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Tucson sounds: From the Groundworks up with Logan Greene

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Tucson sounds: From the Groundworks up with Logan Greene

  • The Logan Greene Whatever
    Courtesy of the band via FacebookThe Logan Greene Whatever
  • Izzy Kunkel and Bella Krump of Stripes
    Courtesy of the band via FacebookIzzy Kunkel and Bella Krump of Stripes
  • Febbo Fuentes at Saint Charles Tavern
    Courtesy of the band via FacebookFebbo Fuentes at Saint Charles Tavern

Remember how '80s and '90s-era teen dramas and movies always had a few characters played by actors who you knew damn well were not teenagers anymore? Yet you suspended belief because they were so good at portraying youthful angst and passion.

Logan Greene is kind of that actor in the Tucson youth music scene. Always full of youthful energy and always ready to cheer on the "young punks" but clearly not a teenager anymore, and not just because he's managed to grow a full beard in the decade or so that he's been involved in helping Tucson all-ages venues and shows succeed in the post-Skrappy's era. This guy has some experience under his belt and he's not here to profit by it, he's here to pay it forward.

Greene is part of the team working to launch Groundworks — a dedicated all-ages and DIY space back to Downtown Tucson. He's also one-half of the Diet Pop Records team and the frontman for indie band the Logan Greene Whatever. This week, we pinned him down to talk about music, community and his decidedly socialist take on the business of music. For folks who don't know you, introduce yourself and your musical projects!

Logan Greene: "I've been playing music around town for over a decade, mostly just under my name Logan Greene. I also play in a band called Big Bad. Most recently I decided to start a non-profit called Groundworks which is dedication to art education and will provide a much needed all-ages venue for youth in Tucson..

TS: Your current band incarnation is called "the Logan Greene Whatever." How'd you end up with that name? Is it an in joke and can we be in on it?

LG: "Someone once called us that as a joke but it's pretty much just me who thinks it's still funny. I kinda just like how non-committal it is..

TS: Origin story for the band?

LG: "I tricked all of them into playing my dumb songs. They were duped!"

TS: Current members/lineup? Related projects?

LG: "I play guitar and sing, my partner Sophie McTear (Sophie McTear Design) plays synth and sings, Joseph Parker Okay plays bass and Adam Dunklee (Carnival) plays drums."

TS: How'd you fall in love with indie music and rock and roll?

LG: "When I was 13, I wanted to be cool so I learned an instrument, but because I'm a big ol nerd, I ended up taking it WAY too seriously well passed the point of diminishing return on coolness."

TS: You have long been part of Tucson's indie DIY music scene in one incarnation or other. Tell us about your local music history.

LG:"Going to shows at Skrappys and touring relentlessly was my DIY upbringing. I've booked countless shows at now defunct venues like Skrappys, The Living Room, Dry River, etc and I've got the thank-you-notes from touring bands on my wall to prove it."

TS: And now you're part of the Groundworks team. Tell us more about THAT!

LG: "Groundworks is something that has been in the works for a while. I really hope it will fill the void that other venues have left. I truly believe that Tucson could benefit from this type of project and I'm happy to be the one to spearhead it."

TS: You're also part of the team behind Diet Pop Records, with Justin Tornberg, right?

LG: "Diet Pop is still around but I've shifted my focus onto Groundworks. All I ever wanted to do was help musicians out and me moving my energy will likely help more than I could before with Diet Pop."

TS: Advice to the younger generation of Tucson based DIY and indie musicians?

LG: "Have you met the younger generation doing shows right now? They need no help from me!"

TS: Truth! We can all learn a lot from those kids!

LG: "Maybe I can suggest to them to not listen to older generations because older generations have no idea what they're taking about!"

TS: Any upcoming plans as far as your own project is concerned like touring, recording, etc.?

LG: "Getting Groundworks open is the first priority, so my energy is there right now. Hopefully my plans will include playing our grand opening!.

TS: Good luck - we can't wait! Favorite gigs of all time with this band.

LG: "We set the bar pretty low for ourselves, so each new gig is my favorite because each new gig we're able to play a lot better than the one before."

TS: Thoughts on musicians' pay and the ever present debate of doing music for money vs. doing it for love.

