Grammys producer apologises to Trent Reznor


Trent Reznor

Nine Inch Nails frontman left furious after live performance interrupted by advert break

Nine Inch Nails frontman Trent Reznor has received an apology from the producer of the Grammy Awards.

Reznor’s band joined Queens Of The Stone Age, Dave Grohl and Fleetwood Mac’s Lindsey Buckingham for the closing slot at the event at the Staples Centre in Los Angeles on Sunday night (January 26), but their performance was cut short by the closing credits and a commercial break.

Reznor took to Twitter to blast the organizers, writing “Music’s biggest night… to be disrespected. A heartfelt FUCK YOU guys.”

However, in a new interview with The Hollywood Reporter, executive producer NAME says: “I’m sorry he was upset. I was really thrilled that we were finally getting him on the Grammys. The final jam started with Arcade Fire a few years ago, and LL Cool J last year. I wanted to end on a high, an up note. I did tell them we’d take it as long as we could. The number was about five, six minutes long, and we got to within a minute twenty of the end. We got as close as we could possibly get.”

Reznor has form in airing his grievances over Twitter. Ahead of their performance at Reading Festival last year, he complained that the festival promoter and headliners Biffy Clyro had “fucked us on production”.

Trent Reznor Blasts Grammys With ‘A Heartfelt F–k You’ Tweet

Queens of the Stone Age Thrash Grammys With Dave Grohl, Trent Reznor

Daft Punk’s big night at the Grammys turned into Taiwanese animation!!!

The Big question at the Grammys: Can someone tell me who the fuck Daft Punk is?

As you may recall, following Arcade Fire’s earth-shattering Album of the Year win at the 2012 Grammys, a Tumblr page was launched compiling various tweets asking, “Who is Arcade Fire?”. Though music writers and bloggers chuckled along, it wasn’t that outrageous of a question. At the time, Arcade Fire was still a relatively unknown band to mainstream America, a quirky group of Canadians signed to an independent record label and who dressed in funny outfits.

Surely, Daft Punk wouldn’t suffer from similar obscurity. After all, Thomas Bangalter and Guy-Manuel de Homem-Christo have been heavyweights in music for two decades, with more than a few chart-topping songs to their name. They’ve even performed at the Grammys before, teaming with Kanye West for “Stronger”. So, yea, surely no one would tweet, “Who is Daft Punk?”.

"I thought we were known here.... "

“I thought we were known here…. “

Music fans weren’t the only ones disappointed by CBS pulling the plug early on the Grammys finale last night. About 45 minutes after the broadcast, Nine Inch Nails frontman Trent Reznor unleashed an invective on Twitter at the awards show’s organizers, playing with its tagline. “Music’s biggest night. . . to be disrespected. A heartfelt FUCK YOU guys,” he wrote.

“Music’s biggest night. . . to be disrespected,” NIN leader wrote after show-ending performance was cut off.

Although Nine Inch Nails, Queens of the Stone Age and Dave Grohl were all nominated for Grammys this year, only the drummer took home a trophy what Jay Z affectionately called a “gold sippy cup.” The Foo Fighters frontman Grammys for Best Rock Song – for “Cut Me Some Slack,” his collaboration with Paul McCartney and former members of Nirvana – and for Best Compilation Soundtrack for Visual Media for Sound City: Real to Reel, an album that featured him playing with Reznor and Queens’ Josh Homme on the track “Mantra.”

Queens of the Stone Age had been nominated in three categories. And finally, likely adding to Reznor’s ire, Nine Inch Nails’ 2013 LP Hesitation Marks had been nominated for Best Alternative Music Album. It lost to Vampire Weekend, whose Modern Vampires of the City earned them the trophy.


Video: Dave Grohl, Trent Reznor, Josh Homme, and Lindsey Buckingham destroy Grammys


Trent Reznor Blasts Grammys With ‘A Heartfelt Fuck You’ Tweet.

