the alimony tour

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John Cleese: The Alimony Tour

From writing to starring in plays, musicals, theatrical and comedy productions, to films and sitcoms, Cleese has done it all, and now it's time for him to tell you about his jam-packed life. From writing to starring in plays, musicals, theatrical and comedy productions, to films and sitcoms, Cleese has done it all, and now it's time for him to tell you about his jam-packed life. From writing to starring in plays, musicals, theatrical and comedy productions, to films and sitcoms, Cleese has done it all, and now it's time for him to tell you about his jam-packed life.

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• Apr 11, 2012
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Live! The Alimony Tour 2011 ( John Cleese: The Alimony Tour ) [ NON-USA FORMAT, PAL, Reg.2 Import - United Kingdom ]

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For the first time ever, comedy legend John Cleese brings his unique comedic perspective to DVD in John Cleese Live - The Alimony Tour . Best known for his part in Monty Python's Flying Circus and as Basil Fawlty in Fawlty Towers , John Cleese draws on his many years in the limelight as well as some of his own personal interests. In Cleese's very own words: "it is an evening of well honed anecdotes, psychoanalytical tit-bits and unprovoked attacks on former colleagues, especially Michael Palin." From writing to starring in plays, musicals, theatrical and comedy productions, to films and sitcoms, Cleese has done it all, and now it's time for him to tell you about his jam-packed life.

Product details

• MPAA rating ‏ : ‎ Unrated (Not Rated)
• Package Dimensions ‏ : ‎ 7.56 x 5.28 x 0.55 inches; 2.82 ounces
• Director ‏ : ‎ Julia Knowles
• Media Format ‏ : ‎ Import, PAL, Widescreen
• Run time ‏ : ‎ 79 minutes
• Release date ‏ : ‎ November 21, 2011
• Actors ‏ : ‎ John Cleese
• Subtitles: ‏ : ‎ English
• Producers ‏ : ‎ John Cleese Live! The Alimony Tour 2011 ( John Cleese: The Alimony Tour ), John Cleese Live! The Alimony Tour 2011, John Cleese: The Alimony Tour
• Language ‏ : ‎ English (Dolby Digital 2.0)
• Studio ‏ : ‎ ITV Studios Home Entertainment
• ASIN ‏ : ‎ B005GDULLY
• Number of discs ‏ : ‎ 1
• #28,030 in Comedy (Movies & TV)

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JOHN CLEESE: THE ALIMONY TOUR

From writing to starring in plays, musicals, theatrical and comedy productions, to films and sitcoms, Cleese has done it all, and now it’s time for him to tell you about his jam-packed life.

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John Cleese: The Alimony Tour

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For the first time ever, comedy legend John Cleese brings his unique comedic perspective in John Cleese Live - The Alimony Tour. Best known for his part in Monty Python's Flying Circus and as Basil Fawlty in Fawlty Towers, John Cleese draws on his many years in the limelight as well as some of his own personal interests.

John Cleese: Live - The Alimony Tour 2011

For the first time ever, comedy legend John Cleese brings his unique comedic perspective in John Cleese Live - The Alimony Tour. Best known for his part in Monty Python's Flying Circus and as Basil Fawlty in Fawlty Towers, John Cleese draws on his many years in the limelight as well as some of his own personal interests. In Cleese's very own words 'it is an evening of well honed anecdotes, psychoanalytical tit-bits and unprovoked attacks on former colleagues, especially Michael Palin.' From writing to starring in plays, musicals, theatrical and comedy productions, to films and sitcoms, Cleese has done it all, and now it's time for him to tell you about his jam-packed life.

• 16 Aug 2011
• 1 Hour 18 Minutes

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Live comedy in london | manchester | scotland, john cleese: the alimony tour.

Note: This review is from 2011

Review by Steve Bennett

Well, at least he’s honest about it. John Cleese isn’t back on tour because he just loves making people laugh, or because he’s got some vital message he just has to spread. He needs the cash, pure and simple.

Following his $20million divorce from third wife Alyce Faye Eichelberger, Cleese is pleading penury, forced out on the road to scrape together a living, when he’d rather be at home with a good book, enjoying his hard-earned retirement.

There is a slight feeling that with the flagrantly money-making Alimony Tour that he’s done just enough to get by. He’s gone for the simplest route; a straightforward retelling of his rise to fame, full of all the anecdotes he’s polished over five decades of interviews and chat-show appearances. Hell, he hasn’t even bothered to learn the script, reading his lines from a none-too-discreet autocue. Perhaps at 71, learning almost two hours of material is too much of a strain, even if it is based on your own life – not that Cleese otherwise shows any sign of age, as convivial in his performance as you might expect.

