TOURS: St. Vincent and tune-yards

St. Vincent

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St. Vincent will tour this spring around Coachella in support of last year's Strange Mercy. Check out the two dates with tune-yards and the make up date in Buffalo below via Pitchfork. 

02-21  Istanbul, Turkey - Salon IKSV
02-22  Rome, Italy - Lanificio 159
02-23  Bologna, Italy - Locomotiv
02-24  Milan, Italy - Tunnel
02-26  Paris, France - Alhambra
02-27  London, England - Shepherd's Bush Empire
02-28  Brussels, Belgium - Botanique-Rotonde
02-29  Amsterdam, Netherlands - Melkweg
03-02  Porto, Portugal - Vodafone Mexe Festival
03-08 Perth, Australia - Rosemount Hotel
03-10 Brisbane, Australia - The Hi-Fi
03-12 Sydney, Australia - Factory Theater
03-14 Melbourne, Australia - The Hi-Fi
03-18 Auckland, New Zealand - The Kings Arms Tavern
03-19 Wellington, New Zealand - San Francisco Bath House
04-14 Indio, CA - Coachella
04-17 Tucson, AZ - Rialto Theater *
04-21 Indio, CA - Coachella
04-24 Oakland, CA - Fox Theater *
05-03 Providence, RI - Lupo’s
05-05 Buffalo, NY - Town Ballroom
05-07 Pittsburgh, PA - Altar
05-08 Columbus, OH - Newport Music Hall
05-09 Cincinnati, OH - Bogart's
05-10 Indianapolis, IN - Deluxe at Old National Centre
05-11 Chicago, IL - Vic Theatre
05-12 Minneapolis, MN - First Avenue
05-14 Omaha, NE - Slowdown
05-15 Tulsa, OK - Cain’s Ballroom
05-17 Memphis, TN - Minglewood Hall
05-18 Birmingham, AL - The Bottletree
05-19 Atlanta, GA - Variety Playhouse
05-21 Nashville, TN - Cannery Ballroom
05-22 Knoxville, TN - Bijou Theatre
05-23 Carrboro, NC - Cat's Cradle
05-24 Richmond, VA - The National

*with tUnE-yArDs

SONG OF THE DAY: tune-yards - "Powa"



tUnE-yArDs

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The generic sound towering over tUnE-yArDs' 2011 album w h o k i l l is all over the place and this track is no exception. "Powa," aptly spelled in a curious way like every thing else in this band, starts with a high-pitched and soft voice singing over quiet acoustic guitar strumming. The riffs then become heavier less than a minute in and the singing rises in volume and drops in pitch as the song truly gains "powa." It moves along to the chorus where it exudes even more confidence, completely contrasting the innocence of the opening. The bridge continues this trend as the bassline carries the song along and then dives into an expression of emotion with lyrical movements near the genre of rap. The last 90-seconds are swirling around the chorus and Merrill Garbus' vocal talents as the song mellows out and eventually fades out, leaving you with the same emotion you felt coming in.