The last time we heard from Chelsea Wolfe, it was July and she was having one hell of a time in Iceland performing tracks from her latest album, Abyss. Five months later, and here we are: a backstage adventure in London. Not a bad way to end a pretty fantastic year for the artist (doing the show, not hanging out with us). Check out some of Nicholas Sayers’ beautiful photos of Chelsea Wolfe below. See the full photoset HERE. all photos by Nicholas Sayers
Stage fright hasn’t sidelined singer Chelsea Wolfe
– words and photos by Chris Parks –
Washington (CNN) – In a small, dark club in this city’s hip U Street corridor, Chelsea Wolfe stands at a microphone before a sold-out crowd, swaying back and forth as she sings and plays guitar.
She often closes her eyes, seemingly engrossed in her dark, atmospheric music. Between songs, she keeps her banter brief, offering an occasional “thank you.”
After watching Wolfe play several songs from her new album, you might not guess that she grapples with anxiety that can make it difficult for her to perform live.
“Performing was something that I had to learn. I could barely handle being onstage for the first few years, and it’s the reason it took me so long to start my career as a musician,” she said. “I started writing songs when I was 9 years old but didn’t release an album or do a tour until I was 25.”
Now 32, Wolfe is wrapping up a tour that has taken her across the U.S. and Europe and added to her cult-like but growing popularity. Last year, she got a major boost when her song “Feral Love” was featured in the trailer for season 4 of HBO’s “Game of Thrones.” She got even more attention last summer, when her song “Carrion Flowers” appeared in a trailer for AMC’s “Fear the Walking Dead.”
Chelsea Wolfe practices backstage before performing at a club in Washington, D.C.
“This time Wolfe fully embraces the eerie darkness that’s always trailed her work. … (She) makes a convincing case to follow her into the underworld,” wrote Spin’s Harley Brown in a review.
But getting to this point hasn’t been easy.
Wolfe grew up in Sacramento, California, where her father was in a country band and used to sneak into his home recording studio to record herself playing what she calls “goth Casio music.” A self-described hermit, Wolfe says her career began slowly because of her insistence not to “force” her music on anyone.
She posted songs on social sites such as Bandcamp and YouTube, recorded an “overproduced, terrible album” and then took a break from music, disappointed with the musical direction in which she was headed.
But she kept coming back.
“I tried other paths. But nothing fulfilled me like music, and enough friends and family encouraged me to start sharing my songs and playing shows that I finally gave it a go,” she said.
A rigorous tour schedule means Wolfe spends most of her waking hours preparing for that night’s show.
Wolfe’s haunting music, filled with melancholy lyrics and distorted guitars, has been described as everything from doom metal to gothic folk. (She says her emotionally charged songs reflect “the horrors of reality.”) Her first official release, 2010’s “The Grime and The Glow,” had an experimental, lo-fidelity sound that showcased her vocal prowess.
But in her formative years as a performer, there were occasions where getting up on stage was not an option. Anxiety plagued her performances, and even playing in her hometown bookstore proved to be too intimidating. When Wolfe did perform, she wore all black and a dark veil over her face.
“The veil was a childlike way for me to feel like there was some sort of barrier between the audience and I when I first started playing shows,” she said. “I wanted to hide. It helped, but I also wanted to overcome that and push myself to be a stronger person and performer.”
“I’d rather smoke a little bit and have the focus and calm that comes with it than dull my senses with big pharma pills,” she said. “I don’t smoke on tour because of my voice, but I’ll have a cannabis lozenge or an edible on a day off to help relax my nerves.”
Performing solo for small audiences can still trigger anxieties, however.
In September, Wolfe did a solo gig for a handful of people as part of National Public Radio’s “Tiny Desk” concert series. Visibly nervous and admittedly tired, she pushed through several songs from her new album. Even a shot of tequila from a staffer seemed to do little to calm her nerves.
“Certain intimate situations are more difficult for me. Our tour schedule has been a bit grueling, and we’re in a van, not a bus, so we’re running on very little sleep, which starts to break you down very quickly,” said the singer, who now lives in the mountains north of Los Angeles.