What better way to close out the 2014 Grammys then with a super group for the ages. Dave Grohl, Trent Reznor, Josh Homme, and Fleetwood Mac’s Lindsey Buckingham joined forces for an epic, once-in-a-life performance of rock and roll excellence. Homme and Buckingham manned guitar and Grohl did his thing on drums as Reznor got things start with a rendition of Nine Inch Nails’ “Copy of A”. Homme then took over lead for Queens of the Stone Age’s “My God Is the Sun”, though was tragically cut short in favor of a Delta commercial. Bet that would never have happened to Taylor Swift. #NoRespect. Catch the replay below.

For a complete list of Grammy winners (who cares???), click here. Watch other Grammy performances, including Beyoncé and Jay Z, Paul McCartney, Kendrick Lamar, Metallica, Lorde, and more, by clicking here.

The awards show had been running about 15 minutes late by the time Nine Inch Nails took the stage with Queens of the Stone Age, Fleetwood Mac’s Lindsey Buckingham and Dave Grohl. The supergroup was able to play two songs – NIN’s “Copy of A” and most of Queens of the Stone Age’s “My God Is the Sun” – before the TV network ran ads for its programming and for an airline sponsor, all with the music going on in the background. Considering the group members had all played together in various configurations, the rest of their set remained a mystery to TV viewers.


Voodoo Music Experience 2013 New Orleans: Top Acts and Photos


Voodoo Festival Gallery


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Maybe the vibe resulted from placement at the end of the major music festival season, or perhaps it was a true reflection of the Big Easy lifestyle – in any case, New Orleans’ Voodoo Experience, held Nov. 1-3 in City Park across only four stages, felt like the most laid-back of this year’s multi-day events.

It was also one of the most diverse – continuing its tradition of mixing popular acts with NOLA locals – for better or for worse, depending on the day’s scheduling. Friday put Preservation Hall Jazz Band, Macklemore & Ryan Lewis, and Pearl Jam back-to-back on the main (Le Ritual) stage, which makes some sense after realizing that the latter acts are Seattle-based homies.

But Saturday had Paramore opening for Nine Inch Nails (loathing loomed large amongst the tirelessly waiting front ranks of NIN super-fans), and Sunday positioned Kid Rock before the Cure, creating a strange goth-versus-good ol’ boys hodgepodge in the evening’s final hours.

Yet, to the organizers’ credit, the eclectic blend above all reflected how the bash has set itself apart from other mainstream festivals while successfully extending the city’s Halloween tradition, year after year. As fest lineups and production elements have become increasingly homogenized over the last few years, Voodoo festival has learned to wear many masks.

And, for its 15th consecutive run – with music, local food, and art that evoked equal parts kickback and outrageous party – the event consistently delivered more treats than tricks.


Pearl Jam

Team Gleason: Former New Orleans Saints player Steve Gleason, now confined to a wheelchair after battling ALS for several years, introduced the band Friday night. Guitarist Mike McCready donned a “Defend Team Gleason” T-shirt, while Eddie Vedder mentioned that Gleason wrote the setlist and was “a member of the band.” If Gleason really was responsible for those runs of “Jeremy” and the set-closing “Yellow Ledbetter”, the Voodoo crowd has a lot to thank him for.

Seattle love, ya’ll: After a comical Q&A where Vedder polled the crowd on how many people had been arrested in New Orleans (Vedder raised his hand) and how many thought they’d get arrested that night, the frontman suggested that fellow Seattle artist Macklemore (whom I spotted chatting with an exuberantly complimentary Vedder backstage after his show) would foot the bill for bail. Or, at least according to the Pearl Jam vocalist, he’d “give you 10 bucks to buy something at the thrift shop.” Here’s his number, according to Eddie: “206-938-840…” – one digit short, man!

