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w/ David Ramirez

A season of drastic change is what brought SUSTO frontman Justin Osborne to the band’s fifth full-length LP, My Entire Life [New West Records]. There was a divorce, difficulties re-building his band after the pandemic, and the pain and helplessness of witnessing family members struggle with addiction and mental illness. Despite these challenges, Justin ultimately found himself in a new landscape, with new love and a deeper perspective, all of which is masterfully projected into My Entire Life.

While navigating some major life changes, Justin understandably experienced a surge of creative energy. He channeled this into writing and recording with the people closest to him, even as the tides of his personal life continued to shift. Primary collaborators included longtime producer

Wolfgang “Wolfy” Zimmerman, SUSTO Co-founders, Johnny Delaware and Marshall Hudson, and his fiancé/co-writer Caroline Foyle.

Much of the album was recorded at The Space, in Charleston, SC, but major sessions also took place at Echo Mountain Recording in Asheville, NC, and Chase Park Transduction in Athens, GA.

Johnny had moved to Mexico shortly after work on the album began, so some tracking was done at his home studio in Mexico City.

The band also took a “recording pilgrimage” to the Mexican town of Tepotzlán (mythical birthplace of mesoamerican deity Quetzalcoatl), where they turned an airbnb into a remote recording studio, with help from members of Mexican Institute of Sound.

The combined result of these efforts is a compelling blend of rock, folk and psychedelia, with vivid country-esque storytelling. It’s as raw and real as anything the band has done so far and everything you’d hope for from a modern rock ‘n’ roll record.

The album’s namesake and lead single, “My Entire Life” is melodically tearful, with an urgency “to keep living.”

As a whole, the album documents Justin’s personal journey through highs and lows in his life, with many of the details on full display. He narrates the demise and aftermath of an almost decade long relationship, while celebrating the joy of falling in love and the hopefulness of starting over. There is a playfulness at times, but always a clear desire to distill wisdom from experience.

“SUSTO’s narrative has always been confessional, and songwriting is my way of trying to make sense of the chaos—good and bad—around me,” observes Justin. “These songs cover the spectrum of everything that’s happened in my life the last few years. There’s been a lot of change, which can be painful, but there’s also been a lot of joy and hope, along with everything in between. I figure that’s what life is.” He continues “…it’s a mosaic of all the good, bad, and mundane things we face as we make our way from birth to death. Along the way we ride the waves, but if you stay true to yourself and push through, I believe you can get to where you really want to be, and you can shape that mosaic into something that fulfills you. There is a lot of hope in that for me. This record is my story of navigating a bunch of chaos, but finding ways to carry on and manifest my own happiness…the last few years were a challenge, but I look back and see that I made it through, a better, truer, and more realized version of myself.”

It's been quite the ride for SUSTO. In addition to achieving widespread critical acclaim in recent years, the group has built a diehard fan base through captivating live performances and compelling songs.

For as much as My Entire Life is the ultimate vision of what the band can be, it’s also a classic story of one person rising from the ashes, wiser and fiery than ever…

“Writing and performing has long been central in my life, and this season of change has only heightened my desire to connect with other people through songs. I’ve crossed a mountain, so I’m ready to charge forward, and share that story. Everybody goes through difficulty one way or another, we all get worn down, we all chase dreams; songs are there to remind us we aren’t alone in that. In my case. I’m thankful for lessons learned, and excited for the future. The privilege of sharing these songs with our audience is something I’m incredibly grateful for.”

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Preview: SUSTO @ The Hamilton Live, 2/26/22

Last year, Americana septet SUSTO returned with Time in the Sun, the band’s latest record, via New West Records. The 11-song set was produced and engineered by Wolfgang Zimmerman (Band of Horses) in the band’s hometown of Charleston, South Carolina.

SUSTO perform their new songs and more at The Hamilton Live in DC on Saturday, Feb. 26 !

The joy of birth, the closure of death, the warmth of true friendship, and the future rotate on the axis of the band’s New West Records debut. Frontman Justin Osborne distills this ebb and flow into songs underpinned by lyrical eloquence, unpredictable dynamics, and a thoroughly alive rock and roll spirit.