“I couldn’t sing to the best of my ability, and my heart was fluttering like crazy, so I was more nervous than usual,” Wolfe added. “If I’m playing a big venue with my band behind me, I can sort of hide it a little better. … I can lose myself.”
While Wolfe seems at ease now, she used to perform with a black veil over her face.
Wolfe says she now fully enjoys performing for fans. She no longer wears a veil on stage, instead using hair accessories to highlight her face rather than hiding it.
“I’ve learned to use clothing and fashion as armor – but not to hide behind it,” she said with a trace of irony. “You have to pull yourself together in order to fall apart onstage.”
But while her anxieties are more manageable, the introverted songwriter acknowledges the possibility that they could still cripple her touring career.
“If there comes a point when I feel I can’t properly perform anymore, I’ll stop doing that aspect of it,” she said. “But I plan to keep recording always, because it’s what I love. I’ll never stop making music.”
Stage fright hasn’t sidelined singer Chelsea Wolfe
words and photos by Chris Parks
Washington (CNN) – In a small, dark club in this city’s hip U Street corridor, Chelsea Wolfe stands at a microphone before a sold-out crowd, swaying back and forth as she sings and plays guitar.
She often closes her eyes, seemingly engrossed in her dark, atmospheric music. Between songs, she keeps her banter brief, offering an occasional “thank you.”
After watching Wolfe play several songs from her new album, you might not guess that she grapples with anxiety that can make it difficult for her to perform live.
“Performing was something that I had to learn. I could barely handle being onstage for the first few years, and it’s the reason it took me so long to start my career as a musician,” she said. “I started writing songs when I was 9 years old but didn’t release an album or do a tour until I was 25.”
Now 32, Wolfe is wrapping up a tour that has taken her across the U.S. and Europe and added to her cult-like but growing popularity. Last year, she got a major boost when her song “Feral Love” was featured in the trailer for season 4 of HBO’s “Game of Thrones.” She got even more attention last summer, when her song “Carrion Flowers” appeared in a trailer for AMC’s “Fear the Walking Dead.”
Chelsea Wolfe practices backstage before performing at a club in Washington, D.C.
“This time Wolfe fully embraces the eerie darkness that’s always trailed her work. … (She) makes a convincing case to follow her into the underworld,” wrote Spin’s Harley Brown in a review.
But getting to this point hasn’t been easy.
Wolfe grew up in Sacramento, California, where her father was in a country band and used to sneak into his home recording studio to record herself playing what she calls “goth Casio music.” A self-described hermit, Wolfe says her career began slowly because of her insistence not to “force” her music on anyone.
She posted songs on social sites such as Bandcamp and YouTube, recorded an “overproduced, terrible album” and then took a break from music, disappointed with the musical direction in which she was headed.
But she kept coming back.
“I tried other paths. But nothing fulfilled me like music, and enough friends and family encouraged me to start sharing my songs and playing shows that I finally gave it a go,” she said.
A rigorous tour schedule means Wolfe spends most of her waking hours preparing for that night’s show.
Wolfe’s haunting music, filled with melancholy lyrics and distorted guitars, has been described as everything from doom metal to gothic folk. (She says her emotionally charged songs reflect “the horrors of reality.”) Her first official release, 2010’s “The Grime and The Glow,” had an experimental, lo-fidelity sound that showcased her vocal prowess.
But in her formative years as a performer, there were occasions where getting up on stage was not an option. Anxiety plagued her performances, and even playing in her hometown bookstore proved to be too intimidating. When Wolfe did perform, she wore all black and a dark veil over her face.
“The veil was a childlike way for me to feel like there was some sort of barrier between the audience and I when I first started playing shows,” she said. “I wanted to hide. It helped, but I also wanted to overcome that and push myself to be a stronger person and performer.”
“I’d rather smoke a little bit and have the focus and calm that comes with it than dull my senses with big pharma pills,” she said. “I don’t smoke on tour because of my voice, but I’ll have a cannabis lozenge or an edible on a day off to help relax my nerves.”