70I left NFG a little early to get a good spot for The Gaslight Anthem. I used to listen to the band exclusively on Wednesday nights when my friend and I “studied” AP Calculus, and after many spins, and much deliberation, The Gaslight Anthem has earned a spot among my favorite bands of all time. The band did a great job with choosing its setlist, even playing a new track, “Halloween” for the crowd. Midway through The Gaslight Anthem, the sun began to set and the crowd began to thicken for Paramore—one of the most anticipated events of the night, fans were obviously ready for Hayley Williams and company to take the stage. This anticipation certainly wasn’t unwarranted—Williams brought a killer performance filled with crowd participation.

relevantpoliticsRelevant politics: Vedder took time to bash BP for spilling oil into the nearby Gulf of Mexico and mentioned that “Southern Hand” was about the “rash of overdoses in the last six months … since they legalized marijuana in Seattle,” which, according to bassist Jeff Ament, is “obviously a work of fiction because that never fuckin’ happened before.”

And they covered two Mother Love Bone songs? Yep – another heavy dose of Seattle love that opened the encore, likely thanks again to Gleason, who hails from neighboring Spokane.


He’s My Brother She’s My Sister

It began like any other neo-folk outfit… Stand-up bass, a little lap slide guitar, and a quirky drummer backing a male/female vocal duo. But, a few songs into its Saturday afternoon set, the group added a marimba player and, after a couple more songs, an impressive trio of highly harmonic male backup vocalists from tourmates Song Preservation Society. These carefully added layers of collaboration were key to their galvanic buildup.

How about those Edward Sharpe costumes? I’m mostly kidding, but with the boy-girl vocal juxtaposition of actual brother and sister Rob and Rachel Kolar to fill out their hippie-folk sound, there’s a striking sonic semblance to the interchanges of Alex Ebert and Jade Castrinos.  That said, these guys actually wear shoes.


Tap shoes, actually. Percussionist Lauren Brown functioned as their “secret weapon,” drawing enormous applause and adding a good bit of swagger with her tap-break (she stands on a drum the whole time) on “Clackin’ Heels”.

“C’mon, conjure it Voodoo.” One of the most creative and relevant sing-along invocations all weekend.

But seriously, Edward Sharpe was there in spirit. The marimba player – also Rachel’s beau and father of her unborn child – was Orpheo McCord from the Magnetic Zeroes.


Beats Antique

First off, Zoe Jakes. With elaborate costumes that ranged from a more Middle Eastern take on Princess Leia in Jabba’s palace, to Queen Elizabeth in a bikini, to a mythical fairy, the fluidly moving belly dancer was undeniably the centerpiece of the Oakland-based trio’s Sunday night set. It was all I could do to peel my eyes away and check out the graphics on the screens behind her.

Most impressive: that Les Claypool bit. The Primus frontman didn’t show up in the flesh, but his vocals and slap-bass thrashing could be heard on the song “Beezlebub”. And, his likeness could be seen in all its pseudo-horrific glory on the stage-spanning screens as they portrayed a captivating claymation sequence, with Claypool transforming into and melding with a series of gruesome monsters.


That other dancer doing the striptease: Apparently Jakes has an accomplice – her name got lost in the sea of cheering voices – who didn’t strip bare, but got pretty damn close. As drummer Tommy Cappel and multi-instrumentalist David Satori created a whirlwind of blissfully percussive chaos, the dancer shed layer after layer (at least a dozen) of jumpsuits until all that was left was a silver leotard. All the while, a gold-suited man wearing a fox mask groveled and hopped around behind her. I didn’t understand it, but my brain told me it was cool.

Was that a banjo making that sound? Yes, it was. Satori’s deft strumming was a fine compliment to the unending wub-wub emanating from his MPC. This one took the cake for musically eccentric electro – sorry, Big Gigantic.



This guy doesn’t even have a Wikipedia Page… let alone a full album. Still, his Saturday afternoon performance was one of the wildest and most gripping of the fest. At one point, the artist born Jordan Cook was thrashing about with such abandon that he snapped his guitar strap and had to take a seat at the stage’s edge to prop his guitar up while nailing one-handed hammer-ons and wailing into the mic like Chris Cornel with his free grip.

“Somehow we ended up recording new music at Ani DiFranco’s house last night.” OK, that’s weird, but also cool. Especially if it helps you put out a full-length album sometime soon.