LG: "In a capitalist society, musicians need to adjust to the demands of the market in order to get paid, but better yet would be for musicians and everyone else to actively work against a capitalist society!"

TS: Shhh! The walls have ears!

TS: Details about your next few gigs?

LG: "Wednesday, Sept. 18 at Club Congress we play the KMKR Radio benefit!

TS: Thanks for all you do, sir!

The Logan Greene Whatever joins Feverfew and Sad Reptilian for the KMKR Radio Fall Benefit Show this Wednesday, September 18, at Club Congress at 7:30 p.m.

Business of Music Part the Fourth

Welcome to the fourth installment of this column's ongoing series examining the "business" end of the local music scene.

This week, we talk to Izzy from the band Stripes, a local teenage indie band which is one of the most talented rock bands in Tucson, in this reporter's humble opinion. We also hear from a more seasoned vet of the local music industry, Mark Anthony Febbo of Febbo Fuentes, as he ruminates on years of experience at the business end of a passion for playing. Stay tuned for more in the coming weeks!

Izzy Kunkel (Stripes)

TS: For readers that don't already know, what is your instrument of choice and what bands and projects have you been part of.

IK: "My instrument of choice is guitar and I currently play in Stripes. My former projects include the Frecks and John and the Cenas."

TS: Do you ever play solo, or just as part of a consistent band or bands?

IK: "I never play solo. I always play with my (now four-piece) band Stripes."

TS: How did you get started in the music business and how do you feel about the "business" side of it, vs. the idea of playing for the sake of playing.

IK: "I got started in music from going to local shows, I was inspired to start my own band and I did shortly after. I love the business side of it. I love making connections, booking, organizing, and managing our band. I have no problem with the 'business' aspect of it."

TS: Any experiences outside of Tucson in terms of pay, venues, appreciative audiences and the like?

IK: "Very few, we've briefly toured and where we have toured we have made zero dollars and zero cents consistently. Have yet to find an audience out of town that is into it, we are traveling to California for the first time this October. Hoping to create a name for ourselves over there!"

TS: Experiences in Tucson/Arizona regarding the same issues?

IK: "We rarely encounter attentive and excited audiences. I feel as though we have yet to find our crowd or maybe our 'crowd' consists of people who don't like going to shows."

TS: Really? It seems like the all-ages crowds adore you guys in a way I've rarely seen in this town for some time! Then again, older Tucson audiences don't dance and are kind of primed to just stand there. Believe me, kid, they're digging it. But, yeah, they could stand to crack a smile or something.

Next question. How can venues do better at compensating (and promoting) musicians while still meeting their overhead and staying afloat.

IK: "I have no clue. From the hundred or so shows I've played in the past year and a half we've made probably $700 in total and spent it all on touring, recording, and merch. I didn't go into making music to make money. "

TS: How can musicians better support each other without hurting their own prospects?

IK: "Musicians can better support each other by showing up at each others shows. It's always nice to see another local musician you respect at your shows."

TS: What would you say to those who fall more on the "love" than "money" side of the musician spectrum? Is it possible to make a living or at least a decent side gig out of music without losing passion and originality?

IK: "I say keep doing whatever it is you do. If you want to make music, make music. I don't think musicians can expect to make a living out of music unless they put everything into it, even then, you may not make any money. Nothing is promised to you and you're not owed anything. Even if you bust ass, maybe you're ten or fifteen years ahead of your time or behind. Some people don't receive praise or compensation for their art until they're dead. Just do what you want to do and do what you need to do to keep yourself afloat."

TS: Damn it, kid. Wise words.

TS: Is it necessary to "pay ones' dues" in the music business still? How should newer players approach this.

IK: "I don't know what that means exactly. Meaning playing for free before you're paid? I mean if you're playing covers for 4 hours at a wedding of course you should be paid every time. If you're playing 30 minutes of originals at a club/record store/bar I don't think you can expect to be paid handsomely for that unless you're bringing a significant crowd with you..

TS: Is Tucson still an "old boys" club when it comes to professional music? Are things getting more fair for women and people of color in local music? Does it depend on genre and venue?

