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Dot Allison

Heart Shaped Scars

The new album. Out Now.

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Heart-Shaped Scars

By Ben Cardew

Folk/Country

August 3, 2021

Dot Allison has led a peripatetic musical life over the last four decades, working with everyone from Nicola Roberts, of pop sensationalists Girls Aloud , to My Bloody Valentine ’s Kevin Shields . This adaptability and willingness to experiment is the mark of a fascinatingly wayward artist whose next turn is rarely what you’d expect. But her classic remains 1993’s Morning Dove White , the lone record by her trio One Dove, a collection of glowing chill-out soul made in collaboration with the late Andrew Weatherall .

Allison mentions Weatherall, who died in 2020, as being “the biggest influence, in a mentor type way” on Heart-Shaped Scars , her first solo record in almost a decade. And if this music sounds a world away from the electronic pop of Morning Dove White, eschewing drum machines and dub bass lines in favor of acoustic guitars and the gentle sounds of nature—a sonic mixture similar to Allison’s 2007 album Exaltation of Larks — it does share Weatherall’s modus operandi of working with sympathetic collaborators to bring out the best in yourself, as well as the DJ’s occasional tendency to ramble. Allison made the album with Fiona Cruickshank, a producer who has worked as “string engineer” for Coldplay and Paul Weller , and Hannah Peel, a composer whose album Fir Wave was nominated for the Mercury Prize. Singer-songwriters Amy Bowman and Zoë Bestel also contributed, while nature itself lent a helping hand on the field recordings of birds and rivers that decorate Heart-Shaped Scars like arcadian gems.

Some of the best moments come when a graceful arrangement creeps its way around Allison’s vocals. Toward the end of “Constellations,” for example, a solitary cello spins around Allison’s voice like sparks off a Catherine Wheel. This is not to underplay Allison’s own role: her whispery voice, more Isobel than Glen Campbell , is like the faded print on a vintage magazine, with an otherworldly edge of authority. On “Long Exposure,” the opening track, she sounds right at the end of her tether, steeping the word “wrecking ball” with a velvety power. This song is Heart-Shaped Scars at its best: a gorgeously autumnal, leaf-thin slice of folk music that sits somewhere between the disquieting rural vibrations of Paul Giovanni’s soundtrack for The Wicker Man and Joni Mitchell ’s Laurel Canyon gold.

There are a handful of other excellent songs, notably “Cue The Tears,” which evokes the wistful ecstasy of bucolic freedom, the long escape to the country after Morning Dove White ’s big night out. Instead of being carried away by the songs themselves, however, the smaller moments leave the greatest impressions: the fantastically ornate string arrangement on “Forever’s Not Much Time” or the descending vocal melody on “Constellations,” which drops away like a leaf falling to the ground. This ephemeral appeal may have something to do with the album’s lightweight texture. Heart-Shaped Scars has a tendency to drift. Many of these songs could lose a couple minutes in the edit without a great deal of discomfort. The six-plus minutes of “The Haunted” might be great for lying under a tree when you can’t be bothered to change the music, but the song feels stretched for every-day listening. This kind of conundrum is typical of Heart-Shaped Scars ’ almost-there appeal. It is an album of quiet delights, but at times it feels like the songs are simply stretched too thin: three-star meals served with five-star service.

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Heart​-​Shaped Scars

By dot allison.

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Dot Allison Edinburgh, UK

Since her debut solo album Afterglow in 1999, Dot Allison has strived to keep the listener on a journey – and herself too. She revolts against what she has done before, to evolve and not just occupy the same space. Her forthcoming, and most illuminating album to date 'Heart-Shaped Scars is out now via SA Recordings. ...   more

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Well, does it live up to the hype? It's okay, not as good as 'Loops' or the 'Fenella' stuff; i doubt i'll be listening to it in full very often. Her mojo is waneing in my 'umble opinion. vykr

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Dot Allison

Onetime One Dove singer who earned a cult following with an enchanting mix of dub, dynamic pop, and heartbreaking balladry.

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Dot Allison: ‘My name comes at the end of the credits – a bit of everyday sexism’

Scottish singer had her moment in the pop spotlight almost three decades ago, but her music continues to delight and inspire.