Apparently it also inspired the use of an electric mandolin: After Cook told his DiFranco story, he revealed that he’d written a song called “Mandolin Song” there. While the title lacked inspiration, Cook made up for it by absolutely shredding on the thing – which looked like a tiny Fender Strat with uncut strings as scraggly as the man’s hair – for a couple more tunes in lieu of his usual six-string.



Why all the black, Madeline? It’s no secret that the duo’s new album, Static, was written after and inspired by Madeline Follin and Brian Oblivion’s breakup, so it seemed only appropriate that Follin should don all black – dress and stockings – with matching nail polish. Her new “dark” look gave the much heavier new tunes an extra visual kick that helped Cults dominate the enormous main stage on Saturday.

Trippy video treatments: Good call. Cults was one of the only bands that used spliced video treatment, which consisted of some psychedelic dots and waves layered over shots of the group. Aside from Follin’s charming grab-the-dress-by-the-hem dance, they didn’t move much, so the enhanced visuals helped immensely.

Caught ya cheesin’: Though Follin and Oblivion are no longer a couple (those are both kinda doom-ful names, huh?), it was reassuring – especially as their sound has developed into something far more robust, impactful and likely to last – that they would still flash each other slyly satisfied grins at moments when the crowd got swept up in the music.


Matt & Kim

The cure for the tired fest-goer: No, not the Cure. Though Robert Smith & Co. did play convincingly – deviating from setlists of other recent fests, like ACL – to close Sunday, they were more like the comedown after Matt & Kim transformed one of the weekend’s largest crowds into a non-stop dance party beginning with drummer Kim Schifino’s impressive ninja jump-kick onto the stage.

“We’re like the Evans show: we take a lot of dance breaks.” Matt & Kim’s tunes are unabashedly pop, but hip-hop snippets laced throughout – including Ludacris’ “Move Bitch (Get Out the Way)”, Drake’s “Started From the Bottom”, and DJ Khaled’s “All I Do is Win” – prompted the two to intermittently abandon their instruments and booty dance at the stage front, which in turn riled up the fans nicely.

When life gives you lemons… A.K.A. no preference for special effects at a fest show, you just enlist Kim Schifino – the human power plant – to run through the photo pit, demanding that everyone blow up 400 multi-colored balloons as quickly as possible, then throw them skyward on the count of three. Complicity isn’t always good, but in this case it was beautiful.


Preservation Hall Jazz Band

The main course: When you realize that you’re witnessing an institution of the New Orleans French Quarter that has existed – albeit in shifting incarnations – for 50 years, you know you’ve selected the perfect midday entree. It wasn’t just locals that got their groove on Friday afternoon: the biggest main stage throng next to Nine Inch Nails’ was enraptured by seamless shifts from chill jazz standards to sizzlin’ swing.

If that rendition of “When the Saints Go Marching In” didn’t get you moving… you don’t belong at Voodoo, or in New Orleans for that matter. This ain’t Coachella, you damn yuppies.

Dr. John almost had it: With a sit-in from Ivan Neville on keys, original Meters bassist George Porter Jr. anchoring, and a slew of other local musicians pitching in, Mac “Dr. John” Rebennack’s Sunday evening set to close the Flambeau stage almost out-shone Preservation Hall. But, he didn’t have two tuba players … or two saxophonists, one of whom (Clint Maedgen) can also croon like Elvis Presley.


Macklemore & Ryan Lewis

A long story, but it worked: After his first song, “Ten Thousand Hours”, Macklemore took a break to tell a lengthy (like five friggin’ minutes) tale. The gist was that he was walking around New Orleans, saw an inviting stream, decided to go skinny-dipping, and got his clothes stolen by some thugs. Then, while clutching his shriveled jewels, he encountered a “95-year-old lady” who beckoned him by saying (in his best crone voice), “Come closer child.” She then instructed him to hop on her back (???) and when he asked where they were going, she replied that, seeing as he had no clothes, they were going to “go to the Thrift Shop!” Womp-womp. But, hey, the story had some genuine New Orleans flavor and he did all the voices so well.