Prior to entering the studio, Osborne became a father and midway through recording, lost his own father to cancer. Osborne said, “Because I had begun writing when I found out I was going to be a dad, these events were the biggest inspirations for the record. It felt like I was in between the beginning and end of life. Up until my own father passed away, I felt like it was an album about new life and becoming a parent. His passing shifted the narrative towards the cyclical nature of life, death, and new births.”

Watch the official music video for “Get Down” by SUSTO on YouTube:

Since 2013, Justin Osborne has quietly prepared to make such a statement as Time in the Sun. He began penning songs as a teenager in South Carolina and after a hiatus from music, relocated to Havana, Cuba. While there, he befriended local musicians who encouraged him to focus on writing songs again. The band’s name SUSTO is derived from a Latin American term that can be roughly translated as “panic attack.”

Osborne said, “That deep fright was something that I was experiencing, and songwriting felt like it was helping me cure it.” SUSTO has become a live favorite through constant headline touring, support dates with The Lumineers, Band of Horses, The Head and the Heart, as well as festival appearances at Austin City Limits, Hangout Fest, Stagecoach, Hopscotch, Pickathon, AmericanaFest, and more.

Buy your tickets online now!

SUSTO The Hamilton Live Saturday, Feb. 26 Doors @ 6:30PM $18/$20 All ages

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SUSTO SETS U.S. TOUR DATES

Article contributed by sacks and company | published on wednesday, january 23, 2019.

Charleston-based band SUSTO shares two new singles, “ If I Was ” and “ Está Bien ,” via Rolling Stone Country today. Rolling Stone Country calls both songs, “serenely laid back, with gentle instrumentation and thoughtful vocals” and describes front man Justin Osborne as “supremely chill — in a worldly, self-questioning sort of way.” Read the full piece HERE . The tracks are taken from the band’s forthcoming album, Ever Since I Lost My Mind. The record is out February 22 via Rounder Records, SUSTO’s debut with the label; pre-order HERE .

Of “If I Was” Osborne says, “Probably the best way to describe the song is as a declaration of awareness; awareness of who I am, who I’m not and who people may want me to be.” Of “Está Bien” he adds, “It’s a positive song about friendship and about overcoming life’s obstacles. I’ve always wanted to write and sing a song completely in Español, so I’m glad we were able to do that.”

SUSTO will embark on a 28-date tour across the U.S. kicking off January 26 in Raleigh, NC and running through April 20 in Washington, DC. See below for a complete list of tour dates.

Ever Since I Lost My Mind was produced by Ian Fitchuk (Kacey Musgraves, Ruston Kelly) with input from Osborne’s longtime creative partner Wolfgang Zimmerman. “Ever Since I Lost My Mind is very personal,” Osborne explains. “This collection of songs came together over the course of a couple years, and they all represent different moments. It felt cathartic writing all of them, and they were also all fun in different ways.”

The new album follows the band’s acclaimed album & I’m Fine Today, which received extensive critical praise:

“Nine Artists to Watch For at AmericanaFest” –NPR  “The Charleston five-piece covers vast sonic ground on their new album & I’m Fine Today, swaying between country-tinged rock (‘Cosmic Cowboy’), contemplative pop ballads (‘Mountain Top’), and any number of other genres that exist somewhere within the expansive fabric of Southern music.” –Consequence Of Sound  “The rich narratives of love, loss and decadence echo on a molecular level; Osborne’s voice bleeds sincerity alongside veteran accompaniment.” –Paste

SUSTO has made a name for themselves through frequent touring and performances at major U.S. festivals including Hangout, Austin City Limits, Stagecoach, AmericanaFest, Pickathon and Hopscotch. The band has opened for The Lumineers, Band of Horses and The Head and The Heart, and made their television debut on “CBS This Morning: Saturday” last year.

Osborne first began writing songs as a teen in South Carolina, performing with numerous bands before forming SUSTO. During a self-imposed hiatus, he moved to Havana, Cuba and befriended local musicians who encouraged and inspired him to start writing music again. “It was a weird moment. I just had to finally quit keeping one foot out of music and dive in,” he explains. The band’s name, SUSTO, is derived from a Latin American term that can be roughly translated as “panic attack.” “That deep fright was something I was experiencing, and songwriting felt like it was helping me cure it,” adds Osborne. “I can lose my mind on stage sometimes––I will break down and cry or have to keep myself from doing it––I just feel so incredibly lucky.”

January 26 /// Lincoln Theatre /// Raleigh, NC February 21 /// The Windjammer /// Isle of Palms, SC February 28 /// Georgia Theatre /// Athens, GA March 7 /// Terminal West /// Atlanta, GA March 8 /// Radio Room /// Greenville, SC March 9 /// Savannah Stopover /// Savannah, GA March 12-14 /// SXSW /// Austin, TX March 15 /// Deep Ellum Art Co. /// Dallas, TX March 20 /// Valley Bar /// Phoenix, AZ March 22 /// Troubadour /// Los Angeles, CA March 23 /// Catalyst Atrium /// Santa Cruz, CA March 25 /// The Independent /// San Francisco, CA March 27 /// Mississippi Studios /// Portland, OR March 28 /// Chop Seuy /// Seattle, WA March 30 /// The Bartlett /// Spokane, WA March 31 /// Neurolux /// Boise, ID April 2 /// Top Hat /// Missoula, MT April 4 /// Kilby Court /// Salt Lake City, UT April 6 /// Hodi’s /// Fort Collins, CO April 7 /// Fox Theatre /// Boulder, CO April 10 /// Blueberry Hill /// St. Louis, MO April 11 /// Zanzabar /// Louisville, KY April 12 /// Basement /// East Nashville, TN April 13 /// Cattivo /// Pittsburgh, PA April 15 /// Bowery Ballroom /// New York, NY April 17 /// Great Scott /// Allston, MA April 19 /// MilkBoy /// Philadelphia, PA April 20 /// Rock n Roll Hotel /// Washington, DC

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Progressive jam giants Umphrey's McGee‘s return to Las Vegas for the seventh installment of the massively popular UMBowl production was marked once again by a stand-out tour closing dual evening extravaganza where all stops were pulled out and the power given directly to the fans, for better or for worse.

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SUSTO 2023 (Washington) | The Atlantis

SUSTO, the highly anticipated concert, is set to take place at The Atlantis on December 3, 2023. This electrifying event will certainly leave attendees in awe. Located at 2047 9th St NW, Washington, DC, 20001, the venue provides the perfect backdrop for SUSTO's mesmerizing performance. This talented artist will captivate the audience with their soulful tunes and infectious energy. From the moment the show begins, the crowd will be swept away by the euphoria of SUSTO's music. With songs that touch the heart and ignite the spirit, this concert promises to be an unforgettable experience for all. Mark your calendars, as tickets for SUSTO go on sale starting July 28, 2023, at 14:00, and will be available until December 4, 2023, at 01:30. Don't miss this opportunity to witness SUSTO's incredible talent live on stage. Get ready to be transported to a world of music that will leave you breathless. Secure your spot at SUSTO today and prepare for an evening of pure musical magic.

Provided by KelciEthan | Published Dec 6, 2023

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Friday 10 February 2023

Susto and Dogwood Tales

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600 14th Street NW 20005 Washington, DC, US (202)787-1000 www.thehamiltondc.com/live

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Interview: Justin Osborne (SUSTO)

Photo by Sully Sullivan

The release of SUSTO ’s fourth album, Time in the Sun , comes at an important point in singer Justin Osborne’s life. While many of the songs were written pre-pandemic, two major life events – becoming a father and then, months later, losing his own father – played heavily in the overall theme of the record and influenced the lyrics. For Osborne, it’s been a time of intense emotions and with the new album release and subsequent touring, the SUSTO founding member is hoping for a chance to return to pre-pandemic normalcy by sharing his music with fans in live settings.

On the eve of the release of Time in the Sun , Osborne, a Charleston, South Carolina resident, checked in from Nashville where he was working on some new songs before heading to Iowa to play at Codfish Hollow , a barn in the middle of nowhere set up to host concerts, one of Osborne’s favorite venues to play.

What’s your State of the Union address for SUSTO in 2021?

JUSTIN : SUSTO is a project I started seven years ago. It’s finally becoming what I intended it to be which is a live lineup of incredible musicians who also play on the record that help me bring to life these narrative-style songs. All my songs are pretty confessional. There’s definitely a popular element to the way I write but there’s an ongoing narrative trying to parse out some understanding of life from my experiences. Right now, people who are just finding us are going to find us hitting our stride. This is our fourth album, we’ve learned a lot in the studio, we’ve learned a lot on the road and the band is at it’s peak right now in how well we’ve been gelling live and in the studio creatively together. It never bothers me when people haven’t heard of the band before because every new album, we’re trying to reach new people. We’re an indie band so it’s not like our first album had radio hits. I released it myself on Bandcamp. Every show we’re reaching new people and every album we’re reaching new people. As someone who has been here since the beginning, I feel like the band is more itself than it’s ever been. For me, the vision that I’ve had is coming to fruition and being realized every night on stage and the work we’re doing in the studio. I’m really happy to be doing it and to have made it this far.

As you go from album to album, do you try to challenge yourself to try something new that you haven’t done before?

JUSTIN : To a certain extent yes, to a certain extent no. SUSTO is somewhere on the boundaries of Americana music. There are influences that come in from all over the place, from different international styles to electronic music to rock and roll. But, at the end of the day, from album to album you might hear a progression of sonic exploration and a deeper lyrical narrative but I also think we have created somewhat of a sound for ourselves. Our influences are where we’re from, we’re from a coastal place so I think that factors in as well to our sound. There’s definitely a bit of beachiness in all of it. At the same time, that’s something I’m just realizing. As I listen back on the records, I can hear the difference in the direction that we decided to take on each one. I also feel like they’re cohesive, the full body of work, each thing compliments each other in some way. I don’t feel compelled to reinvent ourselves on every album but, after you pour yourself into one sonic landscape, you want to paint a different one. I would compare it to painting a landscape and painting a sunny, beautiful meadow on one record and then on the next one saying, “I want this to be a little more doleful and cloudy.” My life swings like a pendulum sometimes so sometimes that sonic difference can reflect the different phases of my life.

You mentioned Americana and you mentioned beachy. I’m having a hard time pigeonholing the sound. I like to look on Instagram and see who we both mutually are following and you’re following artists like Ruston Kelly and Molly Parden and Lydia Loveless , who I would consider Americana. But I don’t hear you strictly as an Americana artist.

JUSTIN : I think our first album got tagged as an Americana album and I wouldn’t argue with that. Our first album is still pushing the limits of what you’d call Americana. It’s got a lot of indie rock in it, there’s a lot of indie rock influences in SUSTO . I grew up in the rural south so traditional music and southern rock, things that would fall under the Americana umbrella today, were a big part of my influences. But, I grew up in South Carolina so we loved Hootie and the Blowfish . Radio and fun rock stuff was cool too. And then living close to the ocean, you don’t even realize how that permeates into your psyche and your creative juices.

I’m totally fine being considered an Americana band because I would like the Americana genre to include bands like us. It’s hard to find a place where you fit into the music scene right now. We’re not like a super hard rock band or strictly a rock band. I play an acoustic guitar for most of our set so it is this fusion of a lot of things. The biggest piece of our pie chart could be considered Americana or derivative of Americana or some sort of continuation of folk music. I feel like it’s folk rock that really utilizes a bunch of influences and tries to stay fun and light-hearted while also tackling very serious concepts at time. I try not to get too caught up on the genre. I used to be like, “We’re not an Americana band!” And then I was like, “Well, we kind of are.” The older you get, you stop fighting everything and start to realize that you should listen to what people say sometimes. If people think you sound like you fit something, they probably feel that way for a reason.

I’m older than you so my references are a bit dated, but I hear a band like the Meat Puppets in some of the stuff you’re doing.

JUSTIN : I know who the Meat Puppets are and the era and they are kind of adjacent to Nirvana and all that but I’m not really familiar with their music. But, ’90s rock I am familiar with. I’m very much a product of ’90s radio rock like Beck , Hootie, Matchbox 20 , Third Eye Blind and even some of the more profound stuff like Nirvana and Pearl Jam . At the same time, we listened to the radio. Most of the time we listened to Christian radio but I would ride with my friend’s parents home from school and they’d have the regular radio station on. I still love Beck’s “Where It’s At” because that was a song that I found at skate night in the 4th grade. There’s definitely ’90s influences but sometimes people will be like, “You remind me of the Meat Puppets” or some other band and I’ll be like, “I wish I knew more of the catalog so I could parse out those similarities.” I was sheltered a bit in that realm.

The Meat Puppets can be described as sun-baked, southwest, psychedelic country.

JUSTIN : I can definitely see how we can be similar to that because I would use a lot of the same descriptors.

What bands would you say were the ones where you made the switch from being a fan of a song, like you mentioned about Beck, to being a fan of the band and listening to a whole album?

JUSTIN : I think I really started to appreciate that whenever I started playing music. It’s not like they’re mutually exclusive. I guess I started playing music whenever I started to get into that phase where I started getting into records in the long form. A lot of that stuff was happening to me when I was into pop-punk; like Taking Back Sunday , Saves the Day and New Found Glory . Those were my first concerts that I went to with friends. Some people point to that as being “bad” music and, to some extent, I get that but it was teenage angst and silliness in a lot of ways predecessors had been. There’s not a lot of those influences still in my music, I don’t think, but they are definitely down there and that’s where the DIY approach I’ve taken from the beginning has come from. All of the bands that I liked were on small labels and were booking their own tours. It was underground bands I was getting into. But, I was also into Matchbox 20’s Yourself or Someone Like You . My dad went to high school with Rob Thomas ’s dad, they were like best friends, so my dad was always a big fan of Rob Thomas and everything he did. We listened to that album all the way through. Hootie and the Blowfish’s Cracked Rearview and then also Jim Croce albums and CCR . There were a handful of CDs – Green Day ’s Dookie was another one that was pivotal for me – and then I started getting my own CDs. I got Bob Marley ’s Legend and Sublime ’s self-titled. I’m trying to think what the beginning of all that was, it was the pop-punk bands but even before that, at a younger age, I had gotten into some of those ’90s bands in a full-album kind of way.

Are you constantly writing songs? Are the songs on Time in the Sun ones that were written two or three years ago and it takes that long to get them out into the world?

JUSTIN : I was in the studio yesterday working on my next album. The process doesn’t stop for me, I have to take advantage of the time I have whenever I’m home or some place with a good stuff to work. I don’t write every day but I don’t ever stop. Some times I have time to and I feel compelled to, and some days I don’t. With Time in the Sun , one of the songs, “Summertime,” I’m pretty sure I wrote that in 2018 with a friend in Nashville. That might be the oldest song on the album. Half of them were written pre-pandemic and then we started recording right before the pandemic and then I had lots of life things happening, from becoming a dad, losing my own dad, and having the pandemic happen and having all the renewed conversations about social awareness, there’s a lot going on so I kept writing. But, the writing process for a record, this record is coming out at the end of 2021 and I would say I was writing the earliest song for it by mid-2018 which, at the time, I was still trying to figure out my third record. The songs are all a snapshot of time but this one I was willing to have a little bit bigger of a window because I wanted the album to be a snapshot of my perspective more than my experience for a specific number of years. Generally, it’s a 2 year writing and recording process. It’s rare that I’ll go further back than that for a song. I made 20 songs for Time in the Sun and I like all 20 of them and I would have put them all out but I didn’t want to put a double album out and I wanted the concept of Time in the Sun to come through and I chose the ones that fit it. That left songs that also have their own cohesion and have a cohesion with other things that are happening in my life now. The process never stops, there’s markers. Those markers are the releases of certain bodies of work.