Performing solo for small audiences can still trigger anxieties, however.
In September, Wolfe did a solo gig for a handful of people as part of National Public Radio’s “Tiny Desk” concert series. Visibly nervous and admittedly tired, she pushed through several songs from her new album. Even a shot of tequila from a staffer seemed to do little to calm her nerves.
“Certain intimate situations are more difficult for me. Our tour schedule has been a bit grueling, and we’re in a van, not a bus, so we’re running on very little sleep, which starts to break you down very quickly,” said the singer, who now lives in the mountains north of Los Angeles.
“I couldn’t sing to the best of my ability, and my heart was fluttering like crazy, so I was more nervous than usual,” Wolfe added. “If I’m playing a big venue with my band behind me, I can sort of hide it a little better. … I can lose myself.”
While Wolfe seems at ease now, she used to perform with a black veil over her face.
Wolfe says she now fully enjoys performing for fans. She no longer wears a veil on stage, instead using hair accessories to highlight her face rather than hiding it.
“I’ve learned to use clothing and fashion as armor – but not to hide behind it,” she said with a trace of irony. “You have to pull yourself together in order to fall apart onstage.”
But while her anxieties are more manageable, the introverted songwriter acknowledges the possibility that they could still cripple her touring career.
“If there comes a point when I feel I can’t properly perform anymore, I’ll stop doing that aspect of it,” she said. “But I plan to keep recording always, because it’s what I love. I’ll never stop making music.”
Since her emergence in 2010, Chelsea Wolfe has fearlessly addressed the mysterious aspects of life within her music. Preeminently known for her haunting, heavy ballads and metallic-lined tangents (not to mention her ultra wicked style), the Sacramento-born artist has landed herself dead in the epicenter of the modern dark wave movement.
With the magnetic allure of a siren, Wolfe has attracted a collective of neo-folk musicians to wade neck-deep in the waters of her darkly illuminated brilliance. After putting to rest revolving-door band members, Wolfe struck gold with the perfect ensemble. Violist Ezra Buchla and guitarist Mike Sullivan of Russian Circles melded minds alongside producer John Congleton, who’s worked with acts such as St. Vincent and Swans.
Wolfe’s fifth full-length release and considerably most devoted album, Abyss, is the perfect webbing of surreal, reverb-soaked doom metal laced elegantly with slowed down, molasses covered ballads.
Poignant and true to herself as ever, Wolfe has epitomized what it means to feel lost in the bizarre. Each subtly brutal song relays the sensation of falling backward through the deepest dimensions of your dreams with chills crippling your skin–which is nothing short of expected from the intrepid artist.
The collective continues to infect the music industry with their densely grim approach and indisputably unique aesthetic. Drawing inspiration from avant-garde designers like Alexander McQueen and Yohji Yamamoto, her infatuation between the dichotomies of unlikely beauty vs. vividly harsh reality resonates in her personal style and stage presence.
Fashion has always echoed Chelsea’s inspiration. Over the span of her career, Wolfe has also dipped toes in the fashion industry, making ripples as a model in the waters of Seattle-based clothing company Actual Pain, run and operated by close friend and collaborator T.J. Cowgill (more formally known as King Dude, an American-gothic folk artist). The two worked on two of Wolfe’s 7” splits, both of which sold out almost instantly.
After moving to the mountainous outskirts of Los Angeles last year, Wolfe finds herself ready to take on the next chapter of life in California, but first: a 50 date international tour. Rogue caught up with her right before she splits town to talk future collabs, fashion inspiration, and sleep paralysis.
Fourculture Magazine has a great interview feature on Chelsea Wolfe along with photos by Darla Teagarden. Read the Issue 21 online HERE – the feature starts on page 54.
Drunken Werewolf has a full cover feature and interview with Chelsea Wolfe in issue #31 of their magazine. You can download the magazine for free HERE. The interview starts on page 22, and there’s also live show preview for her upcoming show at The Fleece on page 28.
Chelsea Wolfe just started her EU tour, and you can see all dates and ticket links HERE.