Plus, he had Trombone Shorty out there jammin’. The New Orleans horn player is galvanizing on his own, and thus did Macklemore a huge favor by adding some authentic sonic spice to a setlist that’s becoming all too familiar.

And way too short. Are you kidding me? You’re only going to play a 45-minute show that included almost 15 minutes of talking? Could’ve just played “Thrift Shop” again, and even that would’ve been better….


Shovels & Rope

Who says you need a full band? Husband and wife Michael Trent and Cary Ann Hearst are plenty powerful on their own, and in some ways more dynamic than many of the bands that followed them Friday at Voodoo.

The Black Keys don’t ever switch places… but these two do often, and when Hearst hops on drums, Trent pulls off some mean riffs on his electrified acoustic hollow body, providing a balance to his wife’s sweeter strumming tones.

“Today is All Saints’ Day and tomorrow’s Day of the Dead, so it’s only appropriate that we do a murder ballad.” I think that’s kinda missing the point, but it was cute, and “Shank Hill St.” was a damn catchy tune.


Nine Inch Nails

Nine Inch Nails went into its set with the intention of giving the crowd a true rock show—at one point, singer Trent Reznor even said “We’re here to fit as much music as we can into the time we have.”  That said, NIN was exactly what I’ve expected it to be—while this was my first NIN show, I’ve seen my fair share of concert videos and Reznor interviews, and I’ve gathered that this band is serious about what it brings to the table, and its fans share that same seriousness.  From the crowd reaction, I found that there really is no middle ground for NIN fans, there’s no “I sort of like NIN.”  Either the band was a complete influence on your musical taste or you’re just not really that into it.


Who needs Halloween candy when you get a cover of David Bowie’s “I’m Afraid of Americans”? Voodoo = the NIN Deluxe Package.

Eat your heart out, Radiohead: It’s a common claim that Thom Yorke has synesthesia, allowing him to perceive music as color, and thus informing the unfailingly incredible light displays at every Radiohead show that make you ask, “How did they know I’m feeling green right now, too?” Sorry ‘bout it, but Nine Inch Nails did it better using mostly white lights. Thousands of them. Moving on panels that make you ask, “How did they know this is how I envisioned the light show for the Apocalypse?”

“Hurt”. Exactly how I’m going to feel if Reznor tries to pull that hiatus nonsense again.

Voodoo Experience Festival Videos:

Pearl Jam

The Avett Brothers

The Revivalists

Green Day

Nine Inch Nails Trent Reznor – Interview + 2 new videos

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Trent Reznor, the mastermind behind Nine Inch Nails, spoke during a recent interview about Daisy.

Daisy is a new streaming service coming soon. It was developed, in essence, by Reznor, Dr. Dre, Jimmy Iovine, and the folks at Beats, the headphone giant.

“I was working with them, kind of as an experiment, on some hardware products that haven’t seen the light of day yet,” says Reznor.

“But the talk around that camp — a couple years ago — was a real interest in putting out a subscription music based service that differs from the current offerings; by being a lot easier to use, and more based around curation. In a nutshell, it being smart enough to not just offer you ‘hey here’s all the tracks in the world, good luck, search for whatever you want’ — that experience.

“But one where you’re being turned on to new things, based on what you like, and from trusted sources being served up things that is the right music for the right time and the right place,” Reznor explains.

“It was a really interesting proposition and project to be involved in from the ground up. Designing something that could reach a lot of people on a mass scale — that also what I could bring to the table and have brought into the design of this — is the opportunity for it to be musician friendly and provide tools to the artist community which seems very disconnected from all that with current offerings.

“On Spotify, my music is on there but I have no say on how it’s presented or what it looks like and me, as a person, has no connection to the artist in there. I’ve learned from doing everything myself in the last few years that there’s a lot of tools that could be provided and this doesn’t have to be an end game where one side wins everything.