Is it anti-climactic after working on songs for 2 or 3 years and then you go out on a 6-month tour to play those songs?

JUSTIN : It’s not anti-climactic. I’m listening to Time in the Sun and even though I wrote this about this other stuff, it feels really applicable to me right now. I’m excited to play these songs live. This album is meaningful to me and the stuff I was working through in the writing is stuff I’m still working through. In some ways, it’s led to the stuff I’m dealing with now in my life. In this specific season of my life, I wouldn’t call it anti-climactic, I would say it’s an event horizon. It’s all about creating the project and bringing it together and that can take years. And then it all of a sudden it becomes accessible to the public, it’s out there. It’s a very real point that you cross. The album becomes something different. It ceases to be yours and the teams, it becomes everyone’s.

Do you have any album release rituals or things you do as a band, or by yourself, to mark the release of an album?

JUSTIN : I cry. Just thinking about it makes me want to cry now. It’s always a really important day. It’s a day you work towards for years. I’m usually busy. We do in-stores. We’re still a band that is trying to break ourselves out into the world. So, when an album comes out, we do a lot of work, especially right out of the gate. That work continues for a while. My thing now, which would be the 2021 equivalent of what artists did in the ’70s, is Spotify Artists. For artists, they’ll show you in real time how many plays your song has had. You can see the metrics of what’s happening and who is listening to it where, and how many people where, and how old those people are, what they’re gender identity is. In some ways, it goes a lot deeper than what you really need to know because it’s easy to obsess over, but I watch that. It’s not just the album. When the first singles comes out, you get to watch and see them get plays. Those plays are more than numbers, they are actual ears of people that are hearing this work. It’s kind of nerve racking, honestly, to have that much information but that is my ritual.

You’re very comfortable on the road. That’s where you prefer to be is playing songs in front of people.

JUSTIN : Yeah. I’m learning that in real time, at this point in my life. The road is my home. I didn’t necessarily mean to make it my home, but it became my home. It’s where I feel comfortable. I feel comfortable with my band, traveling in whatever way – busses, vans, trains, planes. I feel comfortable in hotels and Air BNB s and venues.

Was 2020 the longest that you hadn’t been on the road?

JUSTIN : Absolutely, since 2014, it was the longest. The silver linings were huge for me. I could not have picked a better time to be forced off the road. My daughter was born in June of 2019, from 8 months to about 2 is the time I was home. I’m just starting to get back out on the road. First steps, first words, when I found out I was going to become a dad, I was sure that I was going to miss all those things. It was a future pain that I decided to go ahead and accept and chalk it up to me getting to do what I love for a living. The universe threw me a curve ball. Instead of that, I was the only one there when she took her first steps. I can’t tell you how lucky I feel to have been there for that. My dad passed away in May of 2020 and, if I had been on tour, I wouldn’t have gotten to spend the last week of his life with him. Even before that, the months leading up to that, we knew he was going down hill after Christmas of 2019. It was hard, he died of lung cancer and obviously COVID protocol was serious, we didn’t want him to get COVID and go down even quicker. I still got to be with him. I got to talk to him. I got to have a lot of closure which I know many people aren’t fortunate to have. Those are both silver linings in my personal life. Those are two important parts of the live cycle that I otherwise would have missed and would still be very broken up about.

In between, I got to work on the record. We were in between labels, we didn’t know how we were going to pay for it. We were going to use money from shows, but money from shows also has to go toward paying payroll and paying the bills and stuff. But, because of the pandemic, the government is giving people money. Our business manager secured us substantial funds from the government, which we paid back with our record advance, that helped us keep working. I can’t tell you how much I needed to be doing the creative work that is the studio instead of the live out-on-the-road stuff in those periods when I was home and experience so much of fatherhood and watching my dad pass as well. It was so crucial that I didn’t have to wait to go into the studio. I was actively in the studio, if not every week, then every other week. We did like 50 or 60 days in the studio. It is right down the road from my house. I was working with one of my best friends on the record and a lot of other great friends coming in one at a time, because we we were keeping to COVID protocols.

In terms of touring, is it always a full band on tour or do you pare it down based on economics, support slots, venues booked for the tour?