That good humour softens what might otherwise be a acidic, barbed demonisation of his money-grasping harridan of an ex-wife and her grotesque lawyers. It’s personal, even nasty, but his indignant bitterness seems justifiable, and he delivers it with a smile, albeit one through gritted teeth.

But this is atypical of a warm, upbeat stroll through Cleese’s life which – by this sanitized account – appears delightfully charmed. Born into a poor but honest (‘the worst possible combination’) family in wartime Weston-super-Mare, it’s obvious that the rigid class hierarchy and a morbid threat of ever doing anything embarrassing would later prove the well from which he drew his comedy. His father even changed the family name from Cheese to avoid ridicule.

Cleese has, of course, always represented that rather formal establishment figure; and we’ve seen him play a headmaster-type character so often that this almost feels like an entertaining school assembly; educating, informing and entertaining. Occasionally he meanders down a little psychoanalytical aside, such as his relationship with his depression-prone mother, but largely this is a ‘My Showbiz Life’ story of after-dinner anecdotes,

He found a gift for humour when at school, when jokes could deflect attention from his tall frame, and joined the Footlights at Cambridge, when he was overshadowed by Bill Oddie and Tim Brook-Taylor. From thereon, fans will know his history: The Frost Report, Python, Fawlty (inspired by a trip to a notoriously appalling real-life hotel) Wanda – although some achievements, from I’m Sorry I’ll Read That Again to Clockwise – are ignored.

With a CV like that, it’s no wonder there’s plenty of love for Cleese. Even mention of a phrase such as ‘Cheese Shop’ provokes titters throughout the room. There’s a feeling that his audience have gathered plenty of entertainment from reciting Cleese’s work on their own – so being in the presence of such magnificence is reward enough, never mind that they’ve heard or read his well-polished anecdotes time and again.

Perhaps because of this, the show gets particularly lazy in the second half, when it becomes a live version of one of those cheap TV clip shows. Cleese introduces plenty of extracts of his work, all of which you’ll have seen repeated ad infinitum on digital TV, with only a minimal nod to context. There’s an occasional aside about the psychology of bad-taste comedy, or how the world of entertainment has changed (Python was commissioned for a 13-part series on a single BBC exec’s whim, without anyone having much of an idea what the show would actually be), but nothing too substantial.

Yet although Cleese is merely going though the motions, the show proves decently entertaining. He’s got a few sharp lines in the mix, and his delivery, timing, and emphasis remain unrivalled. He’s selling tickets based on the idea you’ll want to spend a couple of hours in his good company, and that’s exactly what you get; no more or no less.

Review date: 4 May 2011 Reviewed by: Steve Bennett Reviewed at: Cambridge Corn Exchange

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John cleese: the alimony tour live.

For the first time ever, comedy legend John Cleese brings his unique comedic perspective to DVD in John Cleese: The Alimony Tour. Best known for his part in 'Monty Python's Flying Circus' and as Basil Fawlty in 'Fawlty Towers,' John Cleese draws on his many years in the limelight as well as some of his own personal interests. In Cleese's very own words: "it is an evening of well honed anecdotes, psychoanalytical tit-bits and unprovoked attacks on former colleagues, especially Michael Palin." Cleese has achieved a lot in his career which started as a sketch writer for BBC Radio's Dick Emery Show and then The Frost Report. After this stardom beckoned, and Monty Python was created with Cleese co-writing and starring in four series and three films. He went on to achieve further great success as the neurotic hotel manager Basil Fawlty in Fawlty Towers, which he co-wrote with then wife Connie Booth.

John Cleese

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John Cleese: The Alimony Tour

Releases by Date

11 aug 2011, releases by country.

79 mins   More at IMDb TMDb Report this page

Popular reviews

Review by loureviews ★★★

Much of this material evolved into shows Cleese parroted around in the wake of divorce number three, and it underlies what a negative and bitter old fart he has become. I'll be forever grateful for Python and Fawlty Towers, but there comes a time to say, enough, and to stick a ferret up your nose and buy that licence for your pet fish, Eric.

Review by Jack ★★★

The funniest thing about John Cleese's Alimony Tour DVD is that the credits show he hired a further four writers simply for the opening salvo of material slagging off his ex-wife.