“I think that if a new platform emerged that could be the next big channel of the way people consume music — and at the same time it carves out some rights for the actual people that are making the music, and provides them with some tools and a way to curate their own material in a way that presents it the way they’d like it to be presented — that feels like something worth fighting for,” he says.

Trent later said that he feels Spotify takes advantage of artists, including himself.

“Not only from royalties, but also from control of my wares,” he says. “At least presenting things the way I’d like to. I find my music on services — I didn’t put it on there — I signed a contract 20 some years ago that said future technologies because I would have signed anything, and I did sign anything. And that meant any new thing comes out we can put your music on however we want and we’ll make sure we get taken care of, but you know, thanks for the good song.”

Nine Inch Nails’ next studio offering is called Hesitation Marks and comes out through Columbia on September 3.

We’re still a couple weeks away from the 9/3 release of Nine Inch NailsHesitation Marks, and while Trent and crew have been playing songs from it live (like at Lollapalooza). But here’s the studio version of the pulsing, minimalistic “Copy of A” which can be downloaded for free over at Amazon UK (you do need an account with them). You can also stream it below.

Nine Inch Nails will be in the NYC area to play Barclays Center in Brooklyn on October 14 and the Prudential Center on October 15. Tickets are still available.

STUDIO VERSION: Nine Inch Nails – Find My Way [radio rip]

Published on Aug 22, 2013

Watch Nine Inch Nails Decimate Lollapalooza in 100 Minutes

Entire 22-song performance available to watch online – Enjoy!

August 5 2013, 9:48 AM ET

Nine Inch Nails played their first American show since 2009 at Lollapalooza this past weekend, delivering a stunning 100-minute set that SPIN ranked as the undisputed highlight of the festival’s first day. “The sound was like a minimalist remix molded in their own influences,” SPIN’s Christopher R. Weingarten wrote. “Equal parts Chicago house and Tubeway Army, playing songs like 1989’s ‘Sanctified’ with no guitars and letting Reznor bang a tambourine (!) on his chest for this year’s ‘Came Back Haunted.'” Now, fans who couldn’t make it out to Chicago’s Grant Park can witness the entire show above.

Trent Reznor dusted off several NIN standards (“Closer,” “Hurt,” and “Head Like a Hole”), plus a handful of new tracks (the aforementioned “Came Back Haunted,” “Copy of A”, and “Find My Way”) set to appear on the industrial icons’ upcoming September 3 album, Hesitation Marks. As for the stage show, SPIN noted that “[the] much-ballyhooed light show was actually more of a ‘shadow show,’ blasting the band’s likenesses 20 feet high or letting them move as silhouettes drowned in a screen’s glow. Lights blurted out like machine gun fire during ‘March of the Pigs’ and scrolled like Men in Black eyeball scanners during ‘The Wretched.'” Pretty hate machine, indeed.

Full set list below (via Slicing Up Eyeballs).

Nine Inch Nails @ Lollapalooza 2013 set list:

“Copy of A”
“Came Back Haunted”
“March of the Pigs”
“The Frail”
“The Wretched”
“Terrible Lie”
“Gave Up”
“Help Me I Am in Hell”
“Me, I’m Not”
“Find My Way”
“What If We Could?”
“The Way Out Is Through”
“The Hand That Feeds”
“Head Like a Hole”

Watch Nine Inch Nails debut two new songs: “Find My Way” and “Copy of A”

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As part of their comeback, which includes new single “Came Back Haunted” and new LP Hesitation Marks, Nine Inch Nails will soon hit the road for the first time in four years. Trent Reznor and Co. will be appearing at summer festivals worldwide before embarking on a fall arena tour. Today, the band mark their live return with a performance at Fuji Rock Festival. Fortunately those without excellent SkyMiles can watch the set in its entirety via YouTube starting at 7:30 a.m. central time.

Update 3: Audio of another song entitled “Copy of A” has surfaced:

Update 2: Footage of a new Hesitation Marks song has emerged. Check out “Find My Way” below.