Chelsea Wolfe begins her Europe tour in Cologne on October 30. Support for most shows will be new labelmates A Dead Forest Index. Shows are selling out all over, so plan ahead if you want to attend. The Berlin show has been moved from Lido to SO36, but the larger venue is expected to sell out as well. The second show in London with Dylan Carlson of Earth will also sell out. A full list of shows can be found below, with ticket links available HERE.
CHELSEA WOLFE EU TOUR 2015
Oct 30 – Cologne, DE @ CBE – SOLD OUT Oct 31 – Brussels, BE @ Ancienne Belgique w/ Low Nov 02 – Hamburg, DE @ Knust ** Nov 03 – Gothenburg, SE @ Pustervik ** Nov 04 – Oslo, NO @ Blä ** Nov 05 – Stockholm, SE @ Slakthuset ** – SOLD OUT Nov 06 – Copenhagen, DK @ Loppen ** – SOLD OUT Nov 07 – Hannover, DE @ Café Glocksee ** Nov 08 – Leipzig, DE @ UT Connewitz ** Nov 10 – Warsaw, PL @ Proxima ** Nov 11 – Poznan, PL @ Blue Note ** Nov 12 – Berlin, DE @ SO36 ** – SOLD OUT Nov 13 – Prague, CZ @ Dobeska ** – SOLD OUT Nov 14 – Budapest, HU @ A38 w/ A Place To Bury Strangers ** Nov 15 – Vienna, AT @ Arena ** Nov 17 – Yverdon-Les-Bains, CH @ L’Amalgame ** Nov 18 – Paris, FR @ La Maroquinerie ** – SOLD OUT Nov 19 – Metz, FR @ Les Trinitaires ** Nov 20 – Utrecht, NL @ Le Guess Who Nov 21 – Kortrijk, BE @ Sonic City Festival – SOLD OUT Nov 22 – London, UK @ Islington Assembly Hall ** – SOLD OUT Nov 24 – Leeds, UK @ Brudenell Social Club Nov 25 – Dublin, IRE @ Button Factory Nov 27 – Prestatyn, UK @ ATP: Nightmare Before Christmas Nov 28 – Brighton, UK @ Mutations Festival Nov 29 – Bristol, UK @ The Fleece – SOLD OUT Nov 30 – London, UK @ Bush Hall w/Dylan Carlson of Earth – SOLD OUT
The world needs more songwriters like Chelsea Wolfe. There is an oppressive intensity to her music. Riffs crunch and synthesizers tremble as she howls about the extremes of human experience. But like the Greek figure Themis—the Titan goddess of “good counsel” and ancient embodiment of divine law—Wolfe manages to create a sense of balance, pulling hope and redemption out of the gaping void.
Consider her song “Iron Moon,” the second track off of her latest album, Abyss. It swings back and forth between doom metal and folk, and in the lyrics Wolfe yearns to find hope in the hopeless: “In all the worlds decaying / Is there place that’s safe for us?” The lyrics are inspired by a Chinese factory worker who was so crushed by his menial profession that he leapt to his death out of his dormitory window, but not before leaving behind a collection of poetry documenting his inner turmoil.
“He was just in love with books and words and wanted to explore that more,” explains Wolfe, “and he couldn’t do that back home and he couldn’t really do that here either, so he just kind of gave up and left his poetry behind. I was totally struck by that, and I tried to imagine that instead of dying, he was able to be free somehow and get what he wanted. It’s obviously very idealistic, but I have to do some idealistic stuff sometimes, because otherwise I’ll get too dark.”
As hopeful as Wolfe’s music is, her artistic vision is obviously a bit more bleak than, say, Belle and Sebastian. But these are intense times we live in, so it makes sense. And as a matter of fact, Wolfe takes a lot of inspiration from real life. Her songs borrow from narratives told in documentaries and news stories, and the title for Abyss—which came out on Sargent House last August—is derived from a passage in Carl Jung’s autobiography Memories, Dreams, Reflections. Published posthumously in 1963, the book expounds on the possibilities of dreaming, and Wolfe was taken by one particular line that described one particular experience of entering a dream state: “I was sitting at my desk, and I just let myself drop.”