Dot Allison: 'I’m proud to now own my part in that – I wrote those chords.'

Watched today, it’s like something from a half-forgotten dream. In October 1993, singer Dot Allison went on Top of the Pops and played the part of natural-born pop star to perfection. She was fronting One Dove, an enigmatically groovy trio from Glasgow championed by super-producer Andrew Weatherall and signed to his super-trendy label, Boy’s Own Productions. Out front, Allison sang as if it was her destiny to light up this institution of British pop while bandmates Ian Carmichael and Jim McKinven magicked up beautifully drowsy beats.

Top of the Pops would prove a bittersweet high. Two years later, One Dove imploded with just one album to their credit. Boy’s Own had been acquired by a major label, London Records, and the band grew frustrated with what they saw as corporate interference. They left behind a dozen perfect songs and that “did it really happen?” moment on Top of the Pops.

“I’m very proud of it,” says Allison as she releases a sublime new solo record, Consciousology. “I remember I went to Jim’s flat at the west end of Glasgow and presented him with that set of chords that became [One Dove break-out hit] Fallen. They got taken to the studio, and the next thing was we had this backing track. I went in and busked over the top of it. The next thing we had this song that was feeling quite magical. That was our breakthrough single.”

“Proud” but a bit slighted too. Allison composed Fallen’s melody. And yet the credits list her name last behind Carmichael and McKinven. “I’m proud to now own my part in that – I wrote those chords. My name comes at the end of the credits. A bit of everyday sexism. Oh god, it was horrendous when I think back. But I’m owning that.”

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Since One Dove, Allison has been a pop star hidden in plain sight. She has collaborated with Primal Scream (likewise championed by Weatherall), Massive Attack, Paul Weller, My Bloody Valentine’s Kevin Shields, and, unlikely though it may seem, cheeky chappie agent of chaos Pete Doherty.

She’s had her share of critical acclaim too. Mixmag praised One Dove’s first and only LP, Morning Dove White – co-produced by Weatherall and named after Elvis Presley ’s maternal great, great grandmother – as “the ultimate expression of the bittersweet collapse of the comedown”; Pitchfork cheered its combination of “Balearic chill with Neil Young folkiness and arcing feedback”. Her solo work has received similar commendations: 2002′s We Are Science was hailed as “stunning and celestial”, while her 2021 long player, Heart-Shaped Scars, was heralded by Pitchfork for its “quiet, graceful collection of autumnal folk”.

Allison sees Consciousology and Heart-Shaped Scars as siblings. They represent her artistic reawakening after a decade away, during which she focused on rearing her children in Edinburgh, where she lives with her composer husband, Christian Henson. Both projects share the gorgeous dreaminess that was a One Dove hallmark, but their subject matter could not be further removed from the 1990s and the songs she wrote then about frustrated love and the stifling of youthful ambition.

Dot Allison: 'I never would not have been around my kids in the early years.'

The two records, taken together, are a lament for the natural world and the damage humanity is inflicting upon it. Heart-Shaped Scars featured field recordings of birds and rivers. On Consciousology, Allison taps into childhood memories of her father, a pioneering botanist and plant geneticist. “The family used to go to his lab at the weekend. We’d run around as kids. There would be fields of turnips, fields of kale. They were looking at trying to breed a type of vegetable that would be helpful for the Third World.”

She feels ambivalent about those memories. Her father wanted to make people’s lives better. But is it ever acceptable to tinker with nature? Across Consciousology, she reckons with that question – and concludes all living things, from microbe to Elon Musk , are interconnected: part of a large biological machine.

“There’s a wise lady called Vandana Shiva, who is an eco-feminist. We get offered two options: extinction and escape. She says there is a third option if we choose to take it. Which is to look at what we’re doing, change course, and heal the planet while we can. I did an eco-philosophy course online, and it was really interesting. Basically, they were saying that as long as we don’t turn the planet into sand, it is regenerative. We have to change course before we desert-ify the whole thing and turn it into dust. Where you’d have to almost start again.”

Eco-politics aside, Consciousology is a thrillingly woozy listen – where Allison’s folk-horror vocals flutter within the womblike interior of grooves and strings (arranged by Irish electronica composer Hannah Peel).

Throughout, theme and texture are in perfect synthesis: Shyness of Crowns draws on the behavioural patterns of the trees; on Double Rainbow, she captures the vibrations of a plant and converts them into musical notes. It’s shoegaze for the climate crisis generation, songs of loss and lament that carry themselves lightly and with a twinkle of hope.

“We’re in a living quantum system. There is an intelligence ... You only need to look at how you cut your hand and you heal,” Allison says.

“We’re not responsible for that process. We’re in something. You can’t turn off nature, can you? There’s a way that things live and breathe. We’re not in charge of them. It’s almost like a cognitive dissonance – we’re part of a network, not dominating it. There is almost like a species supremacy. Elephants have just as much a right to live as us. Why do we think we’re the supreme species on the planet? When we flatten a forest, we destroy all the non-human habitats. Why do we think we’ve got the right to do that? We interrupt systems that we don’t understand. We cut down the Caledonian forest and then create these mono pine forests.”

She’s enjoyed coming back to music. But she doesn’t regret the decade she spent away. “I never would not have been around my kids in the early years,” she says. “I’ve read a bit about attachment. I think attachment is everything. I could not have gone off. It’s me: I’m taking time off, I want to do that. I’m lucky that I was about to do that, which I’m very grateful for. In that period of time, I did miss music. Not in the initial bit but a few years in. The ideas never stopped coming.”

There was something about Andrew that people connected with that was authentic. Everyone that came into his world felt a connection with him

In early 2020 Allison was working on Heart-Shaped Scars when she saw a tweet from her friend, Anton Newcombe of Brian Jonestown Massacre, expressing his condolences to the family of Andrew Weatherall, following his sudden death. Her blood ran cold. She and Weatherall had not worked together extensively since One Dove. He was nonetheless a massively influential figure and someone whose kindness and generosity left a lasting impact.

“I was really upset. There was something about Andrew that people connected with that was authentic. Everyone that came into his world felt a connection with him. He was one of those people. I was devastated to be honest. It was such a shock.”

One surprise in her catalogue is her association with Libertines hell-raiser Pete Doherty. Allison’s music is stately and thoughtful, his splotchy and snaggletoothed. Yet they have collaborated on stage on many occasions and have guested on each other’s recordings (Allison on Doherty’s Sheepskin Tearaway, Doherty on Allison’s 2009 album, Room Seven and a Half). There were even rumours they were going to make a duets LP.

Dot Allison: 'Anyone who is interested in music, I try to keep them interested by doing different things.'

“There’s a juxtaposition there,” she says. “In the way with like, say, Nancy Sinatra and Lee Hazlewood or Serge Gainsbourg and Jane Birkin. There is something quite nice about the polarity of the elements. It creates a bandwidth to the piece, somehow.”

She prefers not to dwell in the past, feeling that, as an artist, she must constantly put one foot in front of the other. Others are more nostalgic. When One Dove’s Ian Carmichael posted their Top of the Pops performance on YouTube, he lamented that the spot never aired in their native Scotland because entertainer Andy Stewart died that day, and local channels cleared the schedules to broadcast a tribute to him instead.

“The rest of the line-up on that week’s show was pretty dire. The only interesting band was Lemonheads, and Evan Dando was so out of it the whole time he could hardly speak,” he continued. “There is, of course, the famous story of how we almost got ejected from the BBC and not allowed to perform on Top of the Pops at all, when we stole on to the set of EastEnders after our rehearsal and graffitied the Albert Square pillar box with our name.”

What memories to conjure with. Does Allison ever play her kids that performance on Top of the Pops – to show that their mum was once a pop star? She shakes her head. While glad to be associated with One Dove, she sees it as a staging post on a longer journey.

“It’s something I’m really proud of. But because I’ve been in my own exploratory thing, it’s not something I’ve focused on.

“Anyone who is interested in music, I try to keep them interested by doing different things. And to keep myself interested as well. I want to be always evolving. It’s the opposite of stagnation. You’re constantly exploring new areas.”

Consciousology is out now

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Eavesdrop on Anton Newcombe and Dot Allison In Conversation. Stories about her New LP, ‘Heart-Shaped Scars’, their latest collaboration + Alice Coltrane

In the following exclusive video Anton Newcombe and singer/songwriter/multi-instrumentalist Dot Allison have a chat and they’re invited us into their musical web.