Update: The stream is not available in the U.S. According to the band’s publicist, “U.S. fans will have to wait until Lollapalooza to see the NIN set.”

According to a recent interview with The New York Times, Reznor indicated that NIN’s current stage setup is quite the elaborate and complex endeavor, featuring “smoke, strobe lights and video screens on wheels”, all of which are precisely choreographed “to avoid collisions and tangled power cords.”

The show is to begin with Reznor alone on stage, as the rest of the band slowly take the stage and form around him. Renzor confessed the visuals and effects — which will change for the fall tour — were inspired by the Talking Heads’ 1983 world tour, as seen in the film Stop Making Sense.

“We’re always pushing the envelope,” Roy Bennet, the band’s lighting and production designer, told NYT. “We’re always trying to make people think and keep them on edge and keep them wondering what’s going on.”

Hesitation Marks is due out September 3rd via Columbia. Consult NIN’s full schedule below.

Nine Inch Nails 2013 Tour Dates:
07/26 – Niigata Prefecture, JP @ Fuji Rock Festival
07/28 – Ansan, KR @ Ansan Valley Festival
08/02 – Chicago, IL @ Lollapalooza
08/09-11 – San Francisco, CA @ Outside Lands Music and Arts Festival
08/15 – Kiewit, BE @ Pukkelpop
08/16 – Biddinghuizen, NL @ Lowlands Festival
08/18 – Hockenheim, DE @ Rock ‘n’ Heim
08/21 – Belfast, IE @ Belsonic Festival
08/23 – Leeds, UK @ Leeds Festival
08/24 – Saint-Cloud, FR @ Rock en Seine
08/25 – Reading, UK @ Reading Festival
08/28 – Milan, IT @ Mediolanum Forum $
08/31-09/01 – Philadelphia, PA @ Made in America
09/28 – St. Paul, MN @ Xcel Energy Center *
09/30 – Kansas City, MO @ Sprint Center *
10/01 – St. Louis, MO @ Chaifetz Arena *
10/03 – Montreal, QC @ Centre Bell *
10/04 – Toronto, ON @ Air Canada Centre *
10/05 – Cleveland, OH @ Wolstein Center *
10/07 – Auburn Hills, MI @ The Palace of Auburn Hills *
10/08 – Pittsburgh, PA @ Petersen Events Center *
10/11 – Boston, MA @ TD Garden #
10/14 – Brooklyn, NY @ Barclays Center #
10/15 – Newark, NJ @ Prudential Center #
10/18 – Washington, DC @ Verizon Center #
10/19 – University Park, PA @ Bryce Jordan Center #
10/22 – Nashville, TN @ Bridgestone Arena #
10/24 – Atlanta, GA @ Philips Arena #
10/25-27 – Asheville, NC @ Mountain Oasis Electronic Summit
10/30 – Sunrise, FL @ BB&T Center ^
10/31 – Orlando, FL @ Amway Center ^
11/01-03 – New Orleans, LA @ Voodoo Experience
11/05 – San Antonio, TX @ AT&T Center *
11/08 – Los Angeles, CA @ Staples Center *
11/09 – Phoenix, AZ @ US Airways Center *
11/11 – El Paso, TX @ Don Haskins Center *
11/13 – Broomfield, CO @ 1st Bank Center *
11/15 – Las Vegas, NV @ The Joint *
11/16 – Las Vegas, NV @ The Joint *
11/18 – Portland, OR @ Rose Garden Arena *
11/19 – Spokane, WA @ Spokane Arena *
11/21 – Vancouver, BC @ Rogers Arena *
11/22 – Seattle, WA @ KeyArena *
11/24 – Edmonton, AB @ Rexall Place ^
11/25 – Calgary, AB @ Scotiabank Saddledome ^

$ = w/ Tomahawk
* = w/ Explosions in the Sky
# = w/ Godspeed You! Black Emperor
^ = w/ Support TBA

Watch the David Lynch-directed video for “Came Back Haunted”: