“Midnight” by Broken Fires A Song Feature

 

     Broken Fires weave various musical styles into a single song and leave a frequently evolving flow that never loses its freshness. As an example, at 2:22 of “Midnight,” the single is most aligned with the soft and emotional vocal style of crooning; then, a multi-step crescendo transforms the song into Rock. Artfully, each step of the crescendo is signaled by the line “Now and then.”
 
     During most of “Midnight,” the instruments and vocals exhibit a vulnerability. The vulnerability is most apparent in the lead vocals, and is underscored in the lush harmony that surfaces in the last line of each early verse. Still, there are times during which “Midnight” is commanding. The same is true for the instrumentation.
 
     Interestingly, the official video of “Midnight” is a black-and-white production. That decision was likely based upon the theme of the subject matter (the lyrics are included at the bottom of this post). Tom Stephens of Broken Fires spoke of “Midnight:”
   “This is a song about regret, about our mistakes and waiting for that moment when we can make amends. I wanted to write something that was about that second when, despite everything that has happened in the past, we have a chance to change things – to repair. We all make so many mistakes. Screw up friendships. Say stupid things. Midnight – the moment when one day turns to the next – seemed like a neat metaphor for that second when things can change... or not as sometimes happens!”
 
     The band is based in Swansea, UK. The core members of Broken Fires are Tom Stephens (lead vocals, guitar), Gareth Carter (guitar) and Justin Hendy (guitar), but the end of the official video further adds Mirain Vaughn (early keys, late violin), Dan West (drums), and Adam Terry (bass) as the others shown in the video. Moreover, the Bandcamp site for “Midnight” identifies additional performers as David Francis (drums), Angharad Jenkins (violin) and Matt Lederman (additional keys).

 
     In sessions throughout 2021, Broken Fires were preparing for the release of a second album. “HYMNS” is scheduled for release in Autumn 2022 on independent label Phwoar and Peace. The band is working with producer Matt Lederman, the man behind the desk on The Rural Alberta Advantage’s critically acclaimed album “Mended With Gold.”
 
     For readers who enjoy learning the history of a song, the press content regarding “Midnight” explains:
   Written on an old acoustic, the main melody and lyrics were thrown down using Garage Band in a day, but this is a track that evolved gradually, partly as a result of the weird circumstances surrounding the last two years. The drums, bass and guitars for the track were recorded at Mwnci Studios in West Wales before the pandemic. Produced by the band and Matt Lederman (Rural Alberta Advantage!!!), who also mixed the record, layers of synth, dreamy arpeggio guitars, glockenspiel and vocals were added remotely from separate bedrooms and home studios across Wales (and Canada) during the UK’s period of intermittent full lockdowns over the last 18 months. The result is a 4-minute tour of the full range of the band’s sound, from a single arpeggiated synth to explosions of overlapping vocals, dreamy guitars and driving sixteenth note drum patterns.
 
     “Midnight” by Broken Fires

Facebook: http://www.facebook.com/brokenfires
Bandcamp: https://brokenfires.bandcamp.com/

Lyrics of “Midnight” by Broken Fires
Soaking to our skins at the funeral
Seconds catching glimpses in the cold 
A momentary love once lost reappears 
 
If you stick around, could I make amends 
The architect of everything we lost
But every time we talk, I shake and I shiver  
 
How long to wait til we reach midnight?  
I’ve been waiting here just to set things right
How long to wait til we reach midnight? 
I’ve been waiting here
 
Yesterday’s mistakes that we buried there
Under the foundations of our home
A momentary love collapsed, disappeared  
 
I’m looking for the words in our neighbourhood
Searching for the letters in the dark
Still, every time we talk shake and I shiver
 
How long to wait till we reach midnight?  
I’ve been waiting here just to set things right
How long to wait till we reach midnight? 
I’ve been waiting here
Won’t you come home? 
[Repeating]
 
Now and then
Maybe we could make amends 
For the mess we’ve made so far  
Now and then
If our backbones didn’t bend 
But then, that’s not who we are  
[Repeat]
 
How long to wait till we reach midnight?  
I’ve been waiting here just to set things right
How long to wait till we reach midnight? 
I’ve been waiting here
Won’t you come home? 
Just to set things right
[Repeating]

“Laura” by Sofi Gev – A Song Feature

      Sofi Gev shared “Laura,” a cover of the 2012 release from Bat For Lashes. We enjoy covers but aren’t typically motivated to write a blogpost about one. There are two categories of exceptions to our hesitancy, with very few songs in either category. In the first are songs that creatively change the genre of the original, and the genre-changed single holds attractions not found in the original. One example that comes to mind is Saint Mesa incorporating electronica into the Nirvana classic “Smells Like Teen Spirit.” The other category of blogworthy covers holds songs that trigger an affect that the original did not.

