HOMESHAKE ANNOUNCE NEW LP, HORSIE, SHARES “NOTHING 2 SEE”

HOMESHAKE ANNOUNCES NEW ALBUM, HORSIE, OUT JUNE 28TH VIA DINE ALONE RECORDS

WATCH / SHARE “NOTHING 2 SEE” HERE
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PRE-SAVE HORSIE HERE
PHYSICAL PRE-ORDER VIA DINE ALONE

FALL NORTH AMERICAN HEADLINE TOUR ON SALE NOW

Photo Credit: Matthew Yoscary // DOWNLOAD HIGH-RES

HOMESHAKE — the long-running solo project of Toronto-based musician Peter Sagar — announces his second album of 2024, Horsie, out June 28th via Dine Alone Records, and shares the lead single, “Nothing 2 See”. Following March’s CD WALLET, Horsie was written and recorded at his home studio in Toronto as it explores Sagar’s complicated feelings about returning to live performance. Deepening his relationship to loneliness and anxiety, the record examines those themes in the context of touring and being on the road, which he’ll do this fall with a massive North American headline run on sale now. 

While it marks less of a sonic departure than CD Wallet, Horsie employs various textures influenced by artists like Four Tet and My Bloody Valentine, the rhythmic forms of D’Angelo and Sade, and moments of ambient Americana found in the works of Ry Cooder. The cornerstone pieces of gear used were an Ensoniq EPS and Roland Juno 60, though the album also employs a great deal of electric guitar, along with his beloved SP-404. He maintains a philosophy of “less is more,” finding the simplest route from one point to another.  

“Nothing 2 See” finds Sagar attempting to hide in plain sight, moving through crowds of people at his shows and daydreaming of the peace and quiet at the end of the night. The song is accompanied by a music video directed by Jim Larson which situates this mood through a small cult at a Palm Springs mansion. 

WATCH / SHARE “NOTHING 2 SEE” HERE
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MORE ABOUT HOMESHAKE
HOMESHAKE is an expression of adjustment and contortion within the world as he experiences it and the sounds he wants to hear in it. Hallucinatory and heartbreaking in its cries for connection, Sagar’s sound is often imitated but has proven to be entirely his own; textural and profound, uniquely honoring his diverse influences but adrift within its own transportive imagination.

With CD Wallet, Sagar took his heaviest-ever approach to his signature sounds, applying distorted guitars, blown out drums, and 90s digital synths to a devastating, sludgy sound. This feeling of challenging oneself to make work that is focused on pure self-expression dates back to Homeshake’s origin, a chaotic period during which Sagar was splitting his time between home studio recording and playing guitar in Mac Demarco’s touring band. After a long period spent on the road, he decided to leave Demarco’s group to focus entirely on his own work. Sagar approaches every album with the same frame of mind, composing purely for the joy of the moment without consideration to potential commercial reception. Now on his seventh album, a trip through the Homeshake catalog is one of evolution, reflection, and self-criticism, alongside self-love, a clear-eyed realism about the cruelties of the world and a longing for the gentler place it could be.

HOMESHAKE has also partnered with Brain Dead on a vinyl exclusive release. Brain Dead's special vinyl variant is a Transparent Sun Yellow 1LP Vinyl in black paper inner sleeve in 3mm spine sleeve with Brain Dead designed printed obi strip available at 10AM Pacific Time here.

Praise for CD WALLET

“‘CD Wallet’ is crunchy and a little ugly with references to self-doubt and dreams of a different life plucked straight from Pete Sagar's adolescence. Gone are the days of CD singles, but HOMESHAKE's latest deserves more than tossing onto the pile of digital detritus.” - The FADER

“The indie songwriter serves up a nostalgic soundtrack, revisiting forgotten feelings conjured by his hometown of Edmonton.” RANGE Magazine

“CD Wallet is a fantastic album and an incredible new era for Homeshake.” Northern Transmissions

PRE-SAVE HORSIE HERE
PHYSICAL PRE-ORDER VIA DINE ALONE

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HORSIE TRACKLIST
1. Ravioli
2. Horsie
3. Dinner Plate
4. Blunt Talk
5. On A Roll
6. Smiling
7. Nothing 2 See
8. Simple
9. Easier Now
10. Believe
11. Empty Lot
12. Ice Tea