Since her debut solo album ‘Afterglow’ in 1999, the Scottish singer, songwriter and multi-instrumentalist Dot Allison has strived to keep the listener on a journey – and herself too. Musically, she revolts against what she has done before so that she can continue to evolve and not just occupy the same space. Her new album ‘Heart-Shaped Scars’ is out now via SA Recording, and rumor has it that it’s her best yet.

On ‘Heart-Shaped Scars’ Allison plays ukulele, piano, 12 string guitar, mellotron, keyboards, hubble kalimba & Phone-Home Xylophone, Treated Keys & Harmonium. She’s collected her own field recordings and oversaw all vocal arrangements. It’s produced by Allison herself alongside Fiona Cruickshank featuring string arrangements by Mercury Prize Nominee Hannah Peel, singer-songwriters Amy Bowman and Zoë Bestel.

You may recall her debut into the music world as One Dove, the trio that launched her long time collaboration with the late and great Andrew Weatherall (Primal Scream, The Orb, My Bloody Valentine), who still remains her biggest inspiration and who she dedicates this album to the memory of. While the music heard on ‘Heart-Shaped Scars’ is best described as intoxicated dreamy folk if you listen closely, you will hear his mark that he left on her with subtleties in songs such as ‘Constellations’ and ‘Love Died in Our Arms’.

Her musical journey has taken her from ‘Afterglow”s broad church (trip-hop, Tim Buckley-esque ballads, dance tracks, chilled psychedelia) to the sultry synth-pop of ‘We Are Science’ (2002), the lush, baroque ‘Exaltation Of Larks’ (2007) and the eclectic, rootsy drama of ‘Room 7½’ (2009). The range of guest stars on Allison’s records is equally broad: where else would you find a cast list that includes Kevin Shields, Hal David, Paul Weller, Pete Doherty along with guest roles with the likes of Massive Attack, Scott Walker, Slam, Philip Shepard, The Babyshambles.

Her latest collaboration is with Anton Newcombe and the first of their offerings can be heard on the opening score for ‘Bringing Murder to the Land’ from the new hit Alibi TV Series ‘Annika’ released by Air-Edel Records.

Based on the Radio 4 play and starring Nicola Walker. The score for the series, also written by Anton and Dot, was the first official collaboration for the pair, and a soundtrack featuring the full score is currently in the works, with details to follow.

Anton and Dot are continuing their work together and are currently writing and recording a new commercial album.

Dot Allison Official Website / Facebook / Instagram / Twitter  / Apple Music / Spotify SA Recordings  Official Website / Facebook / Instagram / Twitter / YouTube / Bandcamp

Headline photo: Dot Allison by Maria Mochnacz

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Album: Dot Allison - Consciousology | reviews, news & interviews

Album: dot allison - consciousology, cosmic expansion of elegant anthropocene themes.

This album promises to be an expansion of the sound and ideas of its 2021 predecessor  Heart Shaped Scars , and boy does it deliver.  HSS  was the Scottish singer-songwriter Dot Allison’s first album in some nine years, and only her seventh in the 28 years since she first appeared with the space-dub-country-torch-song trio One Dove. And it was a delicate album, built on generations of the purest psychedelic folk, a perfect soundtrack for emerging from the shock of peak COVID, full of the intimacy of isolation and fears for the world, but renewed love of nature. 

Consciousology  starts as if it’s a straight continuation of  HSS . Opener “Bleached by the Sun” begins with picked acoustic guitar , then Allison at her most whispery singing about hope for life and fear of endings, and grows gently as Hannah Peel’s string arrangements snake in half way through and start to flesh it out. “Double Rainbow” continues this calm, considered air, although it gets denser and denser with rippling synths emerging from among the layered voices and strings. But nothing gets too dramatic through the first half. 

However, with “Mother Tree” things start getting trully cosmic and stay that way through to the end. Not in any grandiose, noisy, swooshy way, but the scope of the production and arrangements gets bigger and bigger, and the really psychedelic nature of the lyrical motifs of cycles, networks, fields and radiance that have been running through the record becomes very much apparent. It’s notable that the closer, “220Hz” is the most synth-led track of all: on a record that’s shot through with concerns about the Anthropocene and disconnection from the natural, technology seems to win out. 

Yet, that track is still gentle, human, folky. Is this a synthesis? A vision of hope for a technologically-enhanced nature? No, it’s none of those, because this isn’t a record that’s expounding a big theory or telling you what to think. It’s an exploration, an abstract portrait of those cycles and fields and natural patterns – and indeed, it’s cyclical itself: the ending makes you want to go back to the start. And what more could you want from a piece of music? This takes a little more getting into than  HSS , but it’s a perfect companion to it, and a glorious addition to this phase of Allison’s creativity.

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Dot Allison

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About Dot Allison

Originally a founding member of One Dove in 1991, Dot released one LP with her band. She signed to Heavenly records releasing her critically acclaimed debut solo LP, Afterglow, in 1999. Having toured with Libertines and as a member of Babyshambles, by the end of 2004 Dot was ready to return to concentrating on her solo music.

Allison Russell to Follow Hozier Opening Stint With Headlining Tour of U.S. Theaters

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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Allison Russell already had a fairly full year set out ahead of her, with the opening slot on a Hozier tour that continues in arenas through the end of September. Now she’s announced she will quickly follow that with a headlining tour of theaters, with Kara Jackson as her opener, beginning a month after she gets off the road from the Hozier outing.

Popular on Variety

Spotify and artist pre-sales are underway, with the official on-sale scheduled for Friday. More information on pre-sale availability and VIP packages can be found here .

Russell appears on Hozier’s new EP, singing the song “Wildflower & Barley,” a number they perform together each night on his tour. In kind, he appeared on her “Returner” album, lending harmony to the song “Requiem.”

Russell was just named as a nominee for artist of the year at the Americana Honors & Awards, which take place in Nashville in September. (The singer will not be on hand, as she will be in the middle of a three-night stand with Hozier at L.A.’s Forum at the time.) That nomination comes on the heels of this year’s Grammys, where Russell was nominated for four awards and picked up a win for best American roots performance.

Russell spoke with Variety last year about her acclaimed “Returner” album — read that interview here — and about the “Demons” music video she did with director Ethan Tobman (read here ).

Headlining tour dates:

Oct 25 – Higher Ground Ballroom – South Burlington, VT+

Oct 26 – Royale – Boston, MA+

Oct 28 – Webster Hall – New York, NY+

Oct 30 – Theatre of Living Arts – Philadelphia, PA

Oct 31 – 9:30 Club – Washington D.C.+

Nov 02 – The Vic Theatre – Chicago, IL

Nov 03 – First Avenue – Minneapolis, MN+

Nov 05 – Gothic Theatre – Englewood, CO+

Nov 06 – The Commonwealth Room – South Salt Lake, UT+

Nov 08 – Egyptian Theatre – Boise, ID+

Nov 09 – Wonder Ballroom – Portland, OR+a

Nov 11 – The Fillmore – San Francisco, CA+

Nov 12 – The Belasco – Los Angeles, CA+

Nov 15 – The Heights Theater – Houston, TX+

Nov 16 – Tannahill’s Tavern & Music Hall – Fort Worth, TX+

Nov 17 – The Scoot Inn – Austin, TX+

+-With Support from Kara Jackson

Previously announced tour dates:

# -Supporting Tyler Childers

*-Supporting Hozier

^-Supporting Sarah McLachlan

May 14 – Live Oak Bank Pavilion at Riverfront Park – Wilmington, NC*

May 15 – Veterans United Home Loans Amphitheater at Virginia Beach – Virginia Beach, VA*

May 17 – Merriweather Post Pavilion – Columbia, MD*

May 19 – Broadview Stage at SPAC  – Saratoga Springs, NY*

May 21 – Empower Federal Credit Union Amphitheater at Lakeview – Syracuse, NY*

May 22 – Darien Lake Amphitheater – Darien Center, NY*

May 23 – Massey Hall – Toronto, ON 

May 24 – Old Dutch Church – Kingston, NY

May 25 – Freedom Mortgage Pavilion – Camden, NJ*

May 27 – CFG Bank Arena – Baltimore, MD#- 

May 28 – Ruoff Music Center – Noblesville, IN*

May 29 – Van Andel Arena – Grand Rapids, MI*

May 31 – Pine Knob Music Theatre – Clarkston, MI*

Jun 01 – Railbird Music Festival – Lexington, KY

Jun 04 – Forest Hills Stadium – Forest Hills, NY*

Jun 05 – Forest Hills Stadium – Forest Hills, NY*

Jun 07 – Forest Hills Stadium – Forest Hills, NY*

Jun 08 – Forest Hills Stadium – Forest Hills, NY*

Jun 19 – Budweiser Stage – Toronto, ON ^

Jul 24 – Maine Savings Amphitheater – Bangor, Maine*

Jul 26 – Newport Folk Festival –  Newport, RI

Jul 27 – Bethel Woods Center for the Arts – Bethel, NY*

Jul 28 – The Ross Farm, Basking Ridge, NJ

Jul 29 – The Pavilion at Star Lake – Burgettstown, PA*

Aug 06 – Scotiabank Saddledome, Calgary, AB#

Aug 08 – Rogers Arena – Vancouver, BC #

Aug 10- Hayden Homes Amphitheater- Bend, OR#

Aug 11-  Hayden Homes Amphitheater- Bend, OR#

Aug 13 – Hollywood Casino Amphitheater – Maryland Heights, MO*

Aug 16 – Breese Stevens Field – Madison, WI*

Aug 17 – Xcel Energy Center – Saint Paul, MN*

Aug 20 – Canada Life Centre – Winnipeg, MB*

Aug 21 – SaskTel Centre – Saskatoon, SK*

Aug 23 – Scotiabank Saddledome – Calgary, AB*

Aug 24 – Rogers Place – Edmonton, AB*

Aug 27 – First Interstate Arena at MetraPark – Billings, MT*

Aug 28 – Ford Wyoming Center – Casper, WY*

Aug 30 – Fiddler’s Green Amphitheatre – Greenwood Village, CO*

Aug 31 – Utah First Credit Union Amphitheatre – West Valley City, UT* 

Sept 03 – Ford Idaho Center Ampitheater – Nampa, ID*

Sept 04 – Hayden Homes Amphitheater – Bend, OR*

Sept 06 – The Gorge Amphitheater – George, WA*

Sept 07 – RV Inn Style Resorts Amphitheater – Ridgefield, WA*

Sept 09 – Golden 1 Center – Sacramento, CA*

Sept 10 – Shoreline Amphitheatre – Mountain View, CA*

Sept 13 – Tucson Arena – Tucson, AZ*

Sept 14 – North Island Credit Union Amphitheatre – Chula Vista, CA*

Sept 15 – Whale Rock Music & Arts Festival – Templeton, CA

Sept 17 – Kia Forum – Inglewood, CA*

Sept 18 – Kia Forum – Inglewood, CA*

Sept 20 – Kia Forum – Inglewood, CA*

Sept 22 – Isleta Amphitheater – Albuquerque, NM*

Sept 24 – Frost Bank Center – San Antonio, TX*

Sept 26 – Paycom Center – Oklahoma City, OK*

Sept 28 – Pilgrimage Music & Cultural Festival – Franklin, TN

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Allison Russell Announces All Returners Tour

Allison Russell has announced new headlining tour dates for October and November. The Nashville-based singer-songwriter begins her All Returners Tour in Vermont, and she is scheduled to wrap up proceedings on Sunday, November 17, in Austin, Texas. Opening for the U.S. tour leg is Kara Jackson. See all of Allison Russell’s tour dates below.

Russell released her sophomore studio album, The Returner , in September 2023. The LP’s “ Eve Was Black ” earned her the 2024 Grammy Award for Best American Roots Performance .

Allison Russell: All Returners Tour

$.00, Ticketmaster

Allison Russell:

05-14 Wilmington, NC - Live Oak Bank Pavilion at Riverfront Park *

05-15 Virginia Beach, VA - Veterans United Home Loans Amphitheater *

05-17 Columbia, MD - Merriweather Post Pavilion *

05-19 Saratoga Springs, NY - Broadview Stage at SPAC *

05-21 Syracuse, NY - Empower Federal Credit Union Amphitheater at Lakeview *

05-22 Darien Center, NY - Darien Lake Amphitheater *

05-23 Toronto, Ontario - Massey Hall

05-24 Kingston, NY - Old Dutch Church

05-25 Camden, NY - Freedom Mortgage Pavilion *

05-27 Baltimore, MD - CFG Bank Arena #

05-28 Noblesville, IN - Ruoff Music Center *

05-29 Grand Rapids, MI - Van Andel Arena *

05-31 Clarkston, MI - Pine Knob Music Theatre *

06-01 Lexington, KY - Railbird Music Festival

06-04 Forest Hills, NY - Forest Hills Stadium *

06-05 Forest Hills, NY - Forest Hills Stadium *

06-07 Forest Hills, NY - Forest Hills Stadium *

06-08 Forest Hills, NY - Forest Hills Stadium *

06-19 Toronto, Ontario - Budweiser Stage ^

06-24 Bangor, ME - Maine Savings Amphitheater *

06-26 Newport, RI - Newport Folk Festival

06-27 Bethel, NY - Bethel Woods Center for the Arts *

06-28 Bernards, NJ - The Ross Farm

06-29 Burgettstown, PA - The Pavilion at Star Lake *

08-06 Calgary, Alberta - Scotiabank Saddledome #

08-08 Vancouver, British Columbia - Rogers Arena #

08-10 Bend, OR - Hayden Homes Amphitheater #

08-11 Bend, OR - Hayden Homes Amphitheater #

08-13 Maryland Heights, MO - Hollywood Casino Amphitheatre *

08-14 Lincoln, NE - Pinnacle Bank Arena *

08-16 Madison, WI - Breese Stevens Field *

08-17 St. Paul, MN - Xcel Energy Center *

08-20 Winnipeg, Manitoba - Canada Life Centre *

08-21 Saskatoon, Saskatchewan - SaskTel Centre *

08-23 Calgary, Alberta - Scotiabank Saddledome *

08-24 Edmonton, Alberta - Rogers Place *

08-27 Billings, MT - First Interstate Arena *

08-28 Casper, WY - Ford Wyoming Center *

08-30 Greenwood Village, CO - Fiddler’s Green Amphitheatre *

08-31 West Valley City, UT - Utah First Credit Union Amphitheatre *

09-03 Nampa, ID - Ford Idaho Center *

09-04 Bend, OR - Hayden Homes Amphitheater *

09-06 Quincy, WA - Gorge Amphitheatre *

09-07 Ridgefield, WA - RV Inn Style Resorts Amphitheater *

09-09 Sacramento, CA - Golden 1 Center * 

09-10 Mountain View, CA - Shoreline Amphitheatre *

09-13 Tucson, AZ - Tucson Arena *

09-14 Chula Vista, CA - North Island Credit Union Amphitheatre *

09-15 Templeton, CA - Whale Rock Music Festival

09-17 Inglewood, CA - Kia Forum *

09-18 Inglewood, CA - Kia Forum *

09-20 Inglewood, CA - Kia Forum *

09-22 Albuquerque, NM - Isleta Amphitheater *

09-24 San Antonio, TX - Frost Bank Center *

09-26 Oklahoma City, OK - Paycom Center *

09-28 Franklin, TN - Pilgrimage Music & Cultural Festival

10-25 South Burlington, VT - Higher Ground Ballroom +

10-26 Boston, MA - Royale +

10-28 New York, NY - Webster Hall +

10-30 Philadelphia, PA - Theatre of Living Arts

10-31 Washington, D.C. - 9:30 Club +

11-02 Chicago, IL - The Vic Theatre 

11-03 Minneapolis, MN - First Avenue +

11-05 Englewood, CO - Gothic Theatre +

11-06 South Salt Lake, UT - The Commonwealth Room +

11-08 Boise, ID - The Egyptian Theatre +

11-09 Portland, OR - Wonder Ballroom +

11-11 San Francisco, CA - The Fillmore +

11-12 Los Angeles, CA - Belasco Theater +

11-15 Houston, TX - The Heights Theater +

11-16 Fort Worth, TX - Tannahill’s Tavern & Music Hall +

11-17 Austin, TX - Scoot Inn +

# with Tyler Childers

* with Hozier

^ with Sarah McLachlan

+ with Kara Jackson