Apr 2 - CITY CENTER
Cafe Bourbon St. / $5 / ages 18+ / 9pm

Apr 5 - HIGH PLACES, SHIN TOWER MUSIC
The Summit / $6 adv / $8 door / ages 18+ / 8pm

Apr 11 - SURFER BLOOD with TURBO FRUITS
The Summit / $8 adv / $10 door / ages 18+ / 9pm

Apr 13 - TERROR PIGEON DANCE REVOLT with THE SHAKES
Cafe Bourbon St. / $5 adv / $7 door / ages 18+ / 9pm

Apr 23 - THE MARY ONETTES
The Summit / $7 adv / $9 door / ages 18+ / 9pm

Apr 23 - PAST LIVES
Cafe Bourbon Street / $5 adv / $7 door / 8pm

Mar 13 - WE WERE PROMISED JETPACKS with LONELY FOREST and BEAR HANDS
The Summit / $10 door / ages 18+ / 9pm

Mar 13 - HOCKEY, CONSTELLATIONS
Outland on Liberty / $10 adv / $12 door / 8pm

Mar 18 - ARLO AND THE OTTER w/ ST. SENECA
Cafe Bourbon Street / $5 / 9pm

Mar 21 - SHERWOOD, SEABIRD, REECE, THE FORTIES
Skully’s / $10 adv / $12 door / all ages / 6pm

Mar 30 - GRINGO STAR
Circus / $7 door / ages 18+ / 9pm

Mar 30 - THE SMITH WESTERNS with MALE BONDING
Summit / $5 adv / $7 door / ages 18+ / 9pm

The Summit

2210 Summit St.
(614) 268-9377

$5
Ages 18+ - under 21 pays $2 surcharge at door

One For The Team
http://www.myspace.com/onefortheteam

Indie pop band One for the Team were founded by Minneapolis music scenester/songwriter Ian Anderson (not to be confused with the frontman of Jethro Tull) in an effort to use material that was unfit for his other band, Aneuretical. The group began as a strictly studio side project with drummer Elliot Manthey and bass player John Krueger, but soon blossomed into a full-time unit after the success of the group’s self-released 2006 album, Good Boys Don’t Make Noise. A flurry of lineup changes followed, with the band eventually settling on Anderson, Manthey, Grace Fiddler, and Jacob Huelster as its core. One for the Team toured heavily in support of their 2008 sophomore effort, Build It Up, sharing the stage with contemporaries like Dressy Bessy, French Kicks, and Frightened Rabbit before heading back into the studio for 2009’s eight-song EP Build a Garden. - ©1992-2008 All Media Guide, LLC

This Is My Suitcase
http://thisismysuitcase.com/

This Is My Suitcase is the unruly music performed by five even-unrulier friends.

This Is My Suitcase was born in the innocent times of 2005, carved from the atrophied spots on Joseph Anthony Camerlengo’s heart. The induction of This Is My Suitcase to the scary world outside of Joseph’s bedroom walls would soon be the band’s first full length album: Missent to Thailand (2006), a unique thirteen song proclamation that love exists and is. With little-to-no “critical” acclaim, Missent to Thailand was, in it’s own untraditional way, a hit, especially considering it exclusively recorded with a computer microphone! Now with a notable amount of public support, This Is My Suitcase grew and grew into an entire five piece punk orchestra, currently featuring: Nicholas Manos (bad karma’s response to U2’s The Edge), Jeremy Skeen (the potential ghost of the late Mitch Mitchell), Joseph Fitzgerald (Satan’s answer to Sting), and Mary Lynn Gloeckle (our own personal Schroeder). Over the last four years of trying times and some concurrent failing times, This Is My Suitcase has self-released an insurmountable amount of freakish pop music over the internet, free of any charge to it’s lucky listener, including: The C EP (2006), The C.R.E. ep (2007), and countless other original songs, cover songs (from The Beach Boys to Michael Jackson), and limited-releaser tour theme songs to coincide with each of their tours.

By January 1st of 2008, a fat-ruled notebook had been filled red cover-to-red cover with production, recording, mixing, and vocal notes for the next This Is My Suitcase full length album. Six months later, the raucous band overtook Mike Green’s (The Matches, Paramore) Los Angeles studio during the graveyard shift (usually eleven pm to then am), working themselves in and out of a comatose state for two weeks of recording drums and shattering glass. As quickly as they came, the band soon found themselves back in Columbus, Ohio, chauffeuring a laptop and broken microphone from random location to random location, recording woodwinds, strings, horns, saws, and tinkerings on their record, literally every single day. This was still only the beginning, as the self-recording of The Keys To Cat Heaven would stretch on for eight more long months, unbeknownst to anyone at this point. From July of 2008 until August of 2009, This Is My Suitcase masterminded a fifteen-song disasterpiece unlike any other. Any time wasted or spent on this album was well worth it, any of the five band members will tell you with absolute certainty in their otherwise uncertain voices. The band’s latest full length album, The Keys To Cat Heaven (2009), is their best collection to date.

If you are fed up with paying full price for albums that lack french horn featurettes and string quartets; if your record collection feels void of cat and ghost content, lyrically-speaking; if your album art collection feels incomplete without a cat ghost, literally-speaking; if you immediately need your body to build an immunity to a virulent swarm of dancing falsettos and flutes; if you have been digging for records that will highlight that you are both playful and witty; if you want an album that you can stream at an appropriate volume from your apartment window to prove to passer-bys that you are intelligent and ironic; if you have been looking for a solid album to rattle the tiles from your roof while you bang your head; if you wish that Sesame Street sing-alongs sounded more like old Flaming Lips albums; if you wish that new Flaming Lips albums sounded more like vintage Sesame street records, we have the album for you: The Keys To Cat Heaven.

Super Desserts
http://www.myspace.com/superdesserts

Opening act, Columbus, OH-based Super Desserts crowded onto the Hideout stage - which could barely fit all 12 members (I think I counted) - tuba player, banjo, five string players - including a cellist, saxophone, guitar and several singers who also played bells, ukeleles, shakers and tambourines, while the entire orchestra sang along to their peppy songs. Exhibiting a clean cut appearance and sweet and innocent sound that harkened back to the days of the New Christy Minstrels these cute lads and lasses are a breath of fresh air. Songs were short and sweet and addictive and featured delicious harmonies including the beat-driven “Ibiza,” “Gotta Lotta Sun” “Faster Tea” “Jump Out of the Way” (check out the great video of this song on You Tube), “Funeral” and “I Only Love You Because You Can Play Guitar” and especially the clever and catchy “Yr Heart” which featured singer Eve Searls. Made me feel so young again I had to pick up a vinyl copy of their album Banjo Forever (with great retro silk screen cover art) so I can learn the words to sing along next time they come to town. - Brad Walseth, ConcertLiveWire.com

Rumba Cafe

2507 Summit Street
(614) 268-1841

$7 adv / $9 door
Ages 18+ - under 21 pays $2 surcharge at door

Horse Feathers
http://www.myspace.com/horsefeathersmusic

The Portland, OR, folk duo Horse Feathers consist of singer/songwriter Justin Ringle (acoustic guitar, vocals, percussion) and multi-instrumentalist Peter Broderick (violin, banjo, mandolin, cello, viola, piano, saw, percussion, vocals). Ringle grew up in Idaho and played in several short-lived indie rock bands during his teenage years, but moved to Portland in 2004, where he met Broderick, who was already a member of the more established Portland band Norfolk & Western. They spent much of 2005 writing songs and honing their live performances at various Portland open-mike nights. Influenced by both the stark folk music of Bruce Springsteen’s Nebraska and the post-classical work of Scandinavian composer Max Richter, the duo entered the studio in February 2006 to record its debut album, Words Are Dead, 11 chamber-folk tracks featuring Ringle’s high, reedy vocals and enigmatic lyrics and Broderick’s baroque filigree. Words Are Dead was released on Lucky Madison Records in September 2006. The band inked a deal with the Kill Rock Stars label the following year, releasing House with No Home in 2008. - ©1992-2008 All Media Guide, LLC

Saintseneca
http://www.myspace.com/saintseneca

Necessity is the mother invention, sometimes in the weirdest way.

For Saintseneca, quiet hours and tiny spaces transformed an adolescent indie band into a folky four-piece that now stomps, shouts and strums with the best in the city.

“We had a cheesy electric band in high school, and we wanted to continue something in college,” said Luke Smith, who came from a small Appalachian town to Ohio State with bandmates Zac Little and Steve Jacobs. “It was tough for us to find a place to practice where we could make a lot of noise.”

Thus the addition of a plastic trash can for percussion and crack violinist Grace Chang, who has helped hone a soft, charming acoustic sound. It exploded in September on a fantastic four-song vinyl EP released with the help of San Francisco indie imprint Paper Brigade.

Literate acoustic acts like The Decemberists come to mind, but Saintseneca takes traditional American folk in even more intriguing directions.

“Something we focus on when we are writing music is filling up that space,” said Little, one of three members who rotate among guitar, banjo, dulcimer and other instruments. “Our music can be really sparse, but we try to get a full sound. If everyone’s playing an instrument, what can you do but stomp?”

Simultaneously traditional and dynamic, the sound has won the band a loyal following along several recent DIY tours and within the city’s thriving house-show scene.

“At some bars, it can be kind of weird or not as personal,” Smith said of opting for smaller, residential venues. “Playing for 30 or 40 in a basement can be really cool.”

Chang, who grew up reading sheet music and playing in school orchestras, agreed.

“For me personally, I enjoy the house show because you feel like you made friends with the people who hosted you,” she explained. “Since it’s so small and intimate, people are able to pick up on things more.”

The band has recorded five new songs and plans to release them this year, aided by the elbow-grease ethic working just fine so far. A tour through the Midwest and East Coast is slated for spring, and a longer road stint is scheduled during summer break. - John Ross, Columbus Alive

Old Hundred
http://www.myspace.com/oldhundred

Circus

1227 N. High Street
(614) 421-2998

$8 adv / $10 door
Ages 18+ - under 21 pay $2 Surcharge at the door

Vetiver
http://www.myspace.com/vetiverse

Vetiver are commonly lumped into the nascent “freak folk” movement alongside the likes of Joanna Newsom and Six Organs of Admittance, thanks to leader Andy Cabic’s friendship with scene founder Devendra Banhart. (Besides Banhart’s musical contributions to Vetiver’s first two albums, Cabic co-wrote Banhart’s breakout song “At the Hop,” from 2004’s Rejoicing in the Hands; on the same album, Banhart paid tribute to his friend’s band in the song “When the Sun Shone on Vetiver.”) However, the band’s roots go deeper than Syd Barrett and Linda Perhacs, encompassing the U.K. shoegazer scene and the mid-’90s D.I.Y. indie rock scene. Cabic was part of the latter, forming the Raymond Brake in his native Greensboro, North Carolina in the early ’90s. The Raymond Brake’s noisy, Sonic Youth-influenced take on indie rock was a natural fit with both the Chapel Hill art-punk scene and the influential Washington D.C. indie Simple Machines, which released the band’s debut album Piles of Dirty Winters in 1995. After a handful of EPs and one more album, 1996’s Never Work Ever, the Raymond Brake broke up and Cabic migrated westward, eventually settling in San Francisco. While studying at the San Francisco Art Institute, Cabic met fellow student Banhart and instantly established a close working relationship with the bearded sprite. While playing live gigs with Banhart, Newsom and others, Cabic started writing songs for his new project Vetiver, named for an Asian relative of lemongrass that’s used in perfume making. Adding Banhart on guitar and backing vocals, Jim Gaylord on violin, and Alissa Anderson on cello behind Cabic’s vocals, banjo, and acoustic guitar, Vetiver released its first, self-titled, album on the DiCristina label in 2004. (The album, produced by Thom Monahan of the Pernice Brothers, also included guest spots by Newsom, Mazzy Star’s Hope Sandoval, and former My Bloody Valentine drummer Colm O’Ciosoig.) Vetiver was followed in 2005 by a stopgap odds and sods collection called Between that included two live tracks, plus a new version of a song from Vetiver and a cover of Fleetwood Mac’s “Save Me a Place.” For Vetiver’s second full-length album, 2006’s To Find Me Gone, Cabic finally added a drummer, Otto Hauser, and bassist Kevin Barker to the core trio of himself, Banhart, and Anderson. After the album was released, Cabic introduced a stable, full-time recording and touring lineup of himself, Anderson, Hauser, new guitarist Sanders Trippe, and new bassist Brent Dunne. In 2008 the band released A Thing of the Past, a collection of covers of songs by artists like Michael Hurley, Ronnie Lane and Townes Van Zandt who have influenced Cabic along the way. The band’s next album, 2009’s Tight Knit,was released by new label Sub Pop. - ©1992-2009 All Media Guide, LLC

Moon High
http://myspace.com/moonhighmusic

These Ohioans make utterly transcendent Indie Folk that shimmers with organic grace. The five-piece should be the next favorite band of everyone entranced by the current Indie Folk revolution. Moon High’s self-titled album (recently released in a gorgeously-packaged, handmade second edition, complete with Moonflower seeds) has attracted a lot of attention, largely by word of mouth. The band has been the toast of several music blogs, the modern day equivalent of Alan Freed taking a shine to your record promotion man’s free and loose cash flow. Expect big things. - City Beat

Vug and the Stallions
http://www.myspace.com/vugdemonstrates

At some point over the past few years, those who spend their nights watching rock ‘n’ roll bands in Columbus probably crossed paths with TV Eye.

Unstable but inspired, the teenage trio spun shoegaze-infected psych rock by way of the Byrds and the Jesus and Mary Chain.

Just as they were finding their feet - their ComFest set this year was the sharpest I’ve seen them - singer-guitarist Vug Arakas decided to break up the band and try something new.

Enter Vug and the Stallions. Older, wiser and backed by a rotating cast that often includes members of the Main Street Gospel, Arakas rocks under his own name now.

It’s a smart decision aesthetically; “Vug” is a much more memorable moniker than the borrowed Stooges song title that adorned his old band. More importantly, the switch seems to be panning out for Arakas artistically, too.

That much was clear last Thursday, when the Stallions opened the night at Rumba Cafe. With his brother on drums, the Main Street Gospel’s Tito on bass and MSG’s Barry Dean on lead guitar, Arakas led the group through a set that cashed in on much of the vast potential he’s been showing off all these years.

The quartet covered a lot of ground in just six songs, shifting from slow-burning psych jams to twangy barroom laments to snappy retro pop. A rickety mansion’s worth of ghosts haunted this music, from Crazy Horse to Deer Tick to the Lemonheads, but none were spooky enough to sway Vug’s steady hand.

Barking out rough and tumble tales from behind flopping locks of hair, Arakas was an arresting figure at stage right. Across the floorboards, Dean employed the meat-and-potatoes guitar mastery he’s perfected with the Main Street Gospel, an ingredient just as crucial to this band as his main meal ticket.

Dean’s leads cut through each tune like a laser light show, sometimes blurring with Arakas’ fret work into an eight-miles-high haze.

All this beauty seemed to flow out of their fingers effortlessly. The entire enterprise felt loose and natural - like your neighbors jamming in their basement, only awesome.

Arakas is heading to Akron in January to lay down the first Stallions record. He’d be smart to bring Dean along and capture some of that collaborative magic in the studio. But even without his trusty steeds, the young talent seems set to create something special up there. - Chris DeVille, Columbus Alive

Cafe Bourbon Street

2216 Summit St.
(614) 268-9377

$5 adv / $7 door
Ages 18+ - under 21 pays $2 surcharge at door

Golden Triangle
http://www.myspace.com/goldentriangle

Brooklyn’s arty garage rock sextet Golden Triangle feature vocalists Vashti Windish and Carly Rabalais, guitarists Po’ Jay San Felipe and Cameron Michel, bassist Alix Brown, and drummer Jay High. The three-guy, three-girl group crafts a noisy yet catchy sound that falls somewhere between the Vivian Girls and Sonic Youth at their most accessible, and also draws comparisons to tour mates like King Khan, Jay Reatard, Black Lips, and Quintron & Miss Pussycat. Golden Triangle formed in 2007 with members hailing from Austin, TX, Atlanta, GA, and Memphis, TN, and immediately made a name for themselves with their dynamic live shows, which featured frenetic dancing from Windish and Rabalais. They released a slew of fuzzed-out singles and EPs in 2008, including the Club Bangers cassette and the Prizefighter 7″ on the Atlanta-based label Rob’s House Records. In 2009, a self-titled limited-edition EP arrived via Kemado/Mexican Summer; the group also played South by Southwest and won a battle of the unsigned bands contest. By that May, Golden Triangle had signed to the Sub Pop imprint Hardly Art, which released the band’s debut album, Double Jointer, early in 2010 and a split single with the Fresh & Onlys that spring. - ©1992-2009 All Media Guide, LLC

Rumba Cafe

2507 Summit Street
(614) 268-1841

$5 adv / $7 door
Ages 18+ - Under 21 pay $2 surcharge at door

Two Cow Garage
http://www.myspace.com/twocowgarage

A fierce and edgy alt-country band from Columbus, OH, Two Cow Garage takes the twangy melodies of vintage country music and fuses them with a muscular, amped-up attack that recalls Nirvana or Dinosaur Jr. as much as the Jayhawks or Blue Rodeo. Two Cow Garage was formed in the fall of 2001 by guitarist and singer Micah Schnabel, who was born and raised in the rural Midwestern community of Bucyrus, OH. Weaned on vintage country, Schnabel didn’t care much for the mainstream rock that dominated radio, preferring harder and edgier sounds. At 18, he moved to the relatively big city of Columbus and started playing with drummer Dustin Harigle. Chris Flint, a guitarist and lawyer who used to manage the Lilybandits, saw an early version of Two Cow Garage and was struck by their passionate energy and Schnabel’s songs; he signed on as the band’s manager and part-time guitarist, and with the addition of bassist Shane Sweeney the group’s lineup was complete. In the fall of 2002, Two Cow Garage released their first album, Please Turn the Gas Back On, through Shelterhouse Records; the band supported the disc with a relentless tour schedule that put 332,000 miles on their van’s odometer over the course of two years. 2004 saw the release of their second album, The Wall Against Our Backs, which received rave reviews from critics while the band kept up their punishing tour schedule, which was captured on video by fan and filmmaker John Boston in his documentary The Long Way Around: One Badass Year with Two Cow Garage. Two Cow Garage’s third album, aptly titled III, was released in April 2007. - ©1992-2009 All Media Guide, LLC

The Summit

2210 Summit St.
(614) 268-9377

$8 adv / $10 door
Ages 18+ - Under 21 pays $2 surcharge at door

Warpaint
http://www.myspace.com/worldwartour

Do not hate Warpaint because they’re beautiful or because their slow-motion video for “Stars” comes off like a hipster exploitation reel or because actress Shannyn Sossamon used to be a member. Led by three fashion week-ready ladies from L.A., this group should be a go-to choice for any glossy looking to fill their clothing/music spread in the coming months. But all that would matter little if they couldn’t play. Thankfully, they can play. Like, really well. After watching a few “getting there” bands last night, it was a relief to take in a group ready for take off right here, right now.

Warpaint put the riff-heavy desert rock of Queens of the Stone Age through a gauzy, female-frosted lens, ending up with something more mysterious– think early Cat Power, but with more confidence and purpose. They’re a “mood” band centered around an underlying feeling of imminent dread rather than explicit songs that hook and verse. But while it often sounded like they were soundtracking a modern indie Western where the villain is out of focus thanks to heat rising from the earth, Warpaint knowingly cultivate their alluring sense of doom. They’re not scared; they know their power. - Ryan Dombal, Pitchfork

Rumba Cafe

2507 Summit Street
(614) 268-1841

$10
Ages 18+ - Under 21 pay $2 surcharge at the door

Hamell On Trial
http://www.hamellontrial.com/

Ed Hamell, who performs under the name Hamell on Trial, managed to build a steady following for his anti-folk, punk rock-influenced acoustic music. Alternating between brash and funny, his sound has more in common with rock than the gentle folksingers of yore. Hamell on Trial got its start in upstate New York, where Hamell split from the band he was playing with and enjoyed a brief stint at Syracuse’s Blue Wave Records. He eventually decided that a journey south might be beneficial to his musical career and relocated to Austin, TX.

Soon after arriving in Austin, he won a steady gig playing Friday nights at the Electric Lounge. His first shows alienated the audience, but soon he built a fan base that could tolerate music with a harder edge and his shows began to draw more than 500 people every week. He signed a recording contract with Austin’s Doolittle Records in May 1994 and released his debut album, Big as Life, soon afterwards. His performance at the South by Southwest conference won him a contract with Mercury Records, who chose to re-release his debut, as well as several subsequent albums, including 1997’s The Chord Is Mightier Than the Sword and 2000’s Choochtown.

Hamell did his part to promote these releases with his relentless touring, playing up to 250 shows per year until May 2000 when he was seriously injured in a car accident. After recovering from his head and spinal injuries, he released Ed’s Not Dead: Hamell Comes Alive in 2001, and could often be found playing shows near his new home in Brooklyn, NY. A collection, Mercuroyale: The Best of the Mercury Years arrived the following year, with 2003’s Tough Love close behind. After a brief hiatus, Hamell returned in 2006 with Songs for Parents Who Enjoy Drugs. - ©1992-2008 All Media Guide, LLC

Circus

1227 N. High Street
(614) 421-2998

$12 adv / $14 door
Ages 18+ - Under 21 pay $2 surcharge at the door

Margot & The Nuclear So and Sos
http://www.myspace.com/margotandthenuclearsoandsos

The dreamy, bittersweet world of Margot & the Nuclear So and So’s is the brainchild of singer/songwriter Richard Edwards, who formed the eight-piece indie rock collective in his native Indianapolis. Named after the Margot Tenenbaum character in Wes Anderson’s sophisticated comedy The Royal Tenenbaums, the band took root in 2004, when Edwards decided to flesh out his scenic chamber pop sound with help from Andy Fry (guitar), Jesse Lee (cello), Emily Watkins (piano), Hubert Glover (trumpet), Chris Fry (drums), Casey Tennis (drums/percussion), and Tyler Watkins (bass). The band’s debut album, The Dust of Retreat, was issued on the local independent label Standard Recording in Spring 2005. The picturesque, dozen-song set earned the band a loyal following, and in November 2005, Margot & the Nuclear So and So’s signed with Artemis Records. A remixed and remastered version of The Dust of Retreat was released in March 2006, but a series of label acquisitions (Artemis bought V2, Virgin Records effectively absorbed the band, and Capitol merged with Virgin) convinced the band to partner with another company. They relocated to the Epic roster in October 2007 while working on their sophomore release. After tracking approximately 25 songs, however, the band clashed with Epic over which songs to include in the final product. Accordingly, two versions of the album were released: Animal!, a vinyl and digital release of the band’s preferred version, and Not Animal, a traditional CD release featuring those songs favored by the label. - ©1992-2009 All Media Guide, LLC

Dolson
http://www.myspace.com/dolsonmusic

Dolson’s departure from the Ohio music scene nearly two years ago might have been the best thing to happen to his career.

“I didn’t walk away hoping to ‘reinvent myself as an artist,’ as they say, or to embark on some overtly profound and philosophical self-reflection,” Dolson said. “Life just sort of happened. I was struggling in a lot of ways with finding my place. The music I created through all that is really a reflection of what I was going through.”

Since Dolson and his vocal-driven brand of rock emerged out of Akron five years ago, the 24-year-old North East Ohio native has awed crowds along the East Coast and throughout the Midwest with rich melodies and unique sounds, ranging in style from classic pop piano to industrial electronic rock. With the upcoming release of “Eightynine,” Dolson again realizes the raw, emotional power of music to transform and inspire. This coming-of-age lyrical memoir will captivate loyal fans and win new ones with its diverse, soulful track list.

“Eightynine” is the result of the often disappointing transition toward adulthood. The 14-track album tells the story of a spirited young man burgeoning into the real world; only to learn how easily dreams are shattered along the way. Amid his confusion – through heartache, anger and enduring convictions – Dolson weaves together threads of love and despair in the all too familiar journey from hope to cynicism. With this album, Dolson emerges from his 17-month furlough with a new life outlook and invigorated passion for his art.

After recording his first EP in Nashville four years ago a catchy, pop-driven collection of rock songs produced and mixed by Grammy Award-winners Mitch Dane and Vance Powell, Dolson lit up the regional music scene, catching substantial airtime on local radio stations. But despite his success winning the attention of crowds and local producers, Dolson set down his guitar in the winter of 2007. Months shy of college graduation, he focused his energies toward the common — and far more accepted — pursuit of steady income, love and, ultimately, a rightful place in society.

“I didn’t set out to create an album,” Dolson said. “Not at all. But music has always been a release for me. In a world defined by text messages, Tweets and wall posts, music is still the only way I know how to communicate without jumbling the message in translation. I didn’t sit down and write this album. I just lived it.”

Dolson produced and recorded more than half “Eightynine” in his basement studio with the help of longtime friend, Jonathan Penn. From there, Dolson again headed for Nashville, this time seeking help from artist and producer Andy Osenga. It takes only a short listen of piano-driven tracks like “I’ll Never Be” and the heart-pounding electronic rhythm of “Could Be You” to understand that “Eightynine”, a diverse and spirit-filled collection of musical wanderings, is by and far this young artist’s best work yet.