      With her release of “Laura,” Sofi Gev triggered an affect that the original did not. We respect Bat For Lashes (the moniker of Natasha Khan) and did enjoy her version of her song. In Britain in 2013, the original was nominated for “Best Song Musically and Lyrically.” But the Sofi Gev cover is the one that prompts us to stop other activities and listen to “Laura.” Sofi Gev increased the passion and personality of the song. Sofi talked about the single and provided some interesting insights, but we respectfully disagree with the first portion of the final sentence:
   “This cover comes out of my love and respect for one of the greatest female artists of our time, Natasha Khan of Bat For Lashes. I wanted to stay true to the original but also put my own personality into it. We used a French Connection analog synth to produce the song's signature piano melody, and added Moog bass, strings and electric guitar to add character and emotion. I could never have improved on the original, but I hope listeners enjoy it and that it leads more people to Natasha's music.”

     Natasha Khan composed the song with Justin Parker. Lyrically, the song has the feel of talking to a person who was left beyond by her friends who were no longer interested in living the party-after-party life. Khan explained:
   “She’s a best friend of mine but her name’s not Laura. It was written after an extreme debauched party and it’s about the fallout of that kind of comedown. But I think it’s a universal theme, like we’ve all known Lauras or we’ve all been Laura for a time. That need to be a kind of glamorous life-and-soul of the party… but underneath it’s a lonely place to be.”

     Sofi Gev is the performance name of Hannah Lovelady of Salt Lake City, Utah. She identifies her earliest and most enduring musical influence as the nighttime singing of Joni Mitchell songs by her father. Now, that's a great memory!

     "Laura" (Bat For Lashes Cover) – by Sofi Gev

Facebook: https://www.facebook.com/sofigevmusic
Website: https://sofigev.com/
Bandcamp: https://sofigev.bandcamp.com/ 

Lyrics of "Laura" (Bat For Lashes Cover) – by Sofi Gev
You say that they've all left you behind
Your heart broke when the party died
Drape your arms around me and softly say
"Can we dance upon the tables again?"
 
When your smile is so wide and your heels are so high
You can’t cry
Get your glad rags on and let’s sing along
To that lonely song
 
You're the train that crashed my heart
You're the glitter in the dark
Woo-ooo, Laura, you're more than a superstar
And in this horror show
I've got to tell you so
Woo-ooo, Laura, you're more than a superstar
 
You say that you're stuck in a pale blue dream
And your tears feel hard on my bed sheets
Drape your arms around me and softly say
"Can we dance upon the tables again?"
 
When your smile is so wide and your heels are so high
You can't cry
Get your glad rags on and let's sing along
To that lonely song
 
You're the train that crashed my heart
You're the glitter in the dark
Woo-ooo, Laura, you're more than a superstar
You'll be famous for longer than them
Your name is tattooed on every boy's skin
Woo-ooo, Laura, you're more than a superstar
 
You're the train that crashed my heart
You're the glitter in the dark
Woo-ooo, Laura, you're more than a superstar
And in this old horror show
I've got to let you know
Woo-ooo, Laura, you're more than a superstar
You're more than a superstar

 

“Champagne Lust” by Vases – A Song Feature

 

     Have all the good riffs and chord progressions been used in music? That was a question we considered during a recent YouTube post of a highly respected music producer and educator. The topic of the post was whether Rock music can make a comeback from its current status among genres. The theory presented by a knowledgeable friend was that Rock could not return to its previously lofty status because the good guitar riffs and chord progressions are already taken.

     As a response to the theory, we drop the needle on “Champagne Lust.” Admittedly, the single from Vases is populated by Post-Punk guitars and some Shoegaze, but this riff-heavy song is Rock. The impassioned vocals in “Champagne Lust” and the rhythm section certainly hold their own. Still, the guitars dominate the listener’s attention. That statement is accurate throughout the song, then turns indisputable during the instrumental conclusion that begins shortly before the four-minute mark. During the final 90 seconds, the guitars are skillfully layered as they meander through genres that are Rock or Rock-relevant. Riffs build or explode. By the 4:45 mark, the perception is that Vases has expended its allotment of guitar hooks and riffs; then another enters. Along with the drums and bass, the guitars take the listener’s ears prisoner, without any resistance.