Review by Sascha Nolte ★★★★

Cleese berichtet live über biographische Details seinerselbst und seiner (vorerst) letzten Scheidung. Für Fans ein Muss. 8,25/10.

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John Cleese Live: The Alimony Tour

Live stand-up from veteran comedian John Cleese, named the "Alimony Tour" due to his recent divorce at the time of the tour. In this recording he charms his audience of die-hard fans with whimsical stories and classic vintage clips.

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After that £20m divorce, our theatre critic watches the first night of John Cleese's 'alimony tour'. And he's not amused...

By Quentin Letts for MailOnline Updated: 10:16 EDT, 5 May 2011

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Not amusing: John Cleese's Alimony Tour gets off to a decent start as he mocks his ex-wife Alyce-Faye Eichelberger, but the show peaks after 20 minutes

Old clowns are always sad figures. John Cleese was once the long-legged looney from the Ministry of Silly Walks, bowler-hatted and sometimes terribly funny. These days he is more rueful - even, in the true sense of the word, pathetic.

On Tuesday night he took to the stage in Cambridge for the start of a two-month tour of Britain. He is calling it his Alimony Tour because he says he needs the proceeds to pay for his most recent divorce.

Cambridge’s Corn Exchange must sit an easy 900. With tickets knocking around £30 (if you can get them), that represents a hefty haul for Cleese for four nights’ work - with 12 more cities to follow.

Add bar takings and programme sales - £5 for a slender brochure filled with old photographs - and you could be looking at a £1 million profit for the old boy

His people are flogging knick-knacks with noisy insistence. Keyrings are being hawked for a fiver, ‘Don’t Mention The War’ T-shirts for £20, £3 for unsigned posters, mugs for £6. Six quid! ‘Mugs’ may indeed be the word.

The Alimony Tour gets off to a decent start. Cleese wanders onstage after a few chords of the Monty Python theme tune. He is almost unrecognisable as the spidery thirtysomething who in Seventies satire sketches played the Whitehall authority figure.

He is dressed not in his old trademark dark suit, but in the jeans and open-necked shirt of Californian OAP grooverdom.

He has a tummy. His face has lost its sharp definition. He has something of the later-years Charlie Chaplin — another funnyman with a black moustache whose comic powers faded as his ’tache turned grey.

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The audience, average age well over 50, greets him with cheers. His routine is initially funny. He mocks his American ex-wife, Alyce-Faye Eichelberger. ‘I am here because, frankly, I have fallen on hard times having been through a costly and acrimonious divorce. I call it the Alimony Tour or Feeding The Beast.’

The big screen behind him flashes up a well-known photograph of Alyce-Faye at a cashpoint, ‘helping herself to some of my money’.

The camera zooms in on a fat wad of banknotes in the former Mrs Cleese’s mitt. My God. Alyce-Faye Eichelberger. What a name. Could he not have guessed she was going to be trouble?

Cleese’s delivery is brisk, that of an old- fashioned newsreader. The audience is loving it, loving him. He describes his ex-wife as ‘the spiritual godchild of Blackbeard the pirate and Heather Mills’. Barks of laughter from the crowd.

He says he ‘got off lightly’ because the  $20 million divorce settlement could have been even higher ‘had she contributed anything to the marriage - if she’d had children or even a two-way conversation’.

The wit is acid, but the Corn Exchange crowd enjoys it. Cleese goes on to attack his ex-wife’s lawyer, Jacqueline Misho. ‘She was turned down for the role of an orc — because her skin was too bad,’ jokes Cleese.

He calculates that Alyce-Faye collected $3,650 (£2,209.69) for each day of her union — and that’s before counting what it kept to feed and stable her during those years of married hell. 

The loves of his life: John Cleese's latest tour pokes fun at his ex-wife Alyce-Faye Eichelberger (left) who took $20 million in the couple's divorce settlement. His new love is sculptor Jennifer Wade

We are shown an image of banknotes piled on a marital bed and he says that was what the marriage amounted to. Attaboy, thinks the audience. Stuff it to Alyce-Faye Iceburger.

At this rate the ticket price for Cleese’s one-man show seems good value. The man is on fire!

Or is he? The show peaks after just 20 minutes. At this point Cleese stops talking about his financial trials and starts submitting to self-analysis. ‘I’m interested in psychology,’ he says - words any dinner party attendee dreads.

He embarks on a long account of his family history, his childhood in Somerset’s Weston-super-Mare and his relationship with his mother.

From now on, the show stalls. Cleese enters nostalgia mode, telling anecdotes about the Monty Python years. He includes unexceptional stories about the young David Frost, Peter Sellers and others. It is all mildly familiar and unexciting.

The audience tries to jolly him along, but the fizz has evaporated. Topical satire has yielded to autobiographical dribble.

Cleese takes a breather from speaking and shows numerous clips from his better-known sketches and films such as A Fish Called Wanda and Monty Python And The Holy Grail.

He casually describes himself as a genius. He compliments himself on the editing of Fawlty Towers and then admits: ‘I haven’t done anything interesting for the past 30 years.’ Oh dear. The tale of John Cleese is a salutary one.

In a way he is symbolic of what went wrong with his clever, sarcastic generation at Oxbridge, riddled as it was with a strange mixture of self-satisfaction and cultural doubt. It loved to mock, but now finds itself adrift.

The glory days: Cleese's show was a far cry from his days in Monty Python's Flying Circus. He is almost unrecognisable as the spidery thirtysomething with razor-sharp wit from the seventies (above)

Cleese was still a Cambridge undergraduate when he found success with the university’s Footlights drama club. He was picked up by television’s weekly satirical sketch show The Frost Report, which regularly attracted an audience of 14  million.

Monty Python followed, as, in time, did great riches from his business interests in training films. Alyce-Faye Eichelberger may have relieved him of $20 million, but Cleese is still rich enough to live on a ranch in California, having moved to America in the early Nineties. His fortune today is put at around £5.4 million.

One of the clips he shows the Cambridge audience is a moment from Wanda when Cleese’s character, an uptight Englishman, claims the worst thing about being English is the constant embarrassment, the inability to enjoy oneself.

To this day, Cleese asserts we are much better advised to let it all hang out. ‘The English of my generation held back and it cost them a lot,’ he claims.

But this isn’t necessarily true in his case, is it?

Tart and topical though his material about ex-wife has been, something nibbles at the back of my mind. I can’t help remembering reading about Cleese at the time of his marriage to psychotherapist Alyce-Faye.

Were there not gooey interviews when he said how happy he was? Were there not declarations from him that she had taught him so much about psychology?

And if he had only kept up his Anglo-Saxon reserve he might never have been trapped in the marriage. See? He should have remained more like the traditional, emotionally-buttoned Englishman he often mocked.

Monty Python had its surreal moments, but its humour could be self-indulgent and silly. The reluctance of Cleese and co. to act their age may have felt, at the time, like liberation. Now the drawbacks are plain to see. After surrendering his self-control, Cleese went and stepped on the Alyce-Faye Eichelberger landmine.

It is hard not to like the old boy, if only out of gratitude for all those brilliant moments in Fawlty Towers and The Life Of Brian and other classics. But he’s a rum figure in many ways.

Past his prime: It is hard not to like the old boy, if only out of gratitude for all those brilliant moments in Fawlty Towers (above) and The Life Of Brian and other classics. But he's a rum figure in many ways

His accent veers all over the place, Bunter on a bicycle. Certain words - ‘understand’, ‘movie’, ‘kinda interesting’ - are given an American twang. Yet he pronounces ‘Edwardian’ in the old-fashioned English way, ‘Ed-wahr-dian’.

There is something unrooted, self-disowning about John Cleese. Self-contradictory, too. Though he made his reputation out of satire, eroding respect for the Establishment, he today attacks the London Press for being too impertinent. He also deplores the celebrity age. Er, isn’t Cleese himself a celebrity?

‘England - the cultured England - has gone rapidly downhill,’ he claims. ‘The Press have destroyed what was a perfectly decent culture 30 years ago.’

Of course, many people said exactly the same thing in the Sixties about the Young Turks of The Frost Report.

Cleese talks about the importance of allowing comedians to be insulting. He is all for attacking taboos and for being rude (he boasts about how he said the F-word at the memorial service of his Python colleague, Graham Chapman).

Yet the same Cleese emigrated from rambunctious Britain to California, a society practically paralysed by political correctness. The same Cleese demands to be treated with respect.

What would the young David Frost and co. have made of John Cleese as he is today? I suspect they would have fondly ragged him rotten.

They would have teased him for being a snowy-domed buffer who, having made and lost millions, now wants to be revered and pitied.

It all seems a very long way from the Ministry of Silly Walks.

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John Cleese is to embark on his first-ever UK tour next year at the age of 71. The comedian, who recently agreed a divorce settlement believed to be in the region of £12m, has dubbed it the "Alimony Tour".

Cleese, who rose to fame with Monty Python, promised the show would be "an evening of well-honed anecdotes, psychoanalytical titbits, details of recent surgical procedures, and unprovoked attacks on former colleagues, especially Michael Palin".

His marriage to his third wife, Alyce Faye Eichelberger, broke down in 2008 and the divorce was settled in December of that year. It is not the first time Cleese has turned to the stage to pay his alimony. He previously took his A Ludicrous Evening with John Cleese ... or How to Finance Your Divorce tour to Scandinavia. He said at the time that he was unhappy at being forced to go back to work.

Cleese said: "I get angry that I have to pack my trunk just to make money. That I, at my age, would have to plan my life anew to pay her all the money she is to get for seven years – well it irritates me. I'd rather have been drinking coffee, reading books and writing. I can't afford that now. But if I really have to earn money, this is as pleasant a way of doing it as I can think of.

"The thing about being in the final stages of my career, is that I can be pretty sure that anyone who's bought a ticket doesn't hate me. So, when I walk on stage, I get a nice reception, and the nerves disappear."

The comedian let slip the size of the payout to his ex-wife, saying: "What I find so unfair is that if we both died today, her children would get much more than mine. At least I will know in future if I go out with a lady they will not be after me for my money."

Cleese also complained about the ongoing payments to his former wife, an American psychotherapist, author and talk radio host, saying: "I mean people are surprised when I say the figures. When Alyce Faye and I split up she got $13m [£9m] and I got to keep $8m. But over the next seven years I have to pay her $1m a year. She needs it."

Tickets for his 2011 tour went on sale yesterday, £36.25 each – or 0.0004 per cent of Cleese's alimony settlement. The run begins in Cambridge on 3 May, and visits Birmingham, Bath, Liverpool, Oxford, Leeds, Edinburgh and Glasgow before finishing in Bristol.

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Alvin Ailey dance company brings 65th anniversary tour to Nashville

The Alvin Ailey American Dance Theater , one of America's most beloved dance companies widely known as a a global ambassador of American culture having performed in 71 countries on six continents, is bringing its 2024 tour celebrating the company's 65th anniversary to Nashville's TPAC April 26-28.

Ailey himself was respected for creating his own works, but also for allowing creative space for younger choreographers to explore. This tour carries on his legacy by featuring several Ailey classic works along with season premieres by choreographers Amy Hall Garner and Elizabeth Roxas-Dobrish.

"For our 65th anniversary it was important for us to remember where we came from and what shoulders we stand on," Interim Artistic Director Matthew. Rushing told The Tennessean. "It's also important to preserve the tradition of American modern dance. No matter how forward we move, it's important to withhold this tradition because without it, we wouldn't be where we are today."

Something old, something new, something borrowed and something — well, true

The tour also celebrates one of Ailey's mantras that dance came from the people and should be delivered back to the people. Everyone involved, from dancers to choreographers, is rallying around this vision, Rushing said.

"There's something about coming back to the theater and not only experiencing dance in a way you’ve never experienced it before, but also when you come and see something familiar, you see yourself in it," he said. "Whether its the music, the style of dance or you see people who look like you, it’s is so affirming. You can come to an Ailey performance and see your own life experiences."

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One of Ailey's works that will be part of the Nashville show is "Revelations" which he choreographed in 1960 based on the religious heritage of his childhood in south Texas. Credited with having been seen by more people around the world than any other modern dance work, "Revelations" is full of powerful storytelling and pays homage to the rich cultural heritage of the African American community.

This 60-year-old classic is combined with newer works that still rely on Ailey's mantra of dance as a vehicle to tell an impactful story.

Kyle Abraham's "Are You in Your Feelings" celebrates Black music and its impact on culture, while Garner's "CENTURY" tells the story of her grandfather turning 100 years old in New Orleans.

"Kyle uses pop songs and old R&B songs that can allow multiple generations to come to the theater and find a familiar song all in one piece," Rushing said. "While Amy grew up in New Orleans, where music is a huge thing. She chose specific music from big band jazz music from Ellington, Count Basie and ray Charles. Both are iconic, familiar works that have come from the past but are now being presented in a contemporary way."

While Rushing knows each person in the audience will see their own life experiences in these works, what he mainