La Escalera Fest, the annual punk festival in Mexico, will be celebrating its 6th year from April 14-16 in San Diego and in Tijuana. The lineup will include Bad Cop/Bad Cop, The Bombpops, Western Settings, Civil War Rust, and more. You can find the full lineup below, and more information about the dates, locations and tickets here.
Search Results for "Bad Cop / Bad Cop"
Wednesday, January 25, 2017 at 10:33 AM (PST) by Shane Dover
Thursday, December 8, 2016 at 1:00 PM (PST) by jaystone
Whoa! The third of four videos that the mighty Bad Cop/Bad Cop filmed during a recent sit-down for “Live from the Rock Room” is now upon us. It’s for the track “Joey Lawrence” and you can check it out below.
“Joey Lawrence” appears on Bad Cop/Bad Cop’s debut full length, “Not Sorry,” which was released in June 2015 via Fat Wreck Chords. Stay tuned for video #4 in the near future, and refresh yo’self on our very personal and revealing conversation with BC/BC’s Stacey Dee right here.
Sunday, November 20, 2016 at 1:22 PM (PST) by jaystone
As you have read about all-too frequently here on the pages of Dying Scene, touring bands have a tendency to get their gear stolen at an alarmingly high rate. In what might be a bit of an unprecedented turn of events for California punks Bad Cop/Bad Cop, the band got robbed twice in the same 24-hour period earlier this weekend…
Early yesterday morning, prior to the San Antonio stop on the band’s nationwide tour in direct support for The Interrupters, the band’s van got broken into. While the bulk of their gear stayed tucked away in the trailer, co-frontwoman Stacey Dee’s computer and Takamine acoustic/electric guitar are among the items that have now gone missing. That’s a picture of the guitar below, in case any of our San Antonio-based readers might be lucky enough to stumble upon it.
The band posted about the theft on their various social media pages, and some considerate fans came to the rescue, donating the band some money to help with the purchase of a new guitar and computer. Upon hearing of the band’s unfortunate turn of events and learning of the generosity of a few of their fans, another San Antonio showgoer proceeded to steal co-frontwoman Jennie Cotterill’s purse, complete with the band’s (and Jennie’s personal )money, Jennie’s prescription glasses, her house keys, and more. People suck. If you’re so inclined, you can throw Jennie and the band a few bucks via PayPal to firstname.lastname@example.org.
In other, lighter BC/BC news, you may recall a few weeks ago when we ran a pretty in-depth and personal interview with Stacey Dee; if not, read it here. Anyway, in talking about future goals toward the end of our chat, Dee mentioned the idea of wanting to get her band on Saturday Night Live someday. A rather ambitious fan took up the cause, and started Facebook and Twitter campaigns geared at accomplishing exactly that. Click the appropriate links to help the campaign pick up speed; the band could certainly use the positive turnaround!
Oh, and if you haven’t see it yet, DS posted an incredibly personal interview with Bad Cop/Bad Cop’s Stacey Dee, which we highly recommend you read while you listen to the new tune.
The band released their last album, Not Sorry, in June of 2015 on Fat Wreck Chords.
Monday, November 7, 2016 at 12:00 PM (PST) by jaystone
The music scene in general, and the punk scene more specifically, is notoriously riddled with tales of immensely talented artists who were taken from us way before their respective times should have been up. Many of them turned in to tragic figures, at least in hindsight, due to their respective early passings due to having succumbed to addictions, accidental overdoses, insurmountable mental health issues, or some combination therein. For specific examples, one needs to look no further than the present entry on their This Week In Punk History calendar, which marks not only what would have been the 46th birthday of the great Tony Sly, but the one-year anniversary of the death of Teenage Bottlerocket drummer Brandon Carlisle.
And yet, as long as the list of tragic, gone-before-their-time punk rockers is, there is a small but growing list of punk rockers who’ve waded through the muck and the mire that is drug addiction and come out the other side all the better for it. A non-scientific survey of this writer’s memory bank finds current and former members of Social Distortion, NOFX, Dropkick Murphys, Street Dogs, Strung Out, The Loved Ones, Fake Problems, and no doubt countless others who have put down the bottle or the baggie or the pipe or the needle in years past and still continued to make powerful, meaningful work. Hell, even the inimitable Fat Mike got rather notoriously sober over the last year, if only for a while.
That small-but-growing list can add to it one of the more powerful female figures in the current punk scene: Stacey Dee. After starting to play guitar at the comparatively late age of twenty, Dee spent years in bands like The Angry Amputees and Compton SF and Blacktop Idol and Park Royal before finally striking gold with Bad Cop / Bad Cop. The four-piece all-female “freight train of fuck yeah!” signed to Fat Wreck Chords, released one of the best albums of last year (Not Sorry), and have toured fairly regularly, including the seven-week, nationwide run as direct support for The Interrupters that they’re currently about halfway through.
Yet just as quickly as the BC/BC freight train started to pick up significant speed last year by way of their opening spot on the Fat Wreck Chords 25th anniversary tour, there was, in hindsight, the very real possibility that things could have derailed for Dee in rather dramatic fashion. A combination of years of Xanax abuse coupled with increasing amounts of alcohol, painkillers, and, as it turns out, bad cocaine in Minneapolis resulted in a bottoming out that left Dee at a crossroads: get clean and fast, or lose everything and faster.
But let’s back up. Because while stories of redemption after years of despair and descent into the abyss (and this is certainly one of them) pull at the heartstrings, it sometimes helps to start the tape at the beginning to provide context and understanding. Stacey Dee grew up in California, the daughter of a working-class singer-songwriter father. “I grew up in a very rock-and-roll, drug-infused party house,” says Dee, adding that while she considers her parents great and “fun as shit,” they also did little to impose boundaries or discipline. This marks the first of a couple of themes from childhood that would rear their heads going forward.
As should be apparent, Dee grew up in a musical household, and learned piano and drums at a relatively early age. Upon reflecting on that childhood, Dee reports “knowing that from the time I was four or five years old, if you had asked me what I wanted to be, I was going to be a famous singer… I always fucking knew.” That said, the guitar playing and the songwriting that not only marked how her father made his living but would eventually come much, much later; Dee didn’t start playing guitar until the age of twenty. So if you know from the age of four or five that you want to be famous in music, why not pick up a guitar early on? “I was real poor growing up, but I came from an affluent area,” she explains. “I couldn’t have nobody like me because I was poor. I couldn’t have it. So all of my energy went into making sure people liked me, and that was a problem I had up until this last year, even.” Instead of focusing on what she knew was her passion, Dee focused from an early age on being accepted by other people. Herein lies the second of our recurring themes…
After the breakup of a long-term relationship, Dee finally picked up an acoustic guitar at the age of twenty and armed with a few newly-discovered barre chords, she followed her instincts by moving to Santa Barbara, an early baby step toward taking a gamble on herself, and to support what would eventually become her career. She would return home from Santa Barbara three years later with a budding confidence in her newfound talent for songwriting and a desire to be “that girl in the punk rock band,” but also with a decent taste of the ‘real world.’ “I got this pretty good job for a twenty-three year-old kid — I was selling floors, making almost 50 grand a year, which wasn’t bad,” states Dee. While the job provided a certain comfort level and while she and her boss remained friendly, they also engaged in a fair amount of butting of heads. As Dee tells it, “one day, he came downstairs and he was mad at me about something. And he was like ‘I want you to lock all these doors, go upstairs, and write me a letter about how you plan to better yourself as a human being!’ And I wrote him a letter of resignation, and decided that day that music was going to be my life.”
And so began a life of splitting time between semi-stable temp jobs and a series of bands with varying levels of success, perhaps most notably The Angry Amputees. A European tour with said band brought her in contact with the man she’d eventually marry and move to the UK to be with. After a stay across the pond, the pair eventually moved to Los Angeles, where their marriage would start to deteriorate. As is the case when any relationship goes belly-up, there are obviously myriad things that can be pointed to as the catalyst for the demise of Dee’s marriage. For starters, says Dee, “around 32 or 33, a really bad thing happened in my marriage and it wasn’t my fault. I’m still trying to find what my place in all of that was, but it was really damaging.” Moreover, there was perhaps more importantly what Dee perceived as a lack of spousal support of her musical aspirations. Remember that point about growing up with a lack of boundaries and structure and normalcy? Dee’s husband, she says “wanted to be a firefighter and he wanted me to be a nurse and have that whole white picket life, and I wanted to be that person so bad. My whole life I wanted to be that person. And this is going to make me cry, but I never had that life, so I don’t know what that person is.”
And then there were the drugs, specifically benzodiazepines. “Somebody in my family had started getting a prescription for Xanax,” says Dee, an event that marked the beginning of what could conceivably had been the end. “I had been looking for a doctor to give me a fucking prescription for Xanax since I was maybe 18 years old… I would go sing on people’s records if they could fill me a prescription of Xanax or get me a bottle. But then I decided that I wanted to check out. I finally found a doctor in the entertainment industry in Los Angeles and she would give it to me; I could get whatever the fuck I wanted.”
After a period of time where she was “getting launched on drugs,” Dee and her husband finally called it quits in the year 2011. Commenting on what it took to get her to leave, Dee reports that she “felt like I needed to get out of the way of my marriage so that…we could both be happy,” adding rather matter-of-factly that “it was very sad.” As one might imagine, the drugs didn’t stop with the dissolution of her marriage, particularly as she had recently torn her ACL after falling off a stage. “When I first moved out of my husband’s house and got my own little apartment,” she explains, “I was just sitting there popping Xanax and painkillers and taking Benadryl on top of that.” After realizing that, perhaps, she shouldn’t be living on her own, Dee reports that she “moved to Inglewood, California, and let the quality of my life really just go down. I was living in the basement of this house for four years. I barely left. The only time I would leave was to do music.”
While a divorce and a growing reliance on drugs could have made 2011 the worst year on record for Dee, it also coincided with what could have been the most pivotal positive moment, though it might take some years to realize. The “music” that Dee would leave the house to do was, increasingly a new band. Bad Cop / Bad Cop, you see, started that same year. As should be obvious if you’ve listened to the band or, more specifically, you’ve seen them live, it should be no surprise that this new project caught the attention of some of the punk scene’s heaviest hitters, most notably NOFX’s Fat Mike Burkett, who’d also shown an interest in a prior Dee project, Compton SF. Burkett signed the band to his genre-defining label, Fat Wreck Chords, and produced their stellar debut full-length, 2015’s Not Sorry. And though the band’s level of success continued to increase and she “should have” been happy, Dee’s drug use would continue. “I kept telling myself that I was this broken artist and that that was somehow romantic, you know what I mean?”
By the time of Not Sorry, Dee was the closest she’d get yet to seeing that dream of becoming “that girl in the punk rock band” approach fruition. The bar would raise again by mid-2015, as Bad Cop / Bad Cop would earn the opening slot on Fat Wreck Chords’ 25th anniversary tour, where they’d be sharing a stage with such legends as Strung Out, Swingin’ Utter, Lagwagon and, of course, NOFX. And while the tour would raise the band’s status yet again and be the latest in a string of increasingly monumental events for Bad Cop / Bad Cop, it was very nearly the end of their run too. The culprit, of course, was drugs. “I had been partying a lot,” explains Dee, noting that she increased her drinking and “had added cocaine to the mix,” that already included abusing her prescribed Xanax and Klonopin (a total of 120 pills a month) and snorting painkillers. The band were becoming increasingly stressed out, in part because their opening slot meant that they needed to arrive notoriously early to the respective venues. By the time they reached what, by all accounts, was a rough night of August 18th in Minneapolis, things bubbled over. “Every band fought,” states Dee, adding that by the end of the evening, “from what people tell me, because I don’t remember, I fought everybody. I was like “fuck this, fuck you guys, fuck music, fuck this, I’m not playing this game anymore.”
Things went from bad to worse, and quickly. Dee explains, with a great deal of heaviness in her voice: “I got taken away, driven to the hotel. I tried to kill myself. I took handfuls of pills, I took an X-Acto knife that I had that was dull, thankfully, and was like AHHH (*makes hacking motion towards forearms*)! I called my dad to tell him I was done. Fat Mike called me and begged me, he said “Stacey, what are you doing? You can’t do this. I love you, stop it!” I got flown to Vegas, continued to party, left my band in Minneapolis to where they had to drive back. They couldn’t play any fucking shows. They couldn’t make any money. And I left them in the lurch, you know what I mean? It was a point where I hated them and they hated me.”
Dee eventually made it home, where she was joined on September 4th (coincidentally her fellow Bad Cop Jennie Cotterill’s birthday), by her band. At that meeting came the ultimatum: get help, or they were done. Though feelings may have no doubt been hurt, Dee’s bandmates (Cotterill, Myra Gallarza and Linh Le) stood by her side. Her parents stood by her side. Fat Wreck Chords stood by her side as a label, and Burkett and both his former wife/ label co-owner Erin and his current wife Soma stood by her side personally. Burkett’s bandmate Aaron “El Hefe” Abeyta and his own wife, Jenn, offered to help. “Friends from out of the woodwork” offered to help. And so, with that support, Dee got clean on September 7th. She went to detox for ten days, and emerged bruised, battered and broken…but alive.
And while it would take some time to learn how to think and feel and see and function again without drugs, particularly benzodiazepines, Dee wouldn’t have much time to wait. “I had this acoustic thing booked five days after detox and I was like “there’s no way! I don’t remember any of my songs! They’re gone!” she explains, adding that BC/BC drummer Myra Gallarza gave her the supportive push she needed. “I managed to remember three or four songs, Myra came and picked me up because I couldn’t drive! It was like I was disabled.” She made it through that set, and the band’s first subsequent set sober, and relatively unscathed, relying primarily on muscle memory to get her through
Fast-forward just over a year, and Bad Cop / Bad Cop is as successful as ever. They’re presently halfway through a seven-week full US tour (their first), and are playing killer shows in front of high-energy packed houses night in and night out as direct support for Epitaph/Hellcat Records’ The Interrupters. In the process of getting clean and going to counseling over the last year, Dee has learned not only a lot about herself, but has learned how to become positive. “Every tour since I got sober has been so great. We have the best time together, we laugh. I’ve said this before and I saw this in a book recently, but we are a freight train of ‘fuck yeah!’ We love everything. We don’t talk shit. Once you let a tiny crack open to let negative in, it will infiltrate you quicker than you know.”
Once they get off the road, Bad Cop / Bad Cop will dive right back into the studio, in anticipation of the June 2017 release to their follow-up to Not Sorry. The writing process is progressing, as Dee points out that Cotterill is presently writing and singing better than she ever has. For Dee, however, it’s gone a little slower. “I’m having a hard time. Songs don’t come as easily now, because when you’re negative, you have shit to bitch about. But I think through all the self-awareness, the things that I am writing are better and more meaningful and will help other people if they want to listen. That’s the one thing that I’ve been frustrated about in my recovery. It’s not happening fast enough, but I just have to be patient.” Learning to be patient means going against how the drug-addicted brain is accustomed to functioning, but as a beacon of newfound positive energy, Dee has given herself more than a fighting chance, and is incredibly mindful of having to do the work and stay the course; that the band is on their most successful tour as she’s newly sober is not coincidence. “It’s almost like you’ve gotta tell the universe you’re open for more things to come. As soon as you’re closed off and guarded about taking those chances, you’re not going to get the opportunities.”
Head below to read the full transcript of our conversation. It’s well worth the time, we promise!
Friday, November 4, 2016 at 11:00 AM (PST) by jaystone
To refer to The Interrupters current nationwide tour featuring direct support from Bad Cop Bad Cop as “highly anticipated” would be understating things in every possible way. The seven-week run circumnavigates the lower 48, and serves as not only The Interrupters first full US headlining tour, but Bad Cop Bad Cop’s first lengthy full US tour as well. For those reasons, and I’m sure many others, the tour rightfully ranks as a giant milestone moment filled with countless smaller milestone moments in the careers of both bands. But there is something about the tour that also feels like a milestone moment for the observer. For starters, it feels like a bit of a throwback to the groundbreaking glory days of Epitaph Records and Fat Wreck Chords, respectively, a time period that formulated the punk rock listening habits of a great many of us. But more than that, and you’ll have to forgive my occasionally foggy-at-best memory, but in the recent annals of punk history (and probably the not-so-recent ones too), you’d be hard-pressed to find such a lengthy, well-received tour involving not one, but two female-fronted punk bands playing in front of such high volume crowds. To put things bluntly, the tour feels, on paper, to be important. (Check out our recent tour-previewing interview with Kevin and Aimee from The Interrupters here.)
If you’ve been following the tour via the respective bands’ social media accounts, you’re probably well aware of just how fun and positive and high energy things seem to be as the tour rounds into its second month. But just like calling the tour “highly anticipated” is an understatement of epic proportions, so to is referring to its individual shows as an amalgam of “fun” and “positive” and “high energy.” So when you add to that already stellar lineup two intense and passionate local openers (The Doped Up Dollies and Mickey Rickshaw) the net result is that the Boston stop equated to one of the better showgoing experiences of this or most any other calendar years. Touring in support of their stellar sophomore album, Say It Out Loud, The Interrupters overcame a few early-set microphone-related technical difficulties to blast through a 21-song set that left little-if-anything to be desired.
From the very first notes of set opener “A Friend Like Me,” the foursome never really took their collective feet off the gas pedal. Anchored by the rock-solid Jesse Bivona on drums, the front-of-stage trio of Kevin Bivona (guitar), Justin Bivona (bass) and of course Aimee “Interrupter” Allen on vocals served as a continuous ball of frenetic energy, endlessly dancing, bouncing back-and-forth across the venue’s rather small stage. There are very few bands going who seem to genuinely enjoy their jobs and interacting with crowds night-in and night-out like The Interrupters do. Loyalty and family are recurring themes throughout the band’s body of work, and they seem sincere in referring to their fans as part of their extended family. Another of their family members, David McWane of Big D and the Kids Table fame, joined the band on stage for a true-to-the-0riginal cover of the Operation Ivy classic “Sound System,” while all available members of the collection of opening bands joined the foursome on stage for a dance party during encore closer “This Is My Family” before posing for a now-trademark post set group shot.
As mentioned above, Bad Cop Bad Cop are providing direct support for the duration of this tour. If there were another band in the scene that can match The Interrupters level of frenetic energy and their seeming enjoyment of taking the stage and playing night in and night out, it would o doubt be Bad Cop Bad Cop. Making only their second-ever Boston stop – and their first with bass player Linh Le in the house (Masked Intruder’s Intruder Yellow filled in when the band opened up the Fat Wreck 25th Anniversary tour last year as Le was attending her best friend’s wedding), the band seemed intent on making up for lost time in front of a crowd that seemed all-too eager to welcome them back to town. Drummer Myra Gallarza, who is easily one of the more underrated pace-setters in the scene provided a stable foundation for the three-part monster of co-frontwomen Stacey Dee and Jennie Cotterill to trade riffs and three-part harmonies with the whirling dervish that is Le.
Speaking of three-part harmonies, direct local support came by way of The Doped Up Dollies, a trio that rather famously started as supporting vocalists for David McWane and his band of Boston ska veterans, Big D and the Kids Table, before branching out as a unique, standalone act. The Dollies bill themselves as a three-piece act that play a “fusion of hopscotch/double dutch, ska, reggae, blues and soul,” and backed by a band that I’m pretty sure consisted of eighteen parts (honestly, I lost count but I think there were a total of nine members on the small club stage), including McWane himself, the trio of Brie McWane, Sirae Richardson and Erin McKenzie (pictured in that order above) present one of the more unique newish acts in the game. The variation in styles keeps the band from being pigeonholed, and allows them to fit in perfectly in myriad settings, and they proved to be a fantastic sonic change of pace on this particular bill without sacrificing much, if anything, in the way of overall energy.
Mickey Rickshaw, another stage-crowding local band (I’m relatively convinced that there are 8 of them, but again, the stage was small enough that I might have lost one or two or seven of them), opened the show off with about as frenetic a set as you can get. The band play an unapologetically fast and loud blend of Celtic punk that somehow, because of their energy level, make that occasionally well-worn sound seem fresh and vibrant. In a scene, particularly locally, that can seem crowded and redundant, Mickey Rickshaw have rather quickly made a name for themselves as the cream that has risen to the top.
Check out our full photo gallery below!
Thursday, October 6, 2016 at 4:41 PM (PST) by Midwest Punk
The track is off the band’s debut full-length album, Not Sorry, which came out in June of 2015 on Fat Wreck Chords.
During their recent swing through the Midwest, the lovely and talented Bad Cop/Bad Cop filmed a couple live performance videos for “Live from the Rock Room.” The first of those videos is now available, and it’s for the track “Cheers,” and it’s totally rad. Check it out below.
“Cheers” appears on Bad Cop/Bad Cop’s debut full length, “Not Sorry,” which was released in June 2015 via Fat Wreck Chords. Head over here to find out where you can catch BC/BC on tour with The Interrupters; their run kicks off this coming week in California and runs through November 26th, so there’s probably a good chance they’ll be in your neighborhood!
Monday, August 15, 2016 at 6:12 PM (PST) by Screeching Bottlerocket
The Interrupters and Bad Cop/Bad Cop have announced they will be touring North America together this fall. The tour kicks off on October 5th in Santa Barbara, CA, and will make its way across the continent before wrapping up on November 26th in San Diego.
The tour’s pretty long, so odds are there’s a show near you. Check out the full list of dates and locations below.
Wednesday, July 20, 2016 at 5:12 PM (PST) by Screeching Bottlerocket
Los Angeles pop-punks Bad Cop/Bad Cop have announced they will be playing a handful of shows in the Midwest this September. The tour kicks off at the Triple Rock Social Club in Minneapolis on the 9th, and wraps up at Chicago’s Riot Fest on the 16th.
Check out the dates and locations below to see if they’re stopping near you.
Wednesday, May 18, 2016 at 3:32 PM (PST) by Screeching Bottlerocket
The Murderburgers will be releasing a new album titled The 12 Habits Of Highly Defective People sometime this fall through Asian Man Records and Round Dog Records. It will be the band’s first LP in 3 years, serving as a follow-up to 2013’s These Are Only Problems.
Wednesday, May 18, 2016 at 12:00 PM (PST) by Bizarro Dustin
Bad Cop/Bad Cop released Not Sorry in June 2015 through Fat Wreck Chords, while Barb Wire Dolls last released their album Slit in 2012.
Wednesday, May 4, 2016 at 8:18 PM (PST) by jaystone
So the lineup for the tenth installment of San Diego’s Awesome Fest has officially been announced and, at the risk of sounding redundant, it’s pretty awesome. Among the crapload of bands playing will be toyGuitar, Bad Cop/Bad Cop, Western Settings, RVIVR, Red City Radio, and Dying Scene Records’ own Problem Daughter. Check out the full rundown below.
Awesome Fest X takes place Labor Day weekend (September 2 – 4) in San Diego’s North Park. Tickets are not yet available, but they do go online here starting May 13th. Since the festival tends to keep numbers on the small side for a reason, so you’ll want to make sure you don’t miss out!
Sunday, May 1, 2016 at 3:00 PM (PST) by Hopeless Romantic
You’ve probably heard that NOFX has a new book out, The Hepatitis Bathtub and Other Stories, and that it recently made it on the New York Times’ best seller list. You may have also had the chance to check them out on their current book signing (and show) tour promoting their newest endeavor into combining the literary and punk rock worlds.
I was lucky enough to catch their LA show at the Belasco Theater with support from Direct Hit!, Mean Jeans, and Bad Cop/Bad Cop. This was an unforgettable night of music, friends, and fun as NOFX celebrated their thirty-plus years as a band and the stories they have shared for the world to read.
Bad Cop/Bad Cop opened the show proving why they are one of the strongest new(er) acts on the Fat Wreck roster. The band played a set of songs off their nearly-a-year-old debut full-length, Not Sorry, intermixed with an older song or two. It was a real bonus to see them on the LA date before they headed to Europe for their spring tour, including a spot at Groezrock.
Mean Jeans hit the stage next and I became an new fan. Having not listened to them much before, their Ramones-inspired sound instantly caught my attention and made me dance along. I love still being surprised by music and discovering new artists and look forward to what they will do next.
Direct Hit! came out swinging, ripping through their set to an increasingly excited crowd. This was my first time seeing them in a bigger venue and they really command the stage with their energy and enthusiasm. It’s evident they are excited to be on the Fat Wreck roster and touring with bands like NOFX.
Lastly, the moment the crowd had been waiting for – Fat Mike, El Hefe, Melvin, and Smelly took the stage to celebrate the release of their book and their love of playing music. There was a different air about this show, as if it was finally like they were able to not only share their music, but their experience as a band and as friends. With NOFX, you never know what the night will hold, as they have more than enough music to play a different set every night. The band played old favorites, setlist staples, and a few newer tunes over their hour-plus set. As always, the crowd sang, danced, moshed, and enjoyed every minute of it.
Shooting these bands and shows are always a ton of fun – check out our full gallery below!
Before their trip to France, Belgium, and Germany though, the band has a couple of California shows int he beginning of April.
You can have a look at all the tour dates and locations below.