SubModern Sessions

FMQB - SubModern Sessions

After releasing three albums in their home country of Norway, the guys of Death By Unga Bunga have finally made it to the States with their latest, Pineapple Pizza. I recently got to chat with several of the members, Sebastian Ulstad Olsen, Preben Sælid Andersen, and Stian Gulbrandsen about their name, their songs, and their attitude. Plus the band performed some songs live for another exclusive SubModern Session.

JL: Congratulations on the new album coming out here in America! You've been a band for seven or eight years, right and you all got together in high school? 

DBUB: Yeah, We've been recording and giving out albums for the last five years. We were kids and we played for a long time of course, but it takes time to find the right formula. But the last five or six years has been serious.

JL: And you call got together while you were in school?

DBUB: Yeah, we all went to the same high school and started hanging out and drinking beer and listening to rock n' roll.

JL: I have to ask how'd you come up with the name Death By Unga Bunga? I think we all know the joke.

DBUB: They don't know the joke back in Norway. That's the thing. We get away with it there, but now that we're here, it's like "oooohhhh..." There's a band called The Mummies from the west coast and they had an album in the 90's called Death By Unga Bunga. We thought it was a killer name so we just went for it and then we heard about the joke so we had no idea. It's not a good joke. People don't really laugh, they just get sick. It's just a sick story that's not true.

JL: But you're stuck with it.

DBUB: Yeah, but it's a good name.

JL: Is Pineapple Pizza more like your live shows than your previous albums?

DBUB: It is. For the first time we did the whole record live in the same room in five or six days in this cabin in the northwest of Norway. We just recorded the whole album.

JL: Is that a lot faster than you'd worked previously?

DBUB: Oh yeah, I think it was forty-six days on the second album. So that's an improvement. We were just much more efficient on this one. We knew the songs and had been gigging a lot. We produced them ourselves. Less compromises!

JL: So do you think this is the best representation of your band?

DBUB: Definitely! No doubt!

JL: And is that why it was time to break here in America?

DBUB: Yeah. It took us some time to find out how we're gonna sound on a record because we know how we do it live. Now I think we've found a good format.

JL: Coming here wasn't a huge culture shock for you though, because you grew up on American pop culture. What were some of your favorite things from America when you were growing up in Norway?

DBUB: Just watching MTV. That was a thrill for me. I was skipping school to go home and watch music music videos. But then they stopped showing music videos, but back in the 90's I guess. We learned a lot from Baywatch, and what's the Al Bundy show?

JL: Married With Children.

DBUB: Yeah, that's my favorite. Those jokes are so not cool now. They're sexist. It's hilarious.

JL: But I certainly wouldn't call your band politically correct. You're a little edgy and dirty.

DBUB: We want to stay far away from the political. We're not U2. People need fun music and fun bands. We want to say things when we write our songs, but it doesn't have to be about how depressed you are because you broke up with your girlfriend. Rock n' roll is about having fun and not giving a $#!+ about anything. The lyrics on this one are mostly based on things we've experienced ourselves now that we've been touring a lot. Melted cheese is a song theme and a ride to space. Just fun stuff.

JL: Yeah, "Lady Fondue" is the single. How did you think to compare love and cheese?

DBUB: Well, my favorite cheese of them all is melted cheese. So we wrote a love song about melted cheese and it kind of works the same way as if it was with a girl. Maybe people think it's about a girl, but we sing about cheese, but I guess it's the opposite way where we sing about the lady, but it's actually about our intense love for cheese.

If you didn't catch Death By Unga Bunga on tour in the U.S., you can hear them performing songs from Pineapple Pizza for our latest SubModern Session. Find out more at and Check out their video for "Lady Fondue" here.

~ By Josh T. Landow
Death By Unga Bunga
Pineapple Pizza
(Jansen Plateproduksjon)

You've been hearing a lot from Brooklyn trio Sunflower Bean for a little while now.  They recently released their debut full length album Human Ceremony.  Last month I had the opportunity to sit down with the band for a chat and to oversee a live studio session including performances of songs from the album at Kawari Sound in Wyncote, PA.  Sunflower Bean is Julia Cumming on bass and vocals, Jacob Faber on drums, Nick Kivlen on guitar and vocals

JL: Congratulations on the album! I heard a bunch of the shows on this tour have been sold out.