IK: "Again, I'm not sure. I feel very separate from what it means to be a professional musician. When I think professional musician, I think people playing at weddings and private events doing hours long sets of covers, or of people hired to be stage musicians. I don't think of people playing their own original music and being professional musicians, at least not here in Tucson.  I don't know anyone who makes their living from playing music."

TS: Thanks for answering! Now a chance to shamelessly self-promote. What's on the horizon for Stripes in the short term.

IK: "Stripes is touring California in October and new music is always on its way!"

TS: And your album 520 is a Burger Records featured cassette now, so congrats!When can we see you next?

IK: "At Boxyard with Demonyms Friday night. And we're playing Second Saturdays Downtown this Saturday! Stripes plays from 9-10 p.m. on the main stage..

Stripes plays with Demonyms on Friday, September 13 at 8 p.m. at Boxyard Tucson, and again Saturday, September 14, on the Scott Avenue main stage at Second Saturdays Downtown from 9-10 p.m.

Mark Anthony Febbo

Mark Anthony Febbo (Febbo Fuentes):"Hi, Julie. Here's my two many cents! I'm a singer-songwriter and I play guitar and harmonica. I formerly fronted the band, Clam Tostada, and have played solo and also as part of a duo with Oscar Fuentes called Febbo Fuentes. Do you play more often solo, as part of a consistent band?

MAF: "Lately it's been as part of a duo and occasionally solo."

TS: How did you get started in the music business and how do you feel about the "business" side of it, vs. the idea of playing for the sake of playing.

MAF: "I've always enjoyed writing. I didn't start learning guitar until after high school, but when I did start, it was with the hope that I would be able to write songs at some point and the guitar was the most accessible instrument to me."

"I don't really like the 'business' side of music and I think that's common with most musicians. I wouldn't play if I didn't want to, or didn't thoroughly enjoy the energy that comes back to you from an audience. I play for the sake of playing, and for fun, but it's essential to me that the venues I play for also see it as something of value."

"If the venues are making money from the shows, or if a musician is there expressly to entertain clientele, they deserve to be paid. I have a regular full-time job that relies on my creativity, so I'm fortunate there. I'm fortunate to have a steady job, and the security that affords, while also having enough free time to do the creative stuff that I really love, which is playing and writing music."

TS: Any experiences outside of Tucson in terms of pay, venues, appreciative audiences and the like?

MAF:"I find audiences outside of Tucson are receptive, especially in smaller towns where I really enjoy traveling, visiting and staying. I hit places that I want to visit. Places where I like the vibe."

"I like forming relationships with venues who really want to bring something to their clientele that they don't get all the time. Small towns are often in need of entertainment options. I like playing originals, so it's essential to me that they don't just expect us to play a buncha covers - not that I mind playing covers! But we play a lot of obscure covers, so we are appreciative and seek out crowds and settings where all that is welcome."

"There are places that will give you a room for the night, feed you, and send you back home with enough to cover gas and a little for the bank. That money is usually spent on instruments or recording. I really can't ask for much more."

"I like the little weekend tours. It takes a lot of work to find these kinds of places and you have to promote every which way to make it work. The recent discussions about pay in Tucson have helped me realize that this is something I should be very grateful for, because my music and the stuff I like to play appeals to these type of places."

"It might not be the same if I were playing music of a different genre. It wouldn't be the same if I were traveling with a full band either, 'cause that's a lot more money to have to spread around and expenses to get out and stay out on the road. People who tend to like my music are often older, and that demographic generally has more disposable income than many younger people."

TS: Experiences in Tucson/Arizona regarding the same issues?

MAF: "There are some really supportive establishments in town. You hear awful stories sometime. Maybe every once in a while someone leaves without pay, or has to get in an argument about it. You hear this stuff mostly in confidence from other musicians, but generally things are fair if you seek fairness. And it's essential that communication takes place openly and directly."

"I also book music for a venue in town, and so I see both sides of this thing. I would say that many of my colleagues never ask the booking guy (me) about pay details. If I didn't bring it up, I fully expect that they would play the gig and worry about it later. And that's a little unfortunate, in my opinion."