HOMESHAKE TOUR DATES:
Fri. Sept. 27 - Montreal, QC @ Théâtre Fairmount §
Sat. Sept. 28 - Toronto, ON @ Lee's Palace §
Sun. Sept. 29 - Toronto, ON @ Lee's Palace §
Tue. Oct. 1 - Cleveland, OH @ Beachland Ballroom §
Wed. Oct. 2 - Detroit, MI @ El Club §
Fri. Oct. 4 - Chicago, IL @ Thalia Hall §
Sat. Oct. 5 - St Paul, MN @ Amsterdam Bar & Hall §
Sun. Oct. 6 - Milwaukee, WI @ Vivarium §
Tue. Oct. 8 - Nashville, TN @ The Blue Room §
Wed. Oct. 9 - Atlanta, GA @ The Masquerade (Hell) §
Fri. Oct. 11 - Tampa, FL @ New World Brewery §
Sat. Oct. 12 - Orlando, FL @ The Social §
Mon. Oct. 14 - Asheville, NC @ Grey Eagle §
Tue. Oct. 15 - Carrboro, NC @ Cat's Cradle §
Thu. Oct. 17 - Washington, DC @ 9:30 Club §
Fri. Oct. 18 - Philadelphia, PA @ Underground Arts §
Sat. Oct. 19 - Boston, MA @ The Sinclair §
Mon. Oct. 21 - Brooklyn, NY @ Music Hall of Williamsburg §
Tue. Oct. 22 - Brooklyn, NY @ Music Hall of Williamsburg §
Sat. Nov. 2 - Portland, OR @ Wonder Ballroom #
Mon. Nov. 4 - San Francisco, CA @ The Regency Ballroom #
Thu. Nov. 7 - Los Angeles, CA @ The Wiltern #
Fri. Nov. 8 - San Diego, CA @ The Observatory North Park #
Sat. Nov. 9 - Santa Ana, CA @ The Observatory #
Sun. Nov. 10 - Phoenix, AZ @ Crescent Ballroom #
Tue. Nov. 12 - El Paso, TX @ Lowbrow Palace #
Thu. Nov. 14 - Austin, TX @ Mohawk #
Fri. Nov. 15 - Houston, TX @ White Oak Downstairs #
Sat. Nov. 16 - Fort Worth, TX @ Tulips #
Sun. Nov. 17 - Oklahoma City, OK @ Beer City Music Hall #
Wed. Nov. 20 - Denver, CO @ Bluebird Theater #
Fri. Nov. 22 - Salt Lake City, UT @ Soundwell #
Sat. Nov. 23 - Boise, ID @ Shrine Social Club #
Sun. Nov. 24 - Seattle, WA @ The Crocodile #

§ w/ Freak Heat Waves
# w/ Green-House

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LUKA KUPLOWSKY & THE RYŌKAN BAND SHARES NEW TRACK FROM UPCOMING LP

LUKA KUPLOWSKY & THE RYŌKAN BAND REVEAL NEW DOUBLE LP, HOW CAN I POSSIBLY SLEEP WHEN THERE IS MUSIC, OUT MAY 31, 2024 VIA NEXT DOOR RECORDS

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Photo Credit:  Melissa Richards // DOWNLOAD HIGH-RES

Recently, Luka Kuplowsky announced his new album, How Can I Possibly Sleep When There Is Music, an enchanting double LP that extends his interest with improvisational ensembles and live recording. Alongside Alex Lukashevsky, Anh Phung, Evan Cartwright, Felicity Williams, Josh Cole and Philippe Melanson, and helmed by luminary Toronto producer Sandro Perri, Kuplowsky and The Ryōkan Band craft a singular sound of spaciousness, experimentation and unbridled expressiveness that traverses traditions of spiritual jazz, folk and blues. Conceived as a record of adaptations and responses “to a millennia of poetry”, the album draws together the poems of Ryōkan Taigu, Bohdan Ihor Antonych, Rainer Maria Rilke, Yosana Akiko, Du Fu, Jalāl ad-Dīn Muhammad Rūmī, W.W.E Ross, Li Bai, and La Fontaine, placing them within a dynamic environment of ecstatic and imaginative expression. Think Bill Callahan meets Don Cherry’s Organic Music Society, an ECM produced Leonard Cohen record, or Lou Reed fronting the Astral Weeks band, and you get a sense of the record’s unique terrain.

Today, he’s sharing another track from the album, “Fugitive Song (a response to Rainer Maria Rilke)”, an ode to the mystic Austrian poet. Kuplowsky describes his process for the song's responsive mode:

"The first few lines of sonnet 3 from Rilke’s Sonnets to Orpheus floored me. A song quickly emerged that carved its own path and thoughts on lyricism, creative practice and the poet’s task. The ‘Fugitive Song’ is an ambivalent hook, but to me it signals the elusive, ungraspable inspiration that brushes against our collective music-making."

The single arrives complete with a video filmed in Cornwall, ON by the St. Lawrence in a snowstorm, directed by Kuplowsky. “How uncommon our world!” he says. “Each organism, each individual, with a radically different paradigm of vision. Imagine the frog! The fly! The tick! In this video, perhaps it is the dog, in all its restless, scattered, joyful worlding. 

The camera is the great mediator of perception, opening up the possibility to perceive differently, strangely. Let us be the dog and take in our world anew! How does this relate to the song? What is music but another great mediator of our uncommon being. The fugitive song perpetually on our lips and out of reach, like the dog, reaching, fetching, returning.”

Strobe Warning
The video contains strobing effects that may not be safe for those with epilepsy or sensitivities to light. 

WATCH / SHARE “FUGITIVE SONG (A RESPONSE TO RAINER MARIA RILKE)”
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Album Poster

MORE ABOUT HOW CAN I POSSIBLY SLEEP WHEN THERE IS MUSIC
The accompanying poster to the album lays out the record’s lyrical and musical inspirations in a Pirosmani-like tableau beautifully rendered by his brother Adam Kuplowsky, picturing Luka at his desk surrounded by a plethora of books, vinyls, tapes and objects: on one side, records by blues and folk artists, Elizabeth Cotton and Howlin’ Wolf, are strewn beside Tang Dynasty poets Du Fu and Li Bai; on the other side, records by contemporary peers like Yves Jarvis and Bernice sit next to a book of the 18th century Zen monk poet Taigu Ryōkan. Directly in front of Kuplowsky, and next to a half-eaten donut and coffee, lies the heart of the record, a cassette tape of the Canadian songwriter Beverley Glenn-Copeland’s 1986 cult-classic Keyboard Fantasies. Copeland’s presence is central to the record, as it was a poignant meeting with him in 2017 that thrust Kuplowsky into the web of connections between Buddhist thought, jazz/blues/folk traditions, and an array of poets spanning across two millennia. Describing his meeting with Glenn, Kuplowsky recalls:

“Glenn had come out to a show I was playing at Thunder and Lightning, a small tavern in Sackville, New Brunswick. Having discovered his record Keyboard Fantasies a year before, I was in awe. After the show, he greeted the band, seriously and sincerely reviewing each of our playing and recognizing the ways we interacted as a band. The next day before we were leaving town, Glenn invited my bandmate, Bianca Palmer and I to his studio. Over a couple hours, we shared stories, works in progress, and at one point, improvised freely – myself at the keyboard, Bianca on a ‘spirited’ drum machine and Glenn singing. During our conversation, Glenn talked about his Buddhist practice and creativity, often returning to the idea that ‘humans are both creators and conduits of eternal creative energies’ beamed in from the Universal Broadcasting System. I started to recognize how the playfulness, calmness and incredible patience of his personality, music and spiritual practice were all one. I left that day - floating.

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“Arriving home after the tour, I found myself re-dedicated to my local library. After Glenn’s conversation, my interests turned towards Buddhism and poetry that reminded me of Glenn’s spirituality and playfulness.” 

Kuplowsky’s spark quickly illuminated a vast array of connections, expanding from the Buddhist poetry of Ryokan Taigu, to the Tang dynasty poets Du Fu and Li Bai, the melancholic orphic refrains of Rainer Maria Rilke, the impressionistic and elemental Bohdan Ihor Antonych and the ecstatic joy of Jalāl ad-Dīn Mohammad Rūmī, among others. As a means to make sense of what he was reading, Kuplowsky turned to song, responding, interpreting and adapting poems that called out to him:

“Poetry and music became an inseparable practice. I would read for hours, and when a song called out, I would play. Some poems felt so comfortable as songs; not a word was out of place when I began to sing. Others began to naturally extend themselves to other songs I had been writing, blurring and unraveling into their own worlds. My aim was not to faithfully reflect the original intention of the poems, but to respond to them as they struck me. In this way, my poetic adaptations are better understood as responses or interpretations, following language and bending or modifying it to meet me in the moment of its resonance.”