JC: Thanks! Yeah, yeah, in a lot of the cities that we've been to before, we've had a really nice turn out after the album. It's our first time really headlining the United States, so every show that's been sold out has been a really awesome surprise for us.

JL: It seems like things are really starting to happen for your band, but tell us about how you got your start.

NK: When I was in 11th grade, I was gigging in a band called Turnip King and our drummer was headed off to college because he was two years older than us. Jacob started filling in for him and when I was in 12th grade, I started writing some of my own songs and playing them with Jacob, and we really clicked.

JC: And then I saw Nick and Jacob play as Sunflower Bean two times before I joined the band. We were all kind of friends through the music scene, because I was in another band from when I was 13. They asked me to be the bass player and maybe singer depending on how things went.

JL: I should mention that when you said 11th and 12th grade, that wasn't all that long ago because you're all pretty young.

JC: Yeah, I just turned 20. I'm the youngest one.

JL: And I assume that college was back-burnered by the band.

NK: Me and Jacob actually did a year.

JC: And I just went straight into Rock ‘N Roll University!

JL: Being "all ages people," how important is it for you to play all ages shows?

NK: Super important!

JF: A lot of the towns and cities have different laws concerning it so sometimes it's impossible unless you want to play at 3 in the afternoon. It's hard with that, but I think we try to do it as much as possible because I think teenagers are the ones who need it the most. They're the ones who are really affected by the music.

NK: Even though it's less money for us to make, it's still worth it because our demographic I feel like is mostly 14 to 20 year olds and then 50 to 60 years old.

JL: I noticed that at your show. I'm always happy when I'm not the oldest person at a show, which I was not. Could it be that you appeal to such a wide range of age groups because you're influenced by a wide variety of music. I don't think I've ever seen as many comparisons made to so many bands that are all over the map, such as Elastica, Blondie, House of Love, Felt, a John Hughes soundtrack and even Stone Temple Pilots.

JC: I don't know. I think that Sunflower Bean is really collaborative. We're three musicians with a lot of different influences and hopefully try to bring them together to create something that's new or original and hopefully doesn't sound too nostalgic. We wouldn't want to sound like a cover band or pick one time or one decade and just do that. So I think maybe that's the reason that people hear a lot of different things in it and that's cool.

If you didn't catch Sunflower Bean at one of their 12 SXSW shows last month, they're currently on tour throughout the U.S. with dates stretching into the summer. You can also hear them live on our latest SubModern Session below. Find out more at and check out the new video for "Easier Said" here.

~ By Josh T. Landow
Sunflower Bean
Human Ceremony
(Fat Possum)

Brooklyn's TEEN, comprised of sisters Teeny, Lizzie, and Katherine Lieberson, along with Boshra AlSaddi, just released their third full length album Love Yes last week and I recently had the opportunity to chat with them about the record at Spice House Sound in Philadelphia.

JL: Love Yes is your third album. What have you learned along the way that influenced how you made this record?

TL: I think we've just become a better band. Since Boshra joined, we've toured a lot. I think that's changed our dynamic of how we write and play music and influenced how our sound is now. And I think we also really enjoy recording live. That's something that we definitely learned from recording the last record, which we multi-tracked. It was good, but we didn't feel that it really captured the sound of the band the way that a live recording does. We were really trying the capture the human feeling of the band. We didn't want it to sound perfect.

JL: I feel like each of your albums, you change your overall sound and do something a bit different. Has that been a conscious goal?

TL: Yeah, I don't think we're ever interested in doing the same thing twice. And it's just natural. I like different things all the time and I'm influenced by different music all the time so I'm constantly changing as a writer. That affects the band and I feel like also just playing more and more affects how you play together.

JL: I understand that environment came into play a lot in the writing and recording process. The band is based in New York, but you went back to your [the Lieberson sisters] home in Nova Scotia to make the record?

TL: That's where we went to record. I wrote songs in Kentucky and we actually did a band retreat in Woodstock, NY that was sort of a failure, but Lizzie wrote an amazing song that's on the record, "Please," there, so it wasn't a total failure. 

JL: Why Kentucky?

TL: There's so much music in Kentucky and also so much space that I think I lost any self-consciousness that I may have in a more urban environment or distraction. You can just kind of experiment and not worry about the fashion side of music, because I don't care about that as a writer.  But it sort of trickles in, living in New York City.

JL: I read a statement where you called this your most feminine album. Is it also your most feminist? Would you define those as two different things?

TL: Lyrically I suppose so. Femininity, I feel like, has to do more with the sensual side of being a woman… for me personally. I cannot speak for all women. How I relate to my femininity is probably being more in touch with the sensuality part of who I am as a woman, and I think that that is part of the record. And then also the feminist part of the record, it just ends up being a topic in my songs because it's something that women have to deal with all the time – sexism and the more political / social side of being a woman in the world.

JL: Is that something that you set out to write about for this album?

TL: I think honestly it plays a little bit into the losing some self-consciousness that I was talking about. It's just something that's always on my mind and I feel more confident speaking about and writing about now, being a little more culturally observant in my songs. I think I used to be a little more shy about that. I didn't set out to do that. It wasn't a conceptual thing, just a natural thing that happened.

TEEN has just embarked on a U.S. tour through early April that will take them to SXSW. Check out their new video for "Free Time" here and listen to their live performance of that song along with "Tokyo" and "All About Us" on our SubModern Session here. Find out more at or

~ By Josh T. Landow
Love Yes

In their short time as a band, Philadelphia's Beach Slang have had a great deal of success, leading to the release this week of their full length debut The Things We Do To Find People Who Feel Like Us. There is some pedigree here as frontman James Alex hails from veteran Pennsylvania punk band Weston, not to say that Beach Slang hasn't earned their own cred.

Following two EPs in 2014, the band signed with Polyvinyl Records for this intense 27 minute, 10 song body of work, which I recently got to chat with them about for our next SubModern Session. Hear James perform acoustic versions of the album's first two singles "Bad Art & Weirdo Ideas" and "Noisy Heaven," and learn more about the band's background, inspirations, and future plans. Listen to this exclusive performance and interview HERE and feel free to share it on your station's website or social media. If you're interested in airing this on your show, please contact me at

If you're looking for other suggestions from the album, start with "Throwaways,"  "Ride The Wild Haze," and "Young & Alive." Hopefully you can catch Beach Slang for a plugged in rock show while they're on tour this November.  See if they're coming to your town and find out more about them at Beach or

~ By Josh T. Landow
Beach Slang
The Things We Do To Find People Who Feel Like Us


The L.A. husband and wife duo of Chris Senseney and Stefanie Drootin-Senseney make up the core of Big Harp, who recently became a full-fledged three piece, with the addition of drummer Daniel Ocanto, for their third album Waveless. The new album finds the band exploring a more rock-oriented sound than their previous two.

With songs like "Diev," "Numbers," "Golden Age," and "Image" all receiving specialty airplay in the weeks since the album's release, I was happy to have the opportunity to sit down with Chris and Stefanie for our latest SubModern Session. You can hear them talk about the history of the band, what it's like to tour with their kids, Stefanie pulling double duty with The Good Life, and most importantly hear them play acoustic versions of some of their tunes. Listen to this exclusive performance and interview HERE and share it with your listeners on your station's website or social media. If you're interested in airing this or any SubModern Session on your show, please contact me at

Big Harp heads back out on tour this November, through the Midwest and West Coast, with The Good Life. Find dates and see videos for "Numbers" and non-album single "It's A Shame" at

~ By Joey Odorisio
Big Harp
(Majestic Litter)

Canadian indie rockers Tokyo Police Club have been longtime SubModern favorites, going back to their 2007 EP A Lesson In Crime. During the making of last year's TPC album Forcefield, singer/bassist Dave Monks moved to New York City from his "home and native land" of Canada. Monks also got into a new relationship, which helped inspire the songs that make up his first solo release, the EP All Signs Point To Yes.

The six song set is full of minimalist, charming tunes, kicking off with the handclaps and keyboards of "Vegas." You've heard the single "Gasoline," which is actually one of the mellower tracks on the EP, with its tasteful brushed drums and keyboard flourishes. "The Rules" is a standout, bringing the hooks that Monks is known for from TPC, and culminating into almost a mini-Arcade Fire catharsis at the very end. "Heartbeat Blues" is a wistful song about feeling invisible to people all around you.

In the end, All Signs Point To Yes is a slight but very likeable collection of winning songs. Monks has been on a short solo tour which brought him to MilkBoy in Philadelphia, where we recorded his set for another SubModern Session. Listen to this exclusive performance and interview with FMQB's Josh T. Landow HERE and share it with your listeners on your station's website or social media. If you're interested in airing this or any SubModern Session on your show, please contact

~ By Joey Odorisio
Dave Monks
All Signs Point To Yes
(Dine Alone)

Back in February, Minnesota natives Hippo Campus, fresh out of high school, released their debut EP Bashful Creatures and they've been picking up steam ever since. In fact, shortly after the EP was released, the band was among the most talked about new acts at SXSW. Now I realize that all of this was a while ago, but with a very busy summer of touring ahead for the guys, including major festivals like Lollapalooza, Made In America, Reading, and Leeds, it seemed like a good time to revisit their impressive six song set that includes singles "Suicide Saturday" and "Little Grace."

My ulterior motive is to share my recent interview with Hippo Campus and the live performance that goes along with it, for our latest Submodern Session. Listen to this exclusive session HERE and please share it with your listeners on your station's website or social media. You can also see video of this performance, recorded at Bourbon & Branch in Philadelphia, here. If you're interested in airing this or any SubModern Session on your show, please contact me directly at

After listening to the session you can check out their Gallagher-esque video for "Little Grace" that we talked about here, or their appearance on Conan here. Find out tour dates and more at or

If you're interested in airing this session on your show, please contact Josh T. Landow.

By Josh T. Landow
Hippo Campus
Bashful Creatures EP

(Grand Jury / INgrooves)

You may remember the rich, sultry voice of Arizona native Zella Day from last year's single "Sweet Ophelia" or her folky take on The White Stripes' "Seven Nation Army." Now Zella's full length debut album Kicker has arrived, featuring the songs you've heard from her EP and a lot of new material, running the gamut from from singer-songwriter fare to spaghetti western sounds to dance jams.

I recently had the opportunity to sit down with Zella to chat about the record and hear her perform (almost) acoustic versions of some of its tunes, including "East of Eden" and "Jameson," for our latests Submodern Session. Listen to this exclusive session HERE and feel free to post it on your station's website. Please contact me if you're interested in airing this session on your show.

Of course I recommend delving deeper into Kicker as well, with songs like "Jerome," "Hypnotic," and current single "High" that would all sound great on the radio. Find out more about Zella Day and see videos at Catch her live on tour this summer including stops at the Firefly Festival this weekend and Lollapalooza next month.

If you're interested in airing this session on your show, please contact Josh T. Landow.

By Josh T. Landow
Zella Day
(Pinetop / Hollywood)

Springtime Carnivore is the latest musical offering from talented singer / songwriter Greta Morgan. You may remember Greta from her previous bands The Hush Sound and Gold Motel. When writing the songs that would come to make up this album, she felt such a personal connection to them that compelled her to start a completely new solo project, playing and recording almost everything on her own.

Greta and the band that she's put together to tour as Springtime Carnivore recently paid me a visit at Spice House Sound studios in Philadelphia for our latest SubModern Session where they shared insights into the creation of the album and played live versions of some of its highlights, "Name On A Matchbook," "Sun Went Black," and "Keep Confessing." Listen to this exclusive session HERE and contact me if you're interested in airing it on your show.

You can find out even more about Springtime Carnivore at or on Facebook, and check out the video for "Name On A Matchbook" that we discuss in the session here.

If you're interested in airing this session on your show, please contact Josh T. Landow.

By Josh T. Landow
Springtime Carnivore
Springtime Carnivore

Philadelphia's Cold Fronts have a had a pretty fantastic couple of years after being unknowingly discovered at SXSW by Seymour Stein of Sire Records, the man who signed The Ramones and Madonna. The whirlwind will culminate later this year with the release of their full length debut, but late in 2014 the band put out an obligatory pre-album EP, Forever.

The EP is a quick listen, with four songs coming in at under 15 minutes, but it hits hard, kicking off with the one two punch of rockers "Hit Me" and "Know It All." Those will both be appearing on the upcoming record, but the second half of the EP, the catchy "Jackie" and more experimental "Faded," will not be.

I recently sat down with frontman Craig Almquist and the band at Cambridge Sound Studios in Philly for a chat, and more importantly to record our first SubModern Session of 2015. You can listen to this exclusive live performance HERE, and find out more about Cold Fronts at

If you're interested in airing this session on your show, please contact Josh T. Landow.

By Josh T. Landow
Forever EP

Mike Doughty's prolific output has increased exponentially in recent years. Since his last album of new material (2011's Sad Man Happy Man), he released a covers album, two live records and an album's worth of re-recorded Soul Coughing songs, after distancing himself from that material for years. His newest album Stellar Motel was released in September.
       Doughty's last few releases have been fairly lo-fi and stripped down but Stellar Motel gives his sound a good shake-up, by incorporating plenty of Hip-Hop into the material. Doughty worked with indie Hip-Hop producer Good Goose on Stellar Motel, which essentially goes back and forth between straightforward guitar tunes and Hip-Hop tracks. Stellar Motel kicks off with the great lead single "Light Will Keep Your Heart Beating In The Future," which is built around an ominous banjo sample. Much of the record alternates between classic solo Doughty songs such as "When The Night Is Long" and "These Are Your Friends," and wackier Hip-Hop collaborations like "Oh My God Yeah F*** It" and "Let's Go To The Motherf***ing Movies." Multiple under-the-radar guest rappers appear throughout Stellar Motel, trading off verses with Mike on tracks such as "Let Me Lie" and "Pretty Wild."
       After two decades of music making (Soul Coughing's debut album recently celebrated its 20th anniversary!), it's great to see Doughty still experimenting and musically mixing things up.

If you're interested in airing this session on your show, please contact Josh Landow.

By Joey Odorisio
Stellar Motel

(Snack Bar / Megaforce)
One of my favorite new bands this summer has been the Scottish duo Honeyblood, consisting of lead singer/guitarist Stina Tweedale and drummer/singer Shona McVicar. I don't think I would have guessed that there were only two of them making so much "crunch pop" as they call it. Not to say that it's all loud and raucous tunes. There's a range of sounds on this impressive debut from fuzzy rockers like "Killer Bangs," "Fall Forever," and "Choker" to more harmonious tunes like "Bud," "(I'd Rather Be) Anywhere But Here," and "Fortune Cookie."

We recently had the chance to spend some time with the delightfully charming ladies of Honeyblood for another SubModern Session where they performed live renditions of some of the album's highlights, plus we found out about all the calls that Stina got from her exes after the release of their venom spewing single "Super Rat" and the very sweet story behind "Killer Bangs." The session is available HERE and can be embedded on your station's website or aired on your show.

Find out more about Honeyblood at or

By Josh T. Landow
(Fat Cat)

It's not often that you hear about a Canadian/Irish hybrid electronic band, but I'm here to tell you about one (the only one?) right now. The five piece Nightbox makes some very interesting sounds using unconventional methods on their sophomore EP The Panic Sequence. Their songs are equal parts danceable and fist-pumpable and catchy as hell. If you're looking to fill that M83 sized hole on your playlist, check out single "Burning" or go a little deeper with the title track and "In The Rural."

I recently sat down with the band to talk about the EP (and the impressive sight of their fiery video for "Burning"). You can hear that interview and more importantly a live performance, including a couple of brand new, yet-to-be-released songs, in our latest SubModern Session. It's downloadable for airplay HERE or to embed it on your website HERE.

Find out more about Nightbox at or

By Josh T. Landow
The Panic Sequence
(Rare Beef)

Over the last few years City Rain have become a mainstay of the Philadelphia electronic music scene, but as founder Ben Runyan teamed up with Scott Cumpstone for his latest effort Songs For A High School Dance it became clear that it was time to reach beyond the city of brotherly love. Perhaps you've heard their single "The Optimist," but now check out a live SubModern Session from City Rain including two more songs from the new album. It's downloadable for airplay HERE or to embed it on your website HERE.

Find out more at

By Josh T. Landow
City Rain
Songs For A High School Dance

When English band The Duke Spirit decided to take a break for a little while after 2011's Bruiser album, members Liela Moss and Toby Butler began working on music together that was departure from their norm into the world of electronic music. Recently releasing an EP, followed shortly thereafter by a debut full length album Zeal, Roman Remains has become more than just a side project for the two.

Many of you have played their lead single "This Stone Is Starting To Bleed" as well as album tracks "Animals" and "Tachycardia," but you probably haven't heard the songs of Zeal as you will in our latest SubModern Session where Leila and Toby perform acoustic renditions of some of the album's tracks. Check out the session for yourself and share it with your listeners. It's downloadable for airplay HERE or to embed it on your website HERE.

Find out more at

By Josh T. Landow
Roman Remains
(Hot Records Ltd.)

Eternal Summers are a dreamy, shoegazey, fuzzy trio, hailing from one of the last places you'd expect – Roanoke, VA. With the release of their 3rd album The Drop Beneath they have both maintained the upbeat jangly pop sound that they firmly established on 2012's Correct Behavior, yet taken a darker turn away from it.

Many of you have been playing their current single "Gouge," but there is plenty more to be found on The Drop Beneath. For those looking to go deeper, try "100," "Never Enough," "Make It New," or "A Burial." Find out more and check out their live performance in our latest SubModern Session, recorded at MilkBoy The Studio in Philadelphia. It's available for you to download and play on your shows HERE or embed it on your website from Soundcloud.

You should have ample opportunity to catch Eternal Summers live as they are touring all over the place through May. Find out if their travels will bring them anywhere near you at or

By Josh T. Landow

Eternal Summers
The Drop Beneath

When a band has been around for as long as Sam Roberts Band has, there are always those fans who who say "I like their old stuff better." With the release of SRB's sixth album Lo-Fantasy a few weeks ago, I find myself saying the opposite. I love the way that Sam Roberts Band has evolved and improved album after album with Lo-Fantasy perhaps being their best work yet!

Recognizing that they were heading in a more danceable direction, SRB chose to work with Youth (Killing Joke, The Orb), a producer who they knew would push them beyond their comfort zone. That's not to say that Lo-Fantasy doesn't sound like a Sam Roberts Band album, because it does, but with a little extra something to it (including a bonus disc of full-on dance remixes). Delving a bit deeper than first single "We're All In This Together," you'll find the equally excellent "Shapeshifters," "The Hands of Love," Kid Icarus," "Too Far," and smooth album closer "Golden Hour."

Hear a few of those songs performed live in our latest SubModern Session, recorded at World Café Live in Philadelphia. It's available for you to download and play on your show HERE or embed from Soundcloud.

Catch Sam Roberts Band at the SXSW "M For Montreal" showcase on March 13th or on tour on the west coast and Midwest throughout March. Get more info and dates at or

By Josh T. Landow

Sam Roberts Band
(Paper Bag)

When I first heard Drowners' single "Luv, Hold Me Down" a few months ago, I thought, "what a great new British band." Then I heard that they were a New York band and I thought, "what a great New York band trying to sound British." Then I found out that frontman Matthew Hitt actually is a transplant and former model from the U.K. and then I just thought, "what a great band…period." Actually as I've listened more and more to their self-titled debut full length, Drowners have come to remind me the most of early era Strokes. I can only wish as much success on them.

I recently had a chance to meet up with the band at MilkBoy in Philadelphia for another SubModern Session performance. If it's possible Drowners raw energy comes through even more live! This session is available for you to download and play on your show HERE or embed from Soundcloud.

If you're headed to SXSW this year, you owe it to yourself to check out Drowners, or see them on tour this spring. Get more info at or

By Josh T. Landow



If you enjoyed Blondfire's Where The Kids Are EP as much as I did last year or the title track inspired you to go out and buy a Honda Civic, then you're probably as happy as I am that their full length record (featuring the entirety of the EP) is finally here! If you didn't spend any time with more than just the EP's title track, then I'm almost envious of you because you get to enjoy all of Young Heart as brand new. Aside from the EP tracks and the titular single, which comprise the first 5 track of the album, some highlights to consider for your shows are "Dear In Your Headlights," "Wild and Wasted," "We Are One," and "Life of The Party."

For those who don't know much about Blondfire, it's the project of brother-sister duo Bruce and Erica Driscoll, who grew up in Grand Rapids, Michigan, but were inspired just as much by the music from their mother's native country Brazil, where they spent a lot of time. Find out more about that and hear songs recorded live at MilkBoy in Philadelphia for our very first SubModern Session, available for you to download and play on your show HERE, or embed this Soundcloud player onto your website:

If you liked what you just heard, hopefully you can experience it live as Blondfire is just wrapping up a tour with Royal Teeth and heading out again with The Sounds in March and April. Get tour dates and more info at

By Josh T. Landow

Young Heart
(Tender Tender Rush / INgrooves)


John Mayer
PD, WFLZ/Tampa

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