"I get that for many, they just do it for fun, so maybe it just doesn't matter. But music matters. It has value. It's good to take ownership and know your worth. As much of a pain as the business end of things is, it's essential that you ask about compensation details and make an informed decision about playing a venue. Negotiate. Promote. Team with the venue to promote."

"And with all that said, it's true that not everyone is at the same level, and there is, and should be, room for musicians of every level and persuasion. Compensation can't really be a one-size-fits-all kind of thing. Most all of the professional, full-time players I know in town (and I do know quite a few of them) have to leave town on tour frequently to make ends meet."

"Deciding you want to be a musician and try to make a living at it means you're working your butt off and you're also living very modestly, because there's not a lot of money to be made for any independent musician these days. The revenue streams have all dried up. You can spend thousands of dollars making a recording that everyone will download for free or stream. Royalties are a joke. Live bands are not as valuable a commodity as they were 20, 40 or 60 years ago. Some of this is just tied to the state of the economy and such, but it's also about how people consume entertainment now, and how that's evolved."

TS: How can venues do better at compensating (and promoting) musicians while still meeting their overhead and staying afloat?

MAF: "I think venues can help promote in lots of ways that many don't, but again I don't think it's a one size fits all matter. If a business is established and they can host music, if they have their own fans/regulars and the band is there to entertain the clientele they already have, they definitely should ante up a bit: social media support, posters, free listings in newspapers, and outreach to local radio."

"But some venues, just don't have the established clientele and they are looking for bands to help bring them customers. In that case, it really should be a partnership and venues and musicians should plan/discuss who's doing what and coordinate the same sorts of efforts. I do see where some venues do little to nothing and expect the band to do it all. That's not fair. If a band brings 30 people and a venue has 30 regulars that's a team effort that has netted an audience that's pretty decent size for a lot of the smaller venues around town. Venues that see particular bands doing exceptionally well should reward that. If a bar hosts a band and the only people at the bar that night are the folks who came to see the band, well, the bar should have its own fans/regulars. That's just not sustainable business."

"I'm not a fan of the percentage of bar deal with no guarantee, but I realize that's the only way that some venues can have music, and there are also lots of musicians who might not be able to command a guarantee for one reason or the other. And some bands/acts don't do as well at one place as they do at others for whatever reason."

"Not every fit is a good fit. It doesn't mean the venue shouldn't exist or the band shouldn't play. Main thing for me is let's talk to each other about this stuff and let's team up to make events. People aren't gonna come out over and over for the same thing week after week of me doing circles around a square mile of downtown. It's easy to reach saturation. And venues need to understand that and book accordingly. Bookings should be programmed thoughtfully, not just a sign up first come first serve list. It should be kinda like making a mixed tape."

" But if you have any idea for how to introduce novelty to make a setlist/show into an event, whether it be by introducing a theme or whatever to a lineup with multiple bands, that can really go a long way toward generating excitement and the attendance needed to make a show successful. We hosted a blues jam and round robin a few months back at the place where I book, and that was something novel that people responded to, because I asked some musicians who'd not ever played together to do exactly that. To trade songs and jam. The improvisation was great, the energy was perfect and people loved that unexpected twist to things."

"We could do more of that sort of thing. I've done similar things with asking musicians to play sets off specific albums (maybe they're oldies but goodies, or stuff that's kinda part of obscurity, obscure enough to also be hip) and we advertise it that way. That's the kind of novelty I'm talking about in general and it can go all sorts of exciting directions, but it requires some work and dedication to make that kind of stuff happen. Lots of communication. And lots of brainstorming and spit balling with musicians about what they might do to make an evening special, novel, something people are gonna remember for a long time."

TS: How can musicians better support each other without hurting their own prospects?

MAF: "Go see each other once in a while. We all get busy. We're all playing all the time, it seems. I don't  go out to see as much music as I did maybe three years ago when I would go out three or four times a week, but I still get out weekly to see other bands. Jam with each other. Ask strangers who you admire to play with you, or sit in."

"We could stand to shake up the cliques around town a little bit. Inter clique outreach and collaboration. I've always believed that it would be really cool to have a jam night where we all show up and jam with each other and just see what happens. Dan Stuart and Van Christian have had this thing at the Dusty Monk for about a year, and it comes really close to that. I hope that kind of thing picks up somewhere else and continues to evolve. The Pop Narkotic shows that Jimi Giannatti hosted for a good stint there and those house shows. I'd love to see more stuff like that happening around town. Again, it's the kind of stuff that brings different sectors of the scene together."