Across the album’s twenty-four tracks, Kuplowsky filters his thoughts through the poetic language of his muses, expounding on the delight of music, the unexpected joy of a visitor, instructions for meditation, and the wonder of the natural world’s creative energies. The language is at once unadorned and conversational, while also strikingly beautiful and poetic. The effect is not unlike the child-like sublimity of Jonathan Richman in its direct and refreshing clarity. In Ryōkan’s “What Luck!”, the startling, yet humble discovery of a “coin in his bag” leads to an inebriated reunion with his friend Sleeping Dragon. In “Self Portrait”, Kuplowsky via Antonych sings in awe of the “incomprehensible beauty of creation”, aptly titling himself “a poet on the high of spring”. In the melancholic rendering of Ross’ “If Birds are Silent”, the absence of bird song is yearned to “echo with the dawn” and “be repeated each early day”. In the title track Kuplowsky responds to a Ryōkan poem with the utter conviction of music and dance’s powerful nocturnal allure, “How can I possibly sleep when there is music and dancing / I love dancing too!” Throughout the various poetic guises Kuplowsky adopts there remains a passion to engage with the unknown, an intoxication in the natural world’s awesome wonder and an innocent delight in simple pleasures.

Following 2020’s Stardust, a rich otherworldly album of pop and jazz romanticism, How Can I Possibly Sleep When There Is Music extends Kuplowsky’s interest with improvisational structures and live recording, as its seven-piece band crafts a singular sound of spaciousness, experimentation and unbridled expressiveness. This is music where every instrument is a character and every character is in conversation with each other: the acrobatic vocals of Felicity Williams ricochet off the unbridled virtuosity of Anh Phung’s flute and Kuplowsky’s warm, rich tenor; the dual percussionists, Evan Cartwright and Phil Melanson, interweave rhythmic counterpoint through an arsenal of beguiling sounds; Josh Cole’s deep pocket bass locks into Kuplowsky’s spidery nylon string guitar, occasionally blossoming into playful figures and brilliant somersaults; Alex Lukashevsky’s electric guitar oscillates between sensitive counterpoint, percussive wah-wah and blistering noise. Like Stardust, the album was recorded entirely live with little isolation between the seven member band, a testament to the deep listening and musical trust so central to Kuplowsky’s vision and the players he collaborates with. The three day session for tracking was led by the luminary Toronto producer/songwriter Sandro Perri, whose gentle presence and sensitivity in guiding the session and mixing the album imbues the proceedings with his ingenuity for sonic adventurism and organic warmth.

Kuplowsky dubs the group The Ryōkan Band; a nod to the improvisational playfulness central to Ryōkan’s outlook, as well as a tribute to his poetry’s influence in informing the responsive songwriting practice that inspired the album. As a band they achieve an exceptional group sound, one that is rooted in traditions of jazz, blues and folk, not as a genre exercise or pastiche, but as a means to express individual and recombinant personalities. While songwriter traditions so often attribute the voice as a song’s anchor of meaning, one might consider listening to this record with the flute, guitar, percussion, or bass as equally integral narrators of the songs. To think of the band as accompanists is to misconstrue the record’s aim; this is collaborative music in its richest sense. Signaling this approach, the record is structured with percussive interludes, titled poetically to reflect their emotional tenor or subject. These brief textural moments, absent of lyrics but rich with meaning, draw attention to the way in which the album’s mode of poetic adaptation extends far beyond the lyrics, musically embellishing animated environments to interact and broaden the poetry's scope. In “Mid Summer” the buzzing drone of harmonicas, flutes, vocals and guitars conjures a humid summer day teaming with insects, before Kuplowsky begins to recite a Ryōkan poem about a chance meeting with a friend by the waterside. In “Don’t Be Jealous of the Ocean’s Generosity”, Anh Phung’s flute and Felicity Williams vocals trade off cascading lines mirroring the ‘jumping fish’ of the song’s refrain. In “The Frog That Wants to Make Itself As Big As An Ox”, Josh Cole’s bass bellows like a croaking amphibian, while Anh Phung’s atonal flute flourishes resemble the rapidly inflating ego and body of the titular frog.

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For Kuplowsky and The Ryōkan Band adaptation is not a process of placing poetry over music, but rather an active and responsive process of interpreting and realizing the poem in an instance of music. The album is a rare occasion; a merger. Ancient and distant poet masters alive in the compositions of a masterful songwriter and brilliant improvisers. It is a translation after the translation, sensitively rendered in tribute and participation. These are songs that will echo into the future as the poems herein have leapt to us from the far past. Like Du Fu’s letter to “Pi Ssu Yao”, “we can console each other / at least we will have descendants”. Poets and musicians embrace and stroll, hand in hand.

Returning to the central question of how this record came to be, Kuplowsky concludes:
“There was no grand conceit in bringing together poems by Ryōkan Taigu, Bohdan Ihor Antonych, Rainer Maria Rilke, Yosana Akiko, Du Fu, Jalāl al-Dīn Muhammad Rūmī, W.W.E Ross, Li Bai, and La Fontaine. They were poems I came across that resonated and opened themselves up to song. It is in this shared resonance that a connection is forged. These are poems that reached me; they mirrored back thoughts of my own writing, while challenging or opening up new pathways and ways of thinking. In hindsight, the poets in this collection were fringe or cultish figures in their time, challenging the poetic tradition of their contemporaries. In their works, they share a recognition of creativity as an unknowable and spiritual force (Glenn’s Universal Broadcasting System), while also focusing on intimate relationships of friends and lovers. While it is partially informed by translation style, the poems that I was drawn to were cutting and direct, often using conversational, unadorned language. They carry an imperative that is powerful, sincere and beautiful.

There is a context to these poems that is equally important to their understanding. But this album is an acknowledgement of the recurring universality of their sentiments. If a song resonates with you, let that be a light towards their poetry and histories.”

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HOW CAN I POSSIBLY SLEEP WHEN THERE IS MUSIC
01 Elixir Of Immortality
02 To Pi Ssu Yao (Du Fu)
03 How Can I Possibly Sleep When There Is Music (a response to Ryōkan Taigu)
04 Generous Fool
05 Formal Meditation (Ryōkan Taigu)
06 The Rain Has Not Yet Cleared
07 Self-Portrait (Bohdan Ihor Antonych)
08 Don’t Be Jealous! (a response to Jalāl al-Dīn Muhammad Rūmī)
09 Thoughts In Exile
10 If Your Heart Remains Unchanged (Ryōkan Taigu)
11 I Knew it Would Be You! (Ryōkan Taigu)
12 I Pass the Evening Slowly
13 4 Poems (Yosano Akiko)
14 Dreaming of Li Bai (Du Fu)
15 Thoughts While Travelling
16 Ars Poetica 2 (Bohdan Ihor Antonych)
17 The Frog that Wants to Make Itself as Big as an Ox (Jean De La Fontaine)
18 Mid Summer (Ryōka)
19. If Birds are Silent (W.W.E Ross)
20. What Luck! (Ryōkan Taigu)
21. You Made Me Sing! (a response to Jalāl al-Dīn Muhammad Rūmī)
22. Elixir of Immortality, Pt. 2
23. Wasting (Li Bai)
24. Fugitive Song (a response to Rainer Maria Rilke)

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CHARLOTTE DAY WILSON RELEASES NEW SINGLES “MY WAY” AND UPCOMING LP TITLE TRACK “CYAN BLUE”

BUY / STREAM “MY WAY” HERE
BUY / STREAM “CYAN BLUE” HERE

NEW ALBUM CYAN BLUE OUT THIS FRIDAY, MAY 3RD, VIA STONE WOMAN MUSIC / XL RECORDINGS

NORTH AMERICAN TOUR KICKS OFF MAY 15

PRE-SAVE CYAN BLUE HERE

“a deeply personal and introspective collection of songs that seek to discover beauty in heartbreak and find solace in recognizing the limitations of love.” The Toronto Star

“ Wilson directly channels soul music of decades past but also inhabits that same minimalist expanse occupied by so many of her contemporaries.” - NPR

“The Toronto singer-songwriter and producer’s vast voice is like a canyon that the sun can’t access; the percolating soul and quiet storm that surround it flicker like candlelight...Her voice—and what a voice, deep and passionate, cast in the mold of Anita Baker—feels less crepuscular, less intimate, and more capable of levitating cars and uprooting whole forests.” - Pitchfork

“She can shush viewers to silence with heart-wrenching lyrics and rile them up with a surprise saxophone solo—all in the same song.” - Harper’s Bazaar

“Blending elements of jazz, soul, folk, and R&B, Wilson writes deeply personal lyrics and delivers them with the expertise of a seasoned vocalist.” - Complex

“As always, Day Wilson's arresting alto is the focus but a warbled vocal sample that repeats in the background adds a haunting, early James Blake feel to the track. If the rest of Cyan Blue is equally moving, fans are in for a treat.” CBC Music

“she's got the type of slow-burning, smoldering jazz and R&B-influenced sound that already feels classic.” - NYLON

“Charlotte expertly pulls inspirations from jazz, R&B and soul and what results is an atmosphere that is solely her own.” - Hypebeast

PHOTO CREDIT: Emily Lipson // DOWNLOAD HIGH-RES

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson releases two new singles, “My Way” and “Cyan Blue,” from her highly-anticipated sophomore album, Cyan Blue out May 3rd via Stone Woman Music / XL Recordings. Soul-bearing and poetic, “My Way” evokes desire with refined lyricism and Charlotte’s hallowed, resonant vocals. Inspired by the blue-green hue of Wilson’s irises, the album’s title track “Cyan Blue” is a stripped back and transcendent ballad, embodying the record’s emotional and sonic palette. Both tracks arrive with lyrical visualizers that render an exquisite ocean of sound. 

BUY / STREAM “MY WAY” HERE
BUY / STREAM “CYAN BLUE” HERE

Today’s double release follows the release of “Canopy”, a sleek and serene track with an accompanying music video that features Wilson, a star hockey player in her own right, skating with a hockey stick in hand across vast expanses of ice. “My Way” and “Cyan Blue” join a collection of new music from Wilson set to release on Cyan Blue this Friday, including Wilson’s stark and devastatingly beautiful second single “I Don’t Love You”, a confessional that highlights Wilson’s immaculate production skills and that she says is “meant to remind us that losing love & leaving can be just as inspiring as finding it.” 

WATCH / SHARE “CANOPY” HERE
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Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she’s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. “I want to look through the unjaded eyes of my younger self again,” Wilson explains of making Cyan Blue. “Before there wasn’t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.” 

WATCH / SHARE “I DON’T LOVE YOU” HERE
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Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (Beyoncé, H.E.R, Daniel Caesar), Cyan Blue demonstrates Wilson’s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus. But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. “Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity,” Wilson reflects. “But that was a bit stifling, like, ‘Let me just make a great piece of art that will stand the test of time, no pressure.’ Now, I think I'm getting out of this frozen state of needing everything to be perfect. I'm more interested in capturing feelings in the moment as they happen and leaving them in that moment.”

While this is only her second album, Wilson’s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018’s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha. Over the past decade, she’s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson’s 2016 breakout single “Work.” Additionally, she’s collaborated with artists like Kaytranada, BADBADNOTGOOD, Snoh Aalegra and SG Lewis, demonstrating that there’s no sound Wilson can’t adapt to and sprinkle her cyan-colored magic over. 

Wilson’s upcoming 2024 tour kicks off May 15, stopping in Toronto, Vancouver, Halifax. Purchase tickets here: https://charlottedaywilson.com/Tour

PRE-SAVE CYAN BLUE HERE

CHARLOTTE DAY WILSON 2024 NORTH AMERICAN TOUR DATES

May 15 - Seattle, WA - Neumos
May 17 - Vancouver, BC - Vogue Theatre
May 18 - Portland, OR - Hawthorne Theatre
May 20 - San Francisco, CA - The Regency Ballroom
May 21 - Los Angeles, CA - El Rey
May 24 - Houston, TX - House of Blues - Bronze Peacock
May 26 - Atlanta, GA - Center Stage
May 29 - Philadelphia, PA - Foundry
May 30 - Washington, DC - Union Stage
May 31 - New York, NY - Webster Hall
Jun 2 - Boston, MA - The Sinclair
Jun 4 - Chicago, IL - Thalia Hall
Jun 6 - Toronto, ON – History
July 3 - Montreal, QC - MTELUS
Jul 13 - Halifax, NS - TD Main Stage

ALBUM ART // PHOTO CREDIT: Emily Lipson // DOWNLOAD HIGH-RES

CYAN BLUE TRACKLIST
My Way
Money
Dovetail
Forever (ft. Snoh Aalegra)
Do U Still
New Day
Last Call
Canopy
Over The Rainbow
Kiss & Tell
I Don’t Love You
Cyan Blue
Walk With Me

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