      With respect to the meaning of the single, Vases explained:
   “’Champagne Lust’ is a look at the contradiction of feeling isolated or alone despite living in a major city. The song evokes the feeling of walking through a busy downtown area alone–being surrounded by people but not having any connection to who they are or what they’re doing and yourself feeling like a ghost. Despite the melancholic subject matter, however, the song isn’t about self-pity or commiseration. Rather, it’s an anthem for all of those who have experienced this feeling and an attempt to connect over a shared experience.”

     Vases is the moniker of Ty Baron, who moved from Denver to Los Angeles in 2017.  “Champagne Lust” was recorded in Los Angeles with Omar Yakar (War on Drugs, Perfume Genius).  

     “Champagne Lust” by Vases

Facebook: https://www.facebook.com/Vases-109148807273115
Instagram: https://www.instagram.com/vases.la/

“Enough For You And Me” by Highline - A Song Feature

 

     The guitar near the start of “Enough For You And Me” sends the signal that Highline has the ability to write and then deliver attention-grabbing riffs. Still, the start does not prepare the listener for the conclusion in which all instruments are ablaze. The drums deserve praise for the level of energy that was required during the final minute. But the guitars are the stars of this production.

     From the perspective of the vocals, the highlights of “Enough For You And Me” are the soars, which are primarily in the chorus (during “…with you”). Sam Rigney is comfortable in the upper octave. In comparison to the chorus, the verses are more descriptive and less vocally acrobatic. A strong bass is featured during the verses, showing that Highline is skilled in all facets of Indie Rock and Indie Pop Rock.

     Lyrically, Highline explains:
   “The song is about leaning on your friends to feel better about the mundane times in life. It’s both a celebration of friendship and the good things it can do for you as well as a reflection of when you’re not happy with the way things are going.”

     Highline is based in Sydney, Australia. The four members are Sam Rigney (vocals, rhythm guitar), Rhys Hope (lead guitar), James Priest (bass), and Jim Osborne (drums). Quoting content with which we agree:
   “As the four-piece band from Sydney navigates the transition from teenagehood to adulthood, their lyricism has taken on a nuanced edge of loss and longing. Before, singing of young love and heartbreak, they now tackle the infinitely more subtle dynamics of evolving friendships.”
   “After bursting onto the scene in 2019, Highline have solidified their upwards trajectory with an impressive resume in that time. From sold out headline shows at esteemed Sydney venues, With Lansdowne, Mary's Underground, The Vanguard, and Oxford Art Factory, to clocking over 500,000 streams on Spotify, it’s clear that Highline are doing something very right.”

     “Enough For You And Me” by Highline

Facebook: https://www.facebook.com/highlinemusicau/
Website: https://www.highlinemusic.com.au/

Lyrics of “Enough For You And Me” by Highline
I see you standing
Out in the front yard
Jacket in your arms
Your eyes are red and worn
 
And your patience
Is wearing danger thin
At work you’re struggling
Your boss at it again
 
It’s been a hell of a week
And I’m in the mood to not think with you, with you
Talk for hours bout nothing
Drink more than we should take in
And lose our heads.
Just let me know.
 
Tell me did you think
You could have been more
Than what you are now?
Tell me, are you proud?
For the weeks are long and weekends short lately
So come and save me
I’ll be waiting
 
It’s been a hell of a week
and I’m in the mood to not think with you, with you
Talk for, hours bout nothing
Drink more, than we should take in
And lose our heads
 
Cause tomorrow’s bringing nothing new
This can’t be enough for you and me
So come around this afternoon
Waiting by the avenue, I’ll be…

Article - The Best Music Cities in the U.S.

     Taelor Candiloro shared a data-driven article about the significance of music to U.S. cities. She released the article on behalf of Clever Real Estate. The full article is posted at https://www.listwithclever.com/research/best-music-cities-2022/.