"I love to see Tap & Bottle packed to the gills whenever there are more musicians in the room than up front playing. But the truth of the matter is that pretty much every Thursday that deserves to be the case, not just when everyone's favorites are up to bat, it's always an exceptional show there. Che's Sunday shows are similar like that. They bring the music community together. But these places I mention are a small part of a much larger scene."

"There's music literally all over town on any given night, so another thing that we musicians can do for each other is spread out and establish gigs in the far flung corners of town. Find new places to play, there are always new places popping up. We can help each other by conscientiously working not to over saturate our own scene."

TS: What would you say to those who fall more on the "love" than "money" side of the musician spectrum? Is it possible to make a living or at least a decent side gig out of music without losing passion and originality?

MAF: "It's absolutely possible to make a little money and not lose passion or originality. It's not easy and might be harder for some than others. What you're asking about is predicated on so many variables. Like if my main passion is for Tibetan throat singing Tin Pan Alley melodies that I put original lyrics to, that might be a hard sell for a lot of markets. It might not have the mass appeal that I thought it might when I first conceived of it. So yeah, maybe you have to manage your expectations there. It doesn't make it a less worthy pursuit."

"I kinda think love is the only good reason to play music, 'cause there's not a lot of money in it. However, love and money are not mutually exclusive reasons for doing something. I can love the stuff I create and also value it, know its worth, and ask for that. Sometimes I think people forget that you have to ask. I know they do, because like I said before, I see it happen all the time."

"A lot of us struggle with these two sides of things. I know I do. There's that side of you that creates and performs and a lot of that, maybe all of it, is ego. And then there's the side of us that is somewhere in our subconscious that says, "you're not good enough, no one's gonna like it. You're an imposter." Some of the most creative (maybe even genius level) friends of mine are really hard on themselves when it comes to self-critique. You don't want to let that negative inner voice come to the table during your gig hunting and negotiations. You need the voice of reason, not your overconfident ego, nor your self deprecating critical inner voice. If it's all one way or the other for you, seek help from a good friend to help manage your music efforts."

TS:  Is it necessary to "pay ones' dues" in the music business still? How should newer players approach this?

MAF: "Semantically, I don't know if anyone owes anything to anyone else. But I know the colloquial meaning, and yes. Paying dues means allowing yourself to make mistakes and learn from them. That takes time. None of us deserve to be handed a stage just because we show up and ask for it."

"I've played music at venues all over town, throughout Arizona (and some out of state) since 2001. I've made new friends and new connections every year, and a lot of that came not from constant playing out (though there's been a lot of that in 18 years) but also from going out to see and support other musicians. If you put yourself in that kind of space, and you're able to muster the social skills for it (or, for the introverts, suffer the terror of it all) you will encounter people who you will connect well with."

"I'd never have met Andy Hersey, in the early 2000s, had I not been a fan first. Andy later helped me produce my first album. At the time I'd probably written 100 songs, but I was so green. He encouraged me to keep writing songs, and to work at it. I ended up keeping maybe 20 of those hundred. I'd never have met Oscar Fuentes, had we not both showed up to see the same band at Monterey Court. Oscar later played sax in my band, and now we play in an acoustic duo and he's helping me produce my second album."

"I'd never have befriended Billy Sedlmayr had I not been a fan first and had I not pursued that relationship and told him how much I love his work. We've been able to co write some, and he's been super kind about offering constructive criticism on my latest collection of songs. Paying dues has a lot to do with knowing who came before you, appreciating the work and dedication they put in, and seeking mentors. Forming real, live friendships with people. All that said, established players and those of us who've been afforded kindnesses need to also pay that forward and backward. It's the only way for the scene to perpetuate itself."

TS: Is Tucson still an "old boys" club when it comes to professional music? Are things getting fairer for women and people of color in local music? Does it depend on genre and venue?

