoy when our home team wins (even if I couldn’t sit through a whole game if my life depended on it). After working in a record store as long as I have, I've noticed there's a strong connection between music, musicians, and baseball. A good chunk of the old school record store employees are sports fanatics, keeping up with every detail of the game they love (and not just for their fantasy sports teams). That's what formed the basis for The Baseball Project - a baseball themed super group featuring Peter Buck, Scott McCaughey, Steve Wynn and Linda Pitmon - stepped up to the plate at Euclid Records NOLA to record songs that would appear on the first 7-inch release from Euclid's sister store in the Bywater. Side 1 features the fun rockin' "El Hombre", which is an exclusive track about former Cardinal great Albert Pujols and his illustrious career with the Red Birds. On the flip side is "Harvey Haddix", the story of a Pirate who pitched twelve perfect innings, only to give it all up in the thirteenth, missing his chance of being listed alongside all those who did in baseball history. The live version featured on this single updates the lyrics to include pitchers who joined the club since initial studio recording was made. As with all the Euclid Sessions 45 Series, a portion of the proceeds go to a charitable cause, and are limited editions, so pick one up before it’s too late! Go Birdnals!  

by Jack Probst 

Mission: White Album

Real Talk extended edition! Recently our Chicago compatriot Josh Siegel posed this question: "You're called in as executive producer by the Beatles, who've asked you to whittle the White Album down to a ten-track LP. What's your track list?"

It's a devil of a question, because at first it seems so obvious—you know the first few you'd definitely keep, you know the first couple you've never really been crazy about. I mean, you love the White Album, but could you live with "Bungalow Bill"? Probably. But there are 30 tracks on this monumental double slab of vinyl, so you can only save one song for every two you toss. And once you start thinking about the actual flow of the album, the album as album... all of a sudden it's like one of those dreams where you're late to your Calculus of Philosophy final.

We asked some musicians and music thinkers about their personal track lists, which you'll find below. But also: what's your personal White Album sound like? Is it crazy to keep "Piggies" on the track list—or is it crazy to take it off? These are the questions to keep you up at night...

First: the full track listing of the actual White Album, so you know the stakes:

Back in the U.S.S.R.: Dear Prudence: Glass Onion: Ob-La-Di, Ob-La-Da: Wild Honey Pie: The Continuing Story of Bungalow Bill: While My Guitar Gently Weeps: Happiness is a Warm Gun: Martha My Dear: I'm so tired: Blackbird: Piggies: Rocky Raccoon: Don't Pass Me By: Why don't we do it in the road?: I Will : Julia: Birthday: Yer Blues: Mother Nature's Son: Everybody's Got Something to Hide Except Me and My Monkey: Sexy Sadie: Helter Skelter: Long, Long, Long: Revolution 1: Honey Pie: Savoy Truffle: Cry Baby Cry: Revolution 9: Good Night

Let the White Wars begin:

Josh Siegel (singer/guitarist of Bailiff)

This question popped in my head while I was listening to the White Album and

recalling a clip from The Beatles Anthology Documentary where George Martin

says something about wishing they'd been more focused during The White

Album and made a "proper album" or something along those lines.  I went

with 10 songs because I recalled Lennon saying something like, "After Brian

(Epstein) died, Paul would say, "Let's make an album.  You know, let's get

our 10 songs in order and make an album."

Here's what I came up with:

1. Helter Skelter

Man, that would be a hot opener.  Possibly would've been the greatest

opening track on any Beatles album.  Forget "Back in the U.S.S.R.." Paul,

these are the vocals you want to introduce the album.

2. While My Guitar Gently Weeps

For me this is arguably the best song on the album.  It sounds so good

right after Helter!  It's dark and hip but then the chorus comes and it's

like a beautiful swaying willow tree.  Yeah I said it.

3. Revolution #2

Ok, it's time for a John song.  An anthem.  I'm not sure if this is

breaking the rules but I'm going with Revolution #2 even though #1 & #9 are

actually on the White Album.  Hell, I'm not even sure it's called #2 but

it's the one that appeared on the Past Masters album, it's an outtake from

the White Album that they released as a single.  The #2 version has the

right tempo and that awesome Gary Glitter drum groove.  Compare the

versions and you'll see what I mean.

4. Mother Nature's Son

Let's cool things off with a soft acoustic song.  I wanted to put this one

and 'Blackbird' on the album but ultimately realized that we can only have

one sweet pretty acoustic Paul song.  Mother Nature's Son is one of the

most focused and beautifully arranged songs on the White Album.  Look at

how much ground they cover in just under 2 minutes.  Ok, maybe Paul didn't

finish the lyrics and does a few too many "oohs" at the end.  Maybe he's

willing to write a few more before we send the LP to be pressed.

5. Everybody's Got Something to Hide Except for Me and My Monkey

This one wasn't on my original track list but when I replayed the record I

realized that this one does sound fantastic launching right after Mother

Nature's Son.  So maybe John just sings "C'mon" and "Take it easy" 30

times.  It rocks and we need a fast one after Mother Nature's Son.

6. Dear Prudence

Oh man, "Me and My Monkey" fades out and "Dear Prudence" fades in!  This

one will settle things a bit after that last rocker.  And whoa, while I was

listening I thought, "Man, I love Ringo, look at how he keeps morphing the

drum grooves," only to read that McCartney played drums on this one.

7. Rocky Raccoon

Ok we're gonna keep things settled for one more song after Prudence.  This

is one of McCartney's best narratives.  It's somehow sad and funny, oh, and

incredibly catchy.  Well done, Paul.  Unlike 'Blackbird' this one does not

seem to compete with 'Mother Nature's Son'.  Maybe it's the Scott Joplin

section in Rocky Raccoon?

8. Yer Blues

This is a must for me.  And it's time to stir things up pretty good after

those last two lighter songs.  This track has got to be the rawest blues

songs the Beatles ever recorded.  It's hard to know the right place to put

it on the album but I've got to have faith that it sort of doesn't matter.

Once it kicks off no one will question it.

9. Piggies

Ok, this was the hardest track to pick by far.  There are many songs I

prefer over this one.  I wanted to get "I'm So Tired" on this album but

another Lennon blues song doesn't make sense here.  And it feels like six

Lennon songs on a 10-song LP might cause tension in the band ;)  Trust me I

want to get another George song on here but "Long, Long, Long" doesn't fit

and I know a lot of folks would insist on "Savoy Truffle" but it doesn't

sound right here either.  And well, you're just not going to convince me to

put Ringo's "Don't Pass Me By" on here.  So I went with 'Piggies" a song I

never listen to on it's own but somehow a Bach-influenced song about pigs

just fits here.  It's musically unlike anything else on the album and

lyrically it breaks up the darkness of "Yer Blues" and the closing track.

10. Happiness is a Warm Gun

This track was easy pick for me.  The hard part for me was that I was

tempted to include 'Julia' on the album but I felt like minor arpeggiated

guitar stuff sounded a little two similar to the opening of the Happiness

is a Warm Gun.  This is one of those magical Beatles songs that starts out

one place then takes a hard right in another direction and then out of

nowhere finds itself resolving so satisfyingly at an end.

Jason Robinson (singer of the Orbz, host of the KDHX's the mixtape, and Eleven contributor)
1. Revolution 1
2. Back in the USSR
3. I Will
4. Obli-Di-Olba-Da
5. Happiness Is A Warm Gun
6. Why Don't We Do It in The Road?
7. Helter Skelter
8. Blackbird
9. Birthday
10. Everybody's Got Something To Hide Except For Me And My Monkey
11. Revolution 9

[Though it's 1 track longer than the limitation, the final track being
"Revolution 9" makes the opening and ending thematically match, so
it's a requirement.]

So, with this remix, my intention was to trim the fat and make the
album more of a rock-heavy hit-laden pop album, the kind The Beatles
pioneered with Sgt Peppers, while still keeping the spirit of
experimentation and roots/blues crate-digging that permeated the
original bloated track list. Certain songs were deemed way too sappy
("Julia", "Mother Nature's Son" et al) while others were just
seemingly out of place ("Wild Honey Pie" should never have made the
cut in any just universe).

Moving tracks around you have the two big slabs of rock up front (put
your best foot forward and all). We then have that sudden drop to "I
Will"'s kinda syrupy sentimentality, or as I call it "pretty much
everything McCartney ever wrote" (zing!). Then comes the funnest
sequence this side of the 2nd half of Abbey Road - the onomatopoeia of
"Obli-Di", the disparate darkness of "Happiness..." and the randy,
saucy "Why Don't We Do It...?", the pure psychotic bliss of "Helter
Skelter", followed by another emotional drop into McCartney territory
for "Blackbird" before returning to rockville with "Birthday" and
"Everybody's Got Something To Hide..." Then, you close the record with
"Revolution 9", leaving the listener wanting to start the record
again.


Jason Hutto (Tower Groove Records and Smoking Baby Studio)
Why would I want to edit "the White Album"? I know it's an interesting question. One that I would actually like to read people's responses, but I'm in no position to answer. I don't necessarily think its a "perfect" album, but what is? I feel like I'm so far removed from the intentions of that record, and to use to hearing all of the material, that in a way, even if I didn't care for a track growing up, I still got comfortable with it over time. Those tracks for me, have become just as important in how they are sequenced in a record that is so full of amazing songs. I love the hodgepodge of that piece of work. It's a great look into an incredible group of talent, spiraling out of control from each other. Showcasing the strengths that made "the Beatles", and the weaknesses that were the Beatles. An all-too-important record in the history of music for me to edit.


Stephen Baier (Dots Not Feathers)
1. Glass Onion
2. While My Guitar Gently Weeps
3. Happiness Is a Warm Gun
4. Dear Prudence
5. Mother Nature’s Son
6. Julia
7. Blackbird
8. Rocky Raccoon
9. Martha My Dear
10. Sexy Sadie

When I was in middle school my muddled attempts to impress female peers were always started with a song. I would croon “Rocky Raccoon” on the school bus, during recess, or in the hallways. Others banked on their sports skills or good looks to woo women, I relied on my ability to match Paul McCartney’s vibrato while I would sing, “Only to find Gideon’s bible…” Floundered success rate aside, the songs on the White Album are not so much woven into my daily life, but more so thrust into my bones, a detailed account of a mercurial teenager who wanted nothing more than meet Bungalow Bill and bad mouth Sir Walter Raleigh. To trim the White Album to ten songs was akin to dropping the guillotine on 20 family members.
When I listen to “Piggies”, I see the sus in starch white shirts stirring up the dirt while a blissed harpsichord fugues along. In their eyes, the mercurial teenager deserves a damn good whacking for such a casual edit of a revolutionary album. With ambitious compositions, superb songwriting, and an omnipotent band tearing at the seams over 93 minutes, the White Album has become the colloquialism upon which every band’s greatest success is measured.

Tim Gebauer (RFT's 2012 Best songwriter, and composer at Electropolis)
SIDE 1
Back in the USSR
Dear Prudence
I'm So Tired
Happiness Is a Warm Gun
Blackbird

SIDE 2
Helter Skelter
Revolution 1
While My Guitar Gently Weeps
I Will
Revolution 9


Paige Brubeck (singer/guitarist of Sleepy Kitty, and curator of Eleven's Paper Time Machine)

This was a hard call to make! I feel like my list is a little of what I kept, but also a lot of what I cut. For example, Piggies and Helter Skelter were the first to go (which I'd be happy to discuss in person.) I'm a fan of the ten track album so I like this challenge. "Rocky Raccoon" was my wild card. At the last minute, as I was typing this list it bumped Birthday. Maybe I should put "Birthday" back! Ah, anyways:

SIDE A
1. Back in the U.S.S.R.
2. While My Guitar Gently Weeps
3. Revolution 1
4. Glass Onion
5. Rocky Raccoon

SIDE B
6. I'm So Tired
7. Blackbird
8. Revolution 9
9. I Will
10. Julia

Go See "Searching for Sugar Man," Like, Tonight. Seriously.

If you're a musician, or you legitimately love music, it's absolutely in your interest to get over to Plaza Frontenac by or before this Thursday night to see "Searching for Sugar Man." Consider it essential viewing and consider this an urgent notice to you personally. If you ever did love the legends and mythology and bleak lonely power and cathartic electricity of of rock music, punk music, folk rock, or classic rock, this is a film you should see in the theater.

The thing is: I can't tell you any more about it. The less you know about it the better. But I just went to see it this evening—we were literally the only two people in the theater—and I'm still trying to figure out what I can tell you about it that will get you there but not lessen the power of the narrative. 

To start: you should see it specifically in the theater because it's beautiful to look at. The environmental cinematography is stunning, and the archival photos look like something Bob Reuter might have shot in St. Louis; that is to say, gritty and enigmatic and iconic black and white images of fascinating characters in a busted-up city. And there are shots of South Africa that'll make you want to go there, pretty much guaranteed: a vista of city grid butting up against cloud-capped mountains, red rocky cliffs above a blinding blue sea, endless acres of African forest, street-level city life.

Also: "Searching for Sugar Man" is a documentary about a songwriter—you haven't heard of him, and you haven't heard his music—and his music is haunting, urban, pissed off, effortlessly classic. The music alone is worth the price of admission.

But also: go to the theater because you probably won't see it otherwise. Sure, it might end up on Netflix or whatever, but it somehow won't get seen. And then you'll have missed a true gem.

So don't read any more about the movie, don't put it off, and do get yourself over to Plaza Frontenac. Trust me on this one. And if you go, after you've seen it, write me a letter so we can talk about it, cos I can't talk about it with anyone yet and it's driving me nuts!

"Searching for Sugar Man" is showing at 1:30, 4:15, 7:00 and 9:30 now through Thursday.

John Cusack relives old glories with Peter Gabriel in LA

I may be old, but for everyone my age, there are very few scenes in movies as iconic as Lloyd Dobler standing outside Diane Court's bedroom with a boom box blasting Peter Gabriel's "In Your Eyes". It's a completely cheesy and completely unrealistic...but it's not. Every guy in the world has thought about doing something that dumb and every woman in the world has dreamed of it happening to them. Of course, if it did happen, I think the odds are greater the girl would have the guy arrested than invite him to travel to Europe with her when she leaves for her scholarship. Last night at Peter Gariel's show in LA, John Cusack joined him on stage briefly and presented him with a boom box like the one he held over his head all those years ago. Pretty cool.

Photo credit: Timothy Norris

Some more fun facts (or possibly myths) about the scene. The rumors have always been that director Cameron Crowe wanted to use a Replacements song, "Within Your Reach", but the movie studio requested "In Your Eyes". Without "In Your Eyes" the scene might not have been as iconic, but it would've been a more realistic choice that Lloyd (or Cusack) would have made. After all, the other rumor is that Cusack was playing Fishbone through the radio as he filmed it.

 

Pokey LaFarge at Off Broadway 9/28/12

By Kyle Kapper

Pokey LaFarge, photo by Bill Streeter

            Thanks to Pokey LaFarge and the South City Three, Off Broadway transformed last night into an effervescent dance hall. Men in fedoras twirled ladies in period dresses with flowers in their hair, as St. Louis welcomed home one of its most honored sons. You’d be hard pressed to decide whether those onstage or in the crowd were more thrilled to be at this roaring party; with exuberance from both sides, band and congregation seemed like old friends excited to see each other again.

            Greeting friends and fans before the show, Pokey was the wholesome Everyman so strongly mythologized and associated with the period from which many of his musical stylings originate. Jimmy Stewart himself couldn’t better represent the American man of yesteryear. Sporting a buttoned-up blue collar and heavily shellacked hair, LaFarge offered autographs and hugs for fans of all ages, including the knee-high ones he later joked had been “snuck in illegally” by their parents into the 18+ show.

            Then the houselights dimmed, Pokey reappeared with red tie, flag pin, and pinstriped wide-lapeled jacket completing his all-American semblance, and the real magic began.

            Opening with "Devil Ain't Lazy," a feisty swing standard from 1947, the band wasted no time infusing the scene with raw but precise energy. Pokey's audacious bravura blended wide acoustic dynamics (shout-to-croon and back again) in a voice as big as Bing’s. With unwavering confidence and charisma, LaFarge and the South City Three launched into several staples from their records, including a boisterous call-and-response take on "Pack It Up," the flip side of the seven-inch produced by Jack White (yes, that Jack White, who they were due to open for the next night at NY's Radio City Music Hall). He also revealed numerous tracks from a new album to be released next spring, including the bouncy Midwest tribute "Central Time" as well as "Close the Door," a surprisingly biting rebuke against the US health-care system (“Or lack thereof,” LaFarge sneered in the sole unsmiling moment of the evening).

Bolstering the cool-cat swingster with fearless panache was the South City Three, a troupe of scrupulous musical dynamos. Joey Glynn drove the tempo home on his double bass; curly-headed Adam Hoskins played the part of an Amish gent who'd made a deal at the crossroads to become an archtop guitar guru. Ryan Koenig, mustache waxed to split on both sides like a snake’s tongue, channeled a cross between a Wild West dueler and a Looney Tunes villain. Grinning mischievously in a black flat-brimmed hat, suspenders, and a yellow bowtie, he rounded out the ensemble with incredible mouth harp and washboard percussion.

Adam Hoskins,
photo by Bill Streeter

At one point in this storied evening, Hoskins and Koenig improvised stage banter as Pokey made himself comfortable, purging the jacket and tie, loosening the collar, rolling up his sleeves, and gulping a healthy glass of whiskey. The moment dissected the show into two halves, the first half a pristine powerhouse jolt of American tradition and the second, kicked off with a spirited (har!) rendition of "Drinkin' Whiskey Tonight," where the buttoned down Pokey all but invited the crowd onstage in a blast of collective carousing. Offering toast after toast to the crowd, and even honoring an obscure song request, Pokey did bring onstage the brilliant Chloe Feoranzo of St. Louis treasure Miss Jubilee and the Humdingers, whose virtuosic clarinet brought a spice of ragtime to the revelry.