“I already had that abyss concept in my head and it fit so perfectly—dropping into your own mind,” Wolfe says. She’s sitting at the end of a large dining table at the Los Angeles headquarters of her label Sargent House. It’s a hot summer afternoon, and sun glares in from the patio windows while German folk guitar emanates softly from laptop speakers. “I like things that are visual like that. You can close your eyes but you can still see it and feel it.”
Wolfe, 31, grew up in Sacramento, California’s state capital, which happens to be home to a lot of off-kilter underground artists, including Zach Hill of Hella/Death Grips and the “horrorcore” trailblazer Brotha Lynch Hung. She was never really part of the local music scene, though; it wasn’t until she was in her early twenties that she took her lifelong interest in music to a new level by performing and releasing material, and she relocated to LA when she decided to pursue her career seriously.
But Sacramento still has an influence on her. She grew up in the old part of town, near a network of train tracks and a locomotive museum (and also, according to Wolfe-ian legend, a neighborhood graveyard) and she fondly remembers the trains chugging by.
“I just love the sound of trains,” she says. “I feel like a lot of my songs are really repetitive in that way, really trance-y.”
In person, Wolfe has a disarming demeanor. She’s wearing a black gown and thick eyeshadow, with long locks framing her face and tattoos on her arms. But she occasionally twirls her hair, and she speaks with the laid-back inflections of a native Californian. She’s long been interested in fashion; her music videos show her in stunning outfits and makeup, and she takes to heart the words of Japanese avant-garde tailor Yohji Yamamoto: “Perfection is ugly.”
But she doesn’t want her interest in fashion to make it seem like she’s trying to be some kind of “goth pop star.”
“I’m just trying to do my own thing,” she says. “I’m not trying to be some sort of genre or pop icon or something. Every so often I kind of get a notion that certain people think I’m more image-based than I am. It’s all about the music for me. Fashion has just kind of been a way for me to have some sort of armor, because it has been hard for me to get onstage sometimes. I get stage fright, I get anxiety about it, and getting ready and getting dressed up and wearing things that you like—your favorite dress or whatever—makes you feel stronger, and you can kind of go out there and forget about everything else.”
Musically, Wolfe has navigated both naturalism and industrialism. Like her favorite filmmaker, Werner Herzog, her songs tend to move to extremes—reflected in her visually-grasping lyrics, but also in the grimy, post-industrial textures of her and her band’s guitars and keyboards. “Boyfriend,” a warbling acoustic ballad off her 2012 album Unknown Rooms: A Collection of Acoustic Songs, culminates with a Juno synth line that hobbles along, big and grey and sadly triumphant, like a prisoner on the way to the gallows pole.
Abyss is Wolfe’s fifth album, and it’s her most powerful thus far. It was recorded in Dallas with producer John Congleton, who also works with St. Vincent and recorded Swans’ epic 2014 album To Be Kind. Wolfe says he pushed her in a more raw, vulnerable, live-sounding direction, and it can leave a listener drained by the end, mentally and maybe even physically. But sonic experimentation also offers its own pleasures.
Few of this year’s songs are as earth-flattening as lead single “Carrion Flowers,” which cranks along like some kind of post-NIN death machine. Ben Chisholm, Wolfe’s bandmate, explains that the main riff came out of extensive tinkering pre-production and in the studio. “[It] was created by a mix of a percussive hit running out through a speaker which I held a guitar against,” he explains via email. “So one sound playing back through the guitar pickup and pedals, creating a whole other tone. Then when we went in with Congleton, he ran it through his fucked up filter and made it even harsher than the original, re-amping that noise again.”
Abyss as an album took root in the mystical desert landscape of Southern California’s Joshua Tree National Park. Wolfe and Chisholm went there in 2014 to work on a fashion video for the designer Andrea Doria. The area, with its gnarled trees and rocky cliffs, has long been a magnet for creatives, and as the two musicians spent three days out there working on a project based on Jodorowsky’s The Holy Mountain, Wolfe took a liking to the music they were creating. Reworking some of it, she ended up making what would become Abyss’ eerily quiet, piano-plinking title track.
“That’s kind of where [Abyss] came from,” explains Wolfe. “It just happened. I wrote the song in one day, and I was just stuck on that word. The first thing I always do when I find a word I like is just look it up in the dictionary. It had so many different meanings that were all very visual. A chasm. A dark underworld. An infinite space. I just kind of started thinking about different ways to apply that and translate that. Thinking about the mind as this deep abyss to be explored, and thinking about the universe as this endless abyss, and just like how everything relates.”
In other interviews, Wolfe has talked about how the album explores her own sleep paralysis, an experience where she sometimes finds herself awoken in the early hours and visited by mysterious specters. The album captures this feeling in its own wraith-like way. The instrumentation moves lucidly through doom-metal, industrial, avant-garde and folk, while the lyrics flicker with elusive imagery: shadow beings, dripping tongues, ghosts rising up en masse to seek revenge on their killers.
All of this manifested in a different way when Wolfe played a sold-out show at LA’s Regent Theatre last month. “You fucking rule!” somebody in the audience yelled, as her band’s arms flailed and riffs clapped like thunder over Wolfe’s brooding lows and howling highs. The quartet had all the ferocity of a rock group, but synth lines also swooped in over the top to make the performance all the more consuming.
It’s easy to see why an artist like Wolfe might fit in well in LA. The city itself can feel like an endless urban abyss, where the artifice of Hollywood creates a fermented runoff of weirdness and cultures build up in pockets with little chance of overlapping. However, Wolfe actually escaped the city to write the new album, setting up a homestead in a remote mountainous region north of the city.
“Once we started writing it, I wanted to get out of the city and get away from everyone and everything,” she says. “It really worked out. All there is to do out there is either explore, go on a walk or something, or just work. I basically just started writing right away and I [finished] so many songs out there.”
The move helped her get into a better mind space, and even helped her sleep better. Naturally she doesn’t go into detail about the exact location of this new abode. While plenty of musicians these days have become adept at leveraging their lives to cultivate personal “brands,” she values her privacy.
That’s not to say there isn’t something disarmingly intimate about her music, however. The stories she sings might not always come from personal experience, but they certainly explore notions of the human condition. Some of her best songs are about people who are connected—in life, in sleep, and in the great beyond. And there’s a certain magical thinking that goes on too.
“When I was a kid I always had a really big imagination,” explains Wolfe. “But it was all in my head…. Everything was this musical and everything was really graceful and beautiful, but none of it was actually there. I was always just able to project this idealism onto situations. Maybe it’s just a coping mechanism or something, but it’s been a way that I’ve been able to write all my songs.”
Last year, when American culture was rocked by the news that veteran funnyman and actor Robin Williams had committed suicide, Wolfe’s band was on tour in Amsterdam. That night, they were caught in the middle of an enormous storm, and at one point a thunderclap reverberated in the skies for a full 17 seconds. “Not that it relates or something, but of course in our minds it did,” she says. She ended up re-watching Williams’ 1998 film What Dreams May Come, and writing the smoldering folk ballad “Maw” about a similar situation of two people entwined to each other through silence and distress.
The wonderful thing about Wolfe is that she’s able to acknowledge the fucked-up-ness of the world, but also offer a release valve or escape from it. Too often in music it seems like you can only have one or the other. But in her black gown, with a powerful voice that reaches from Hades into the heavens, Wolfe represents a more complex vision of life.
“I think people think of the concept of hope as really cheesy sometimes, but I’m kind of into it,” she says. “I think that sometimes we need that to survive.”
Chelsea Wolfe tour dates: 10/30 Cologne, Germany – CBE # 10/31 Belgium, Brussels – Ancienne Belgique * 11/2 Hamburg, Germany – Knust ^ 11/3 Gothernburg, Sweden – Pustervik ^ 11/4 Oslo, Norway – Bla ^ 11/5 Stockholm, Sweden – Slakthuset ^ 11/6 Copenhagen, Denmark – Loppen ^ 11/7 Hannover, Germany – Cafe Glocksee ^ 11/8 Leipzig, Germany – UT Connewitz ^ 11/10 Warsaw, Poland – Proxima ^ 11/11 Poznan, Poland – Blue Note ^ 11/12 Berlin, Germany – Lido ^ 11/13 Prague, Czech Republic – Dobeska ^ 11/14 Budapest, Hungary – A38 % 11/15 Vienna, Austria – Arena ^ 11/17 Yverdon-Les-Bains, Switzerland – L’Amalgame ^ 11/18 Paris, France – La Maroquinerie ^ 11/19 Metz, France – Les Trinitaires ^ 11/20 Utrecht, Netherlands – Le Guess Who ! 11/21 Kortrijk, Belgium – Sonic City Festival 11/22 London, United Kingdom – Islington Assembly Hall ^ 11/24 Leeds, United Kingdom – Brudenell Social Club 11/25 Dublin, Ireland – Button Factory 11/27 Prestayn, United Kingdom – ATP 2.0 Nightmare Before Christmas 11/28 Brighton, United Kingdom – Mutations Festival 11/29 Bristol, United Kingdom – The Fleece 11/30 London, United Kingdom – Bush Hall $
# with Urfaust * with Low ^ with A Dead Forest Index % with A Place to Bury Strangers ! with Evil Superstars $ with Dylan Carlson
PRINCESS OF DARKNESS AND V GIRL CHELSEA WOLFE IS SHARING SOME OF THE INTIMATE, CANDID, BEHIND-THE-SCENES, MOMENTS FROM HER RECENTLY COMPLETED NORTH AMERICAN TOUR. SHE’S NOT DONE YET, THOUGH. STARTING AGAIN THIS HALLOWEEN (HOW APPROPRIATE) AND CONTINUING THROUGH NOVEMBER, SHE’S TAKING EUROPE BY STORM. CLICK THE TOUR DIARY, SNAPPED BY NICK FANCHER, ABOVE, AND CHECK OUT HER FORTHCOMING TOUR DATES, BELOW
Oct 30 – Cologne, DE @ CBE – SOLD OUT Oct 31 – Brussels, BE @ Ancienne Belgique w/ Low Nov 02 – Hamburg, DE @ Knust ** Nov 03 – Gothenburg, SE @ Pustervik ** Nov 04 – Oslo, NO @ Blä ** Nov 05 – Stockholm, SE @ Slakthuset ** – SOLD OUT Nov 06 – Copenhagen, DK @ Loppen ** – SOLD OUT Nov 07 – Hannover, DE @ Café Glocksee ** Nov 08 – Leipzig, DE @ UT Connewitz ** Nov 10 – Warsaw, PL @ Proxima ** Nov 11 – Poznan, PL @ Blue Note ** Nov 12 – Berlin, DE @ SO36 ** – SOLD OUT Nov 13 – Prague, CZ @ Dobeska ** – SOLD OUT Nov 14 – Budapest, HU @ A38 w/ A Place To Bury Strangers ** Nov 15 – Vienna, AT @ Arena ** Nov 17 – Yverdon-Les-Bains, CH @ L’Amalgame ** Nov 18 – Paris, FR @ La Maroquinerie ** – SOLD OUT Nov 19 – Metz, FR @ Les Trinitaires ** Nov 20 – Utrecht, NL @ Le Guess Who Nov 21 – Kortrijk, BE @ Sonic City Festival – SOLD OUT Nov 22 – London, UK @ Islington Assembly Hall ** – SOLD OUT Nov 24 – Leeds, UK @ Brudenell Social Club Nov 25 – Dublin, IRE @ Button Factory Nov 27 – Prestatyn, UK @ ATP: Nightmare Before Christmas Nov 28 – Brighton, UK @ Mutations Festival Nov 29 – Bristol, UK @ The Fleece – SOLD OUT Nov 30 – London, UK @ Bush Hall w/Dylan Carlson of Earth – SOLD OUT