JUSTIN : It’s flexible. I try to do it with a full band as much as possible but our full band is 6 people and people need to be paid a living wage so it’s not always in the cards for that. The vast majority of the shows that we’re going to be doing in the next year, year and a half, are going to be full band because it takes a full band to bring the record to life. Once the record has had it’s moment, it’s “time in the sun,” then it goes back to the songs. In between albums, I’ll always do some solo touring or pared back touring that has a bit more of a storytelling element. That’s one thing that isn’t part of the full band show is storytelling. It’s more of a show, it’s energetic, it’s about the interplay between the band. When I go out on the solo or duo or even trio shows, they are geared toward storytelling and the songs and what they are really about. SUSTO is a band but I also consider it my day thing. I also consider my bandmates to be members of SUSTO . I think, artists like Cat Power and Bon Iver , people that I’m big fans of, I always admire that the name works whether it’s just them or a band. It’s also hard to keep a band together, at times, SUSTO has been a revolving lineup. I’m the guy that’s always there.

I saw Quiet Riot recently and there are no original members. The most recent original member who was still left was the drummer, Frankie Banali . But he passed away and now the band tours with no original members.

JUSTIN : We toured with Boston early on and I was like learning about …

Wait! You toured with Boston?

JUSTIN : Yeah. It was one of the first big tours we got. It was only 3 shows but it was huge for us. It was a similar thing, they had a couple of OG members but not to the extent of Quiet Riot where literally nobody is an original one. But, they are keeping the music going so I’m not going to knock that.

I can’t imagine you playing with Boston. That blows my mind.

JUSTIN : A few of their shows were in the Carolinas and I have a long relationship with a lot of promoters in the Carolinas because I’ve been doing shows in my part of the country for a long time. It was a thing like that, where a buddy was like, “Boston needs openers for these 3 shows.” And I was like, “Hell yes!” We were still touring in a minivan, it didn’t have a bumper or anything. There is some picture of that old beat-up minivan parked beside Boston’s boss and we were all outside of it looking like idiots. But, it was fun. I still have the tour shirt. People are like, “Nice Boston shirt, where’d you see them?” And I am like, “I was on this tour. I played these shows.”

SUSTO tour dates

: 2021 October 30 – Maquoketa, IA – Codfish Hollow October 31 — Chicago, IL — SPACE November 2 — Indianapolis, IN — The HiFi November 3 — Louisville, KY — Zanzabar November 4 — Nashville, TN — The Basement East November 19 — Asheville, NC — Grey Eagle Tavern & Music Hall November 20 — Charlotte, NC — Neighborhood Theatre December 4 — Key West, FL — Fort East Martello December 10 — Athens, GA — Southern Brewing Co. December 16 — Mobile, AL — Callaghans’s Irish Social Club December 17 — Birmingham, AL — Saturn December 18 — Atlanta, GA — Terminal West

2022 January 12-16 — Todo Santos, Mexico — Tropic of Cancer Concert Series January 21 — Mexico City, Mexico — Bajo Circuito January 25-26 — London, UK — Americanafest UK February 10 — Raleigh, NC — The Pour House Music Hall February 11 — Farmville, VA — North Street Press Club February 12 — Charlottesville, VA — The Southern February 13 — Baltimore, MD — The 8×10 February 15 — Pittsburgh, PA — Club Cafe February 17 — Toronto, Ontario — Velvet Underground February 18 — Montreal, Quebec — Le Ministère February 19 — South Burlington, VT — Higher Ground Showcase Lounge February 20 — Exeter, NH — The Word Barn February 23 — Cambridge, MA — Middle East Upstairs February 24 — New York, NY — Mercury Lounge February 26 — Washington, DC — The Hamilton Live February 27 — Philadelphia, PA — Johnny Brenda’s March 10 — New Orleans, LA — dba Frenchman March 11 — Houston, TX — Satellite Bar March 12 — Fort Worth, TX — Tulips March 22 — Phoenix, AZ — Last Exit Live March 23 — Palm Springs, CA — The Alibi March 24 — West Hollywood, CA — Troubadour March 25 — Santa Cruz, CA — The Catalyst Atrium March 26 — Berkeley, CA — Cornerstone March 29 — Portland, OR — Wonder Ballroom March 30 — Seattle, WA — Tractor Tavern April 2 — Denver, CO — Globe Hall April 3 — Denver, CO — Globe Hall April 6 — Davenport, IA — The Raccoon Motel April 7 — Davenport, IA — The Raccoon Motel