MAF: "Yes. I can see that it is. But we are also a progressive, and tight knit community, so I have every hope that we will continue to become better and fairer to women and POC. Most of the 'old boys' around town are self-aware enough that they can contribute to empowering those who hold less power. I would encourage everyone who is in charge of booking a venue to take a look back at your books for an extended span of time. Get critical about what you're doing. How can you be better and fairer? How can you book more mindfully? Who's getting overlooked in the community? There's always room for improvement. And it's easy to slide into familiar territory if you're not willing to constantly be on the lookout for someone new to book."

TS: What else do you want to weigh in on?

MAF: "I can't think of anything, and I probably blathered on way too long already. But even if you have to edit this down to a third, I'm grateful for the cathartic experience."

TS: Thanks for chiming in on these topics. Now a chance to shamelessly self promote! Tell us what's on the horizon for you musically. Upcoming tours or recordings?

MAF: "I've been working on a solo album for the past year with Oscar Fuentes as producer, recorded at TucSound Studios. The songs run the gambit from folk and country to bluesy rock and desert rock. It really has been my dream studio-album project. When you have a band there are a lot of competing egos and there are those creative disputes that can make things stressful in the studio. The studio was hard on The Clam Tostada. We almost didn't survive it, and after we did, we only made it another year. Some of the latent issues had to do with things that came up in the studio. I'm amazed at some bands longevity in studio recording type situations. It can be very stressful. With this project I got to hand pick all of the players. It was totally deliberate in almost every aspect. So I got to think to myself, 'who of my local heroes would be perfect for these songs?' And I got to have Oscar, one of my very best friends, and someone I trust implicitly with my music as a main partner."

"The core band on the album is me, Oscar Fuentes, Heather Hardy, Alvin Blaine, Thøger Tetens Lund, and Bruce Halper. We also have some cameos from Damon Barnaby, Tom Walbank, Billy Sedlmayr, and Rich Hopkins. The album is called Dry River Redemption and is currently being mastered. The art is just about done, so I'd look for it in November or December, latest. We will be doing an album release with the core band, and hopefully some of the cameo folks. If we're lucky and can get everyone together for it we'll do maybe one or two more shows later in 2020."

"These are all songs that Oscar and I play together in a more stripped down version in the Febbo Fuentes acoustic duo where he and I trade songs. Febbo Fuentes is bilingual, as Oscar does a lot of songs in Spanish. I think we complement each other well. It's sort of like having two front-persons and we accompany each other while the other sings."

"Another concurrent project I've been working on is helping Dave Bryan with production of Loveland. We've been recording at Oscar's TucSound Studio since May. Dave hasn't recorded anything since the release of Pilgrim Soul in 2003, so there's a backlog of tons of material. Right now we're sitting really close to about four albums worth of songs that are going to need to be mixed and mastered. So look for a bunch of Loveland stuff coming at you the next year or so. With Loveland, it's go big or go home! I'm really proud to be involved with this project, as I've been a fan of Dave's songwriting since the early 2000s when I first started seeing him play around town, and the caliber of musicians he has playing with him is pretty epic."

TS: What live gigs, if any, are on the horizon?

MAF: "Febbo Fuentes is playing a refugee benefit for local El Savadoran refugees and immigrants this Sunday night at Rhythm Industry Performance Factory. After that, we play Sand-Reckoner on September 27, the Courtyard in Bisbee on October  11 and the Patagonia Fall Festival on October 13. We'll also play Phoenix at the Grand on October 19.

You can catch Febbo Fuentes this Sunday night, Sept. 15 at 6 p.m. as part of Refugees Matter, a benefit for Salvavision at Rhythm Industry Performance Factory.

Check your local listings...