The era-bending evening had begun earlier with the opening act Colonel Ford, who are the perfect response to those lamenting for “how country music used to be.” With scuffed boots and piped cowboy shirts, and with song introductions such as “Alright, who likes Buck Owens out there?,” Colonel Ford offers authentic passage through dusty and worn back roads, with occasional detours into gospel and even the occasional zoot suit swing. And so the stage had been set and set well for the homecoming party for Pokey LaFarge, who after touring with Jack White this autumn will be brandishing his trademark kazoo solos at a New Year’s Eve gig in Nashville’s legendary Ryman Theatre with Old Crow Medicine Show.

For a few fleeting hours last night, though, the band put the home in homage. “There are so many great St. Louis bands,” Koenig mused, “and they all play right here. You just don’t get the response in some other places that you get here.” Later in the evening, a sweat-soaked Pokey LaFarge offered a piece of advice perhaps as timeless as it was revealing about the bandleader himself: “Don’t be afraid to work for a living.” Sage wisdom from a rising gypsy, who thankfully takes time to honor his own roots just as he honors America’s.  

Tennis/Spectator/Making Movies at Off Broadway 9/27/12

By Blair Stiles

Tennis, photo by Erin Algiere

Autumn in its adolescence incorporates rare warm nights and pumpkin ale in its bid as winter’s suitor. The combination muffles the senses, or heightens them in preparation of evening’s palette: bruised blue-black and dull, streetlight yellow. The evening’s dark colors worked their way inside Off Broadway. Comfortable darkness is a worthy backdrop for Spectator, who performed with lights down low. St. Louis’s dream-pop act is a midnight kiss on record, and anointed with a country balm live. The harmonies of vocalists Megan Rooney and Jeffery Albert coaxed the room with sultry pillow talk. When Rooney bid the audience farewell with a sweet “We’ll see you later,” it was impossible not to think, “Hope so.”

Off Broadway at half capacity gave enough room between scattered duos to navigate with ease. When Making Movies took the stage, they wrestled with a disjointed crowd, who didn’t seem ready for either the band’s Spanish-English lyrics or their Guadalajara-meets-Kansas-City aesthetic. Singer/guitarist Enrique Chi’s hands, body, and chords shook with the blur of an epileptic fit. His brother, bassist Diego Chi, marched around the stage on an ant-stomping mission, while percussionist and keyboardist Juan-Carlos Chaurand glided from instrument to instrument without a second guess. Drummer Brendan Culp supplied the sly rancor: when Enrique referred to a certain kind of romantic relationship as, “usually fucked up, and [hard to] get out of,” to smothered chuckles from the crowd, Culp whipped out, drier than the Sahara, “If you laughed, you’ve probably been in one.” After playing for an audience that would not bring themselves to clap or sing with the exuberant band, Culp’s snarkiness felt justified. 

Not a prettier picture was painted that evening than Tennis’s Alaina Moore. Her crystalline features, tousled blonde mane, and miniscule stature give her the appearance of a cosmic pixie. Though she and husband/bandmate Patrick Riley reside in Denver, CO, in person they look and sound like they could be a Swedish pop act. Feather-light keys and unobtrusive guitar have the pitter-patter effect of snowfall under Moore’s dainty coo. Moore claimed, unconvincingly, to “not know what [she’s] doing up here” and danced center stage with her eyes closed to “Petition.” 

Every song elicited jubilant applause from the audience. After the bleak response to Making Movies, the audience’s disposition needed to be rebuilt. Tennis guaranteed this turn, coiling their energy around the crowd. The audience was overtaken: they danced at last, and it was apparent they had been waiting for just the right moment to let loose.

When Moore introduced the last song, the crowd cried out in protest. Moore looked genuinely surprised; she looked first to the crowd, then to her bandmates with wide, astonished eyes before jumping them into a spontaneous two-song encore. Moore’s last words were, “Thank you St. Louis. You make other cities a drag.” It was the kind of audience reception that St. Louis should be known for.

Setlist:

It All Feels the Same

Pigeon

South Carolina

Petition

Deep in the Woods

Marathon

Guiding Light (Television cover)

Never to Part

Baltimore

My Better Self

Water Birds

Origins

Dimming Light

Cape Dory