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Fans confused and frustrated after tickets to see Caitlin Clark play in DC are canceled

Linh Bui | [email protected]

April 24, 2024, 11:27 AM

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Some basketball fans in the D.C. area are frustrated after their tickets were canceled for the Washington Mystics’ highly-anticipated game against the Indiana Fever in June, which will feature star point guard Caitlin Clark.

Ticket holders who went through Ticketmaster will be able to get their seats back, but those who bought through third-party vendors could be out of luck.

The Mystics normally play at the Entertainment & Sports Arena (ESA) in Southeast D.C., which seats 4,200 people. But due to a huge demand for tickets, the game was moved to Capital One Arena , which seats 20,000 spectators. This venue change has created problems for fans who bought tickets to the game at its original location. Some have posted online that their tickets were canceled.

The Mystics responded to the situation o n social media platform X , saying people who purchased their tickets from Ticketmaster for the Indiana game at the ESA still have access to the game.

Washington said Ticketmaster had to cancel orders and refund money but is holding seats for those buyers in a comparable location at Capital One Arena and at the same price. Those buyers will receive an email by Friday with further instructions about their new seat location and an invoice.

Rest assured! Previous ESA Ticketmaster buyers still have tickets to the game. To ensure you did not lose access to your tickets, the Mystics are holding seats in a comparable location at COA and at the same price you paid for your tickets at ESA. — Washington Mystics (@WashMystics) April 23, 2024

A spokesperson for Monumental Sports , which owns Capital One Arena, told WTOP’s partners at 7News that customers who used Ticketmaster to purchase tickets at the ESA can buy their seats at the downtown D.C. venue at the same price.

But fans who bought their tickets from a third-party ticket merchant, including StubHub, will not be able to transfer their tickets to Capital One Arena, according to the spokesperson.

Candice Charlton, of Bethesda, told 7News tickets she purchased on StubHub are now “invalid” and she’ll get her money back.

“I’ve been following Iowa for years. My daughter goes there. I’ve been following Caitlin Clark,” Charlton told 7News. “A lot of frustration, because I feel like the systems are co-mingled in some way because they transferred my ticket from one site to the other, so they know I had a ticket. I felt like with a little more foresight, they could have figured this out.”

After tickets to the game at Capital One Arena sold out in record time Tuesday, the Mystics plan to offer a second release of tickets, which they’ll announce next week. Fans are asked to sign up for email alerts for updates on future tickets.

In an emailed statement to WTOP, a Monumental Sports spokeswoman said: “”Fans should go back to their merchant for assistance. The number of re-sale has been very limited. Ticketmaster is our official Ticketing Provider and re-sale marketplace.”

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Viral duo behind podcast 'ShxtsNGigs' brings comedy tour to DC this summer

T wo best friends behind one of Spotify’s top podcasts, "ShxtsNGigs"  are taking their comedy show on the road with a tour that stops in Washington D.C. this summer.

Podcasters James Duncan and Fuhad Dawodu share hilarious comedy segments that have gone viral on TikTok, YouTube and Instagram.

The United Kingdom duo is known for their “Twitter Hall of Fame” segment and sharing their unfiltered opinions on any and everything.

READ MORE | Live orchestra brings Avatar: The Last Airbender music to DC stage in September

Duncan and Dawodu recently announced their highly requested North America tour the “ShxtsNGigs Daddy’s Home Tour” which will take the two friends across the U.S. and Canada between July and August.

The popular social media comedians will hold a show at The Howard Theatre in D.C. on August 7, 2024.

Tickets for the tour will go on sale Friday, April 26.

Find more info or buy tickets HERE .