 
     The rankings include:
Best Music Cities in the U.S., Ranked
Top15 Music Cities  
How Much Do You Spend On Concert Tickets?  
Best Cities by Music Genre
Worst Music Cities

     The presence of some cities in the upper end of the rankings was predictable. For example, it is no surprise that Nashville, Tennessee and Austin, Texas are in the top 5 best music cities. On the other hand, some highly ranked cities were a surprise to us. No disrespect to any city, but the competition is tough. We did not consider Indianapolis as the second best U.S. music city. We can question the importance of some of the criteria, but that is true for every study.

“Giving The World Away” by Hatchie – A Song Feature

 

     Australia’s Hatchie is preparing for a North American tour to promote the upcoming album “Giving the World Away.” The tour schedule is included at the bottom of this post. Among the stops is a May 23 visit to Rickshaw Stop in San Francisco.

     A strong recommendation to anyone intending to see a live performance by Hatchie – play the album’s title track often and become familiar with both its major shifts and its many nuances. “Giving The World Away” will be a concert favorite. But the song is unpredictable and the attendees who enjoy it most will be those with a familiarity that allows them to know where to look and when to anticipate an energy shift. Check the drummer at 0:50; is the drummer using a wood block, or is it a hollowed wood device, or…? What is being used for the percussion at 1:50? And for portions of the song, the piano should be more of a focus than the lead vocals.

     The title single, “Giving The World Away,” is about being gentle with yourself in the throes of depression. The song is powerful. Hatchie is a musical project with songwriter Harriette Pilbeam at its helm. Although her sound arrived fully-formed, a dazzling dream-pop and shoegaze tangle, it’s in in the upcoming album that Pilbeam fully distills the core of herself into a record.

The album is scheduled to drop on April 22, 2022. The press content regarding the album explains:
     “Giving the World Away” tells a story of confidence found, as Hatchie unifies themes of trust, ambition, love and self-realization by embracing vulnerability as a strength. “It’s the concept of giving your heart away,” says Hatchie’s Harriette Pilbeam, “putting everything on the line...the entire album is really me realising that I actually need to do that in order to grow and accept myself.” Its story comes to life in the way it’s told: new songs are intentionally glossy and hi-fi, joyful and arena-sized in sound, articulating Pilbeam’s newfound strength and certainty. In fact, “Giving the World Away” is a record intentionally built for everyone’s empowerment, telling Pilbeam’s personal story while also inviting it in others to move from the personal to the public, taking the intimate and making it visible. “My last record I wanted people to sing along to,” she says. “This one was more about something you can move to. After kind of floating through young adulthood, I realised a lot of the things I'd been missing out on by under-appreciating myself. It's led me to making different decisions not only in regards to my music but also my personal life, the way I dress, the way I socialise, the way I treat my body etc.” Giving the World Away is about finally finding one’s footing, embracing visibility, and moving past fear of the future to welcome its bigger decisions and higher stakes.

     “Giving The World Away” by Hatchie

Facebook: https://www.facebook.com/hihatchie/
Website: https://www.hatchie.net/
Bandcamp: https://hatchie.bandcamp.com/

Lyrics of “Giving The World Away” by Hatchie
You can see your horizon dissolve into nothing
With every passing hour
If you tore up your thoughts and put them in motion
Would you still feel desire?
 
What is it that makes us feel so invincible
Like life is by design?
Could you regenerate all you'd hoped for yourself?
Could you start again?
 
Stop giving the world away
Stop giving the only heart you've got
Stop giving the world away
Stop giving the only heart you've got
 
All it took was a moment of recognition
To turn your sweet to sour
But can I offer a reason to re-imagine
How you still hold the power?
 
If you could take a break to recalibrate
You'd see beyond the sky
I only want your world to keep you awake
Don't lose your chance to fly
 
Don't lose your chance to fly [Repeating backing vocals]
 
Stop giving the world away
Stop giving the only heart you've got
Stop giving the world away
Stop giving the only heart you've got
 
Haah [Repeating backing vocals]
 
And in the end
You’ll go away
For your cause
And I wait
Dissipate
With the day
For your cause I'll stay
 
What if what drew us to one another triggers our demise?
What if what drew us to one another triggers our demise?
What if what drew us to one another triggers our demise?
What if what drew us to one another triggers our demise?
What if what drew us to one another triggers our demise?

 

TOUR DATES:
WED 04 MAY / WASHINGTON, D.C. / SONGBYRD (TICKETS)*
THU 05 MAY / PHILADELPHIA, PA / FOUNDRY (TICKETS)*
FRI 06 MAY / BOSTON, MA / CRYSTAL BALLROOM (TICKETS)*
SAT 07 MAY / BROOKLYN, NY / MUSIC HALL OF WILLIAMSBURG (TICKETS)*
MON 09 MAY / MONTREAL, QC / BAR LE RITZ (TICKETS)*
TUE 10 MAY / TORONTO, ON / GARRISON (TICKETS)*
THU 12 MAY / PITTSBURGH, PA / CLUB CAFE (TICKETS)*
FRI 13 MAY / COLUMBUS, OH / ACE OF CUPS (TICKETS)*
SAT 14 MAY / CHICAGO, IL / SLEEPING VILLAGE (TICKETS)*
SUN 15 MAY / MINNEAPOLIS, MN / TURF CLUB (TICKETS)*
THU 19 MAY / VANCOUVER, BC / FORTUNE (TICKETS)*
FRI 20 MAY / PORTLAND, OR / MISSISSIPPI STUDIOS (TICKETS)*
SAT 21 MAY / SEATTLE, WA / NEUMOS (TICKETS)*
MON 23 MAY / SAN FRANCISCO, CA / RICKSHAW STOP (TICKETS)*
WED 25 MAY / SAN DIEGO, CA / CASBAH (TICKETS)*
THU 26 MAY / LOS ANGELES, CA / LODGE ROOM (TICKETS)*

*W/ SUPPORT FROM CAROLINE LOVEGLOW

“Stolen Sister” by Riva Farrell Racette - A Song Feature

 

     Riva Farrell Racette is a powerful voice for the causes she champions. She is an Indigenous singer-songwriter affiliated with the Keeseekoose and Timiskaming First Nations. In 2012, Riva's song "I Am a Witness" was adopted by the First Nations Child and Family Caring Society as their awareness campaign song for their historic human rights claim against the Federal Government for the underfunding of child welfare services on reserve. Riva is also a lawyer based in Regina, Saskatchewan, Canada.  

     The most recent release of Riva Farrell Racette is “Stolen Sister.” During the initial opportunities to hear the song, we weren’t aware of the message and focused on the vocals and the instruments. Her voice is purposeful but soft. The first minute of “Stolen Sister” builds the perception that the song is one in which the instrumentation is standard to the Folk genre. Then, the single unexpectedly goes electric. Riva’s voice is well-suited for multiple genres, even within the same song.

     After listening more often, we became aware of the message, and the instrumentation became less important. The video begins with the message, “This song was written to honour the voices, dreams and spirits of Missing and Murdered Indigenous women, girls and 2SLGBTQQIA+people.” During the minute with Folk instrumentation, the video shows Riva Farrell Racette, but in silhouette. It is fitting with her point that the preyed upon are seemingly invisible.

     Riva’s songs are deeply personal and inspired by her lived experiences and observations as an Indigenous woman in Canada. We recommend watching the video and pausing as needed in order to read the statements. Riva posted a story about the song in her Bandcamp site, where you can purchase the “Stolen Sister” at the price you name and 100% will go to charity - https://rivafarrellracette.bandcamp.com/. The story is included in this post (immediately below our understanding of the lyrics).

     “Stolen Sister” by Riva Farrell Racette

Bandcamp: https://rivafarrellracette.bandcamp.com/

Lyrics of “Stolen Sister” by Riva Farrell Racette
It’s me your stolen sister
You saw me yesterday
But when your patch crossed mine
You saw my face and looked away
 
You couldn’t see the truth
You couldn’t see the truth
 
It’s me your stolen sister
They found me yesterday
The place they found my clothes
Is one that you threw away [apologies, best guess]
 
You see the boyfriends were restless
They came after me
They took me to the country
They raged on me
 
They said when they found me
There was no way to tell
A brother from a sister
In that broken shell
 
They couldn't see the truth
They couldn't see the truth
 
I am your mother
I am your daughter
I am a sister
I am your lover
I may be on the other side
You can find me
Follow my footsteps
And you'll be beside me
 
It's me your stolen sister
And I'm one of nine
Whose tears will stay on this payment
For the rest of time
 
So what if I was restless?
What if I was lost?
I dare you to find me someone who's not
Cause me, I had force and all these plans
A boy who I loved
A degree in my hands
 
You couldn't see the truth
You couldn't see the truth
 
We are your mothers
We are your daughters
We are your sisters
And we are your lovers
We may be on the other side
You can find us
Follow our footsteps
And you'll be among us
 
We are your mothers
We are your daughters
We are your sisters
And we are your lovers
We may be on the other side
We may be on the other side
We may be on the other side
You can find us
Follow our footsteps
And you'll be among us
You'll be among us
You'll be among us
 
About the song:
In the summer of 2014 my dad took me for a drive to the Qu’Appelle valley. He took me to his childhood home on the road allowance near Katepwa Lake - a small two room dwelling at the bottom of the valley. My father’s family and many other Metis families lived on those road allowances throughout the valley around Katepwa and Lebret.
 
That day he showed us where they would pick berries and the road to Indian Head they would walk every Saturday. He was about 5 years old. He remembered how his mother would take him and his siblings to Indian Head to the theatre where they would watch films that often featured Elvis. His mother was a fan. As we drove along the winding road he explained that during those walks they would have to stay alert for sounds of approaching vehicles. If they heard a vehicle in the distance they would have to run and hide in the bushes until the vehicle was gone. An Indigenous woman was not free to walk with her children without the constant threat of danger. A constant disregard for her humanity - her children’s humanity.
 
That disregard thrives today. It is everywhere - in our educational institutions, in the emergency room, in our legal institutions, at our work events, around the board table, at family reunions, everywhere.
 
This song is my best effort to make people see.
 
This song is also my message of love and respect to those who have been lost. It is the best way that I could let them know - we see you. You laughed, loved, cried, walked, dreamed. You lived. And that is beautiful.

“Flick of the Light” by Slowdaze – A Song Feature

     Slowdaze fearlessly injects brief intensity shifts into songs that would stand tall if left at a single energy level. At the 2:25 mark of “Flick of the Light,” the instrumentation and the processing create the impression that the song is descending into Dream genre sensibilities. Instead, the song jumps into Rock-ready guitar and percussion. Slowdaze left the best for last. The Soundcloud waveform is a visual representation of the energy dips in “Flick of the Light.”

      The dazzle is in the detail. In addition to the major shifts in “Flick of the Light,” Slowdaze introduces subtle features that enhance the attractiveness of the single. An early example is the burst of rim-clicks (drumstick to rim) that are heard at the 0:27 mark. We are sure there are a number of such “Easter eggs” that we have yet to discover. This is a single that will withstand the test of time.

     Slowdaze is the alternative/electronica alias of British producer Alex Fish. He is based in Hull, UK. “Flick of the Light,” is a single on his upcoming EP “Glasshouse Walk.” The explanation of the single:
  “It’s a song about searching for solid ground during a crisis. When you’re desperately trying to escape the past but also uncertain about what lies ahead. It’s about finding strength through adversity. Held together by a tight breakbeat, frantic guitars intermittently cut through, whilst a hypnotic drone weaves throughout the song. It’s the sound of someone pushed up against their limit.”

     “Flick of the Light” by Slowdaze

Facebook: https://www.facebook.com/slowdazemusic
Bandcamp: https://slowdaze.bandcamp.com/

Twitter: https://twitter.com/slowdazemusic

“Shadows” by Bear's Den – A Song Feature

 

     The warmth in the melody and the welcoming overtones in the vocals of “Shadows” are perfectly tailored for the positive message of assurance that, even though shadows seem to always find the other person, the walk will not be alone – “I want you and all of the shadows that walk beside you.” The single from Bear’s Den incorporates orchestral elements, as well as a peaceful, cyclical piano riff that conveys the feel of walking together. Early in the single, the sound of soft strings supports the description of the troubled person. It’s not until the final portion of “Shadows” that the horns enter, and the beauty of “Shadows” takes another step forward.
 
     “Shadows” is a single from the upcoming album “Blue Hours.” Within the album, Bear’s Den does not shy away from tackling uncomfortable themes. Like last month’s release of “Spiders,” this single addresses a battle with mental health in lyrics that carry hope and in a melody that is embracing. “Blue Hours,” is scheduled for release on May 13, 2022, via Communion Records.
 
      Bear’s Den is the UK duo Andrew Davie and Kevin Jones. Davie said of “Shadows:”
  “The song is generally about talking to someone who is struggling with their depression. The chorus is saying I want you and all the shadows that walk beside you and all the difficult things that come with you; and I guess that’s talking about someone’s depression... The point of the song is saying just hang in there and I'll be there. I think that’s probably why it felt right for it to be a quite triumphant sounding song amidst the darkness and sadness of the song...it's quite dark but deserved an epic approach.”
  Kevin Jones added, "It's a positive song, it's talking about unconditional love. We wanted the energy to be there.”
 