Friday, September 13

  • Leila Lopez Band - 7 p.m. Crooked Tooth
  • Big Grin - 6 p.m. Sand-Reckoner
  • Demonyms and Stripes - 8 p.m. Boxyard
  • Paul "Piano Man" Jenkins - 8 p.m. Hotel McCoy
  • Eb Eberlein - 8 p.m. Saint Charles
  • The Distortionists, Creeper Van and Drizzle - 9 p.m. Irene's Holy Donuts
  • El Tambó: La Misa Negra with Sonido Tambó - 10 p.m. Hotel Congress Plaza
  • Moontrax, Yip Deceiver, Future Scars, Jillian Bessett - 8 p.m. Club Congress 
  • Tucson Libertine League Presents Superstition! - 9 p.m. 191 Toole
  • Jenny and the Mexicats w/ Bang Data - 8 p.m. Rialto Theatre
  • Brian Lopez Vinyl Re-release show - 8 p.m. Exo
  • Jenny & The Mexicats, Santa Pachita, Bang Data - 8 p.m. Rialto Theatre
  • The Distortionists, Creeper Van, Drizzle - 8 p.m. Irene's Holy Donuts
  • El Tambó: La Misa Negra w/ Sonido Tambó - 10 p.m. Hotel Congress Plaza

Saturday, September 14

  • Joyce Luna - 6 p.m. Sand-Reckoner
  • Emilie Marchand - 6 p.m. Mercado Courtyard, MSA
  • Lisa O'Neill - 7 p.m. Crooked Tooth
  • BTP and Friends - 7 p.m. Borderlands Brewing
  • Her Name Echoes, Pyrotechnica, Echoes - 7 p.m. Club Congress
  • Operation MIndcrime with Geoff Tate - 7 p.m. Rialto Theatre
  • Eldritch Dragons - 6 p.m. Second Saturdays, Scott Stage
  • Surfbroads - 7: 30 p.m. Second Saturdays, Scott Stage
  • Stripes - 9 p.m. Second Saturdays, Scott Stage
  • La Cerca - 8 p.m. Exo
  • Method to the Madness - 9 p.m. The Dive
  • Jacob Acosta Band, Big Grin, and Brian Berggoetz Band - 9 p.m. Sky Bar
  •  BreakingGlass w/ John Matzek - 9 p.m. Saint Charles Tavern
  • Al Foul Trio - 10 p.m. Che's Lounge

Sunday, September 15

  • Harmonies for Horses Benefit w/ Shark Heartt and Taylor Eason - 12 p.m.
  • Mik and the Funky Brunch - 12 p.m. La Cocina
  • Sunday Sessions w/ Kevin Pakulis - 2 p.m. Borderlands Brewing
  • Reed Turchi w/ Autsin Counts - 4 p.m. Tap & Bottle
  • Little Cloud - 6 p.m. Che's Lounge Patio
  • Refugees Matter Benefit w/ Febbo Fuentes and Espintumba - 6:30 p.m. Rhythm Industry Performance Factory
  • October Intuition - 7 p.m. Royal Sun
  • Laura Carbone w/ Jrown - 8 p.m. Club Congress
  • Brian Lopez Encore Vinyl Re-release show - 8 p.m. Exo
  • Little Steven And The Disciples Of Soul - 8 p.m. Rialto Theatre

Monday, September 16

  • Kiana Ledé - 7 p.m. 191 Toole
  • Lucky Devils Band - 8 p.m. Club Congress
  • Black Flag - 8 p.m. Rialto Theatre 

Tuesday, September 17

  • Durand Jones & The Indications - 8 p.m. 191 Toole
  • Peter Bradley Adams - 8 p.m. Club Congress
  • Al Di Meola - 7 p.m. Rialto Theatre

Wednesday, September 18

  • Mike Kann - 7 p.m. Crooked Tooth
  • KMKR Benefit: Logan Greene Whatever, Feverfew, Sad Reptilian - 7:30 p.m. Club Congress
  • Phantogram - 8 p.m. Rialto Theatre

Thursday, September 19

  • Paul Cauthen - 8 pm. 191 Toole
  • Daikaiju - 9 p.m. Sky Bar
  • Sea of Treachery and Decayer - 6 p.m. House of Bards

Friday, September 20

  • Stephanie Dogfoot, Em Bowen, Vasectomy, Lily Scialom-Herman - 7 p.m. Casa Libre
  • CLUBZ & Girl Ultra - 8 p.m. 191 Toole
  • Seanloui w/ Willis Earl Beal and Mattea - 8 p.m. Club Congress

Each week this column compiles a choice selection of live gigs in and around Tucson with the help of good venue and band event announcements and other resources. If you've got a gig coming up and you'd like your event listed in this space (or if your local band has a major announcement or a new release) drop me a line at



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