     Bear’s Den is scheduled for an extensive tour of Europe and North America. The schedule is included at the bottom of this post.
 
     “Shadows” by Bear's Den

Facebook: https://www.facebook.com/bearsdenmusic
Website: http://www.bearsdenmusic.co.uk/
Spotify: https://open.spotify.com/artist/0nJaMZM8paoA5HEUTUXPqi
Album pre-ordering: https://bearsden.lnk.to/bluehours

Lyrics of “Shadows” by Bear's Den
You're harbouring a private sadness
I still remember all your magic
Even if you don't
 
The shadows always seemed to find you
Thought no one knows you better than I do
I'll just have to wait here patient for them to go
 
For I know you'll come back around
I'm looking for a little light
That the shadows cannot find
 
I'd give it all back
If I could just find a way to help you cope
And pull you out whenever they come
The harder I try, yeah, the tighter they hold
I know, I know I should know better
But with you I don't
 
Just stay on the line
Give me a little time
I want you and all of the shadows that walk beside you
Just stay on the line
I'll be there in time
I want you and all of the shadows that walk beside you
 
I try to wrap my arms around you
But someone has already found you
And they won't let you go
 
The shadows know you better than I do
They seem to know exactly where to find you
I'll just have to wait here patient for them to go
 
What if you don't come back around?
In this blue twilight
I found a place that we could hide
 
I'd give it all back
If I could just find a way to help you cope
And pull you out whenever they come
The harder I try, yeah, the tighter they hold
I know, I know I should know better
But with you I don't
 
Just stay on the line
Give me a little time
I want you and all of the shadows that walk beside you
Just stay on the line
I'll be there in time
I want you and all of the shadows that walk beside you
 
I just need a moment to compose myself
I just need a moment to compose myself
I just need a moment to compose myself
I just need a moment
 
Just stay on the line
Give me a little time
I want you and all of the shadows that walk beside you
Just stay on the line
I'll be there in time
I want you and all of the shadows that walk beside you
 
European Tour Dates:
23rd April - Oslo - Parkteatret 
24th April - Stockholm - Debaser
26th April - Copenhagen - Studie 2
28th April – Berlin - Astra
29th April - Hamburg - Fabrik
1st May - Amsterdam - Paradiso 
2nd May - Amsterdam - Paradiso
5th May - Zurich - Kaufleuten
7th May - Cologne - Carlswerk Victoria
9th May - Brussels - Ancienne Belgique *Last tickets 
10th May - Brussels - Ancienne Belgique **extra date 
17th May - Bristol - O2 Academy 
18th May - London - Eventim Apollo 
21st May - Dublin - Olympia 
22nd May - Manchester - Albert Hall 
23rd May - Glasgow - O2 Academy 
25th May - Newcastle - Newcastle University
26th May - Birmingham - O2 Institute
27th May - Leeds - Leeds University Stylus 
 
North American Tour Dates:
8th Sept - Dallas, TX - The Studio at The Factory
9th Sept - Austin, TX - Emo's
11th Sep - Nashville, TN - The Basement East
12th Sept - Atlanta, GA - Variety Playhouse
14th Sept - Ardmore, PA - Ardmore Music Hall
15th Sept - New York, NY - Webster Hall
16th Sept - Washington, DC - 9:30 Club
17th Sept - Boston, MA - Royale
20th Sept - Toronto, ON - Danforth Music Hall
21st Sept - Chicago, IL - Thalia Hall
23rd Sept - Minneapolis, MN - Varsity Theater
24th Sept - Iowa City, IA - The Englert Theatre
25th Sept - Kansas City, MO - Knuckleheads Saloon
27th Sep - Denver, CO - Bluebird Theater
28th Sept - Salt Lake City, UT - The CommonWealth Room
30th Sept - Seattle, WA - Neptune Theatre
1st Oct - Vancouver, BC - Vogue Theatre
3rd Oct - Portland, OR - Revolution Hall
5th Oct - Felton, CA - Felton Music Hall
6th Oct - San Francisco, CA - August Hall
8th Oct - West Hollywood, CA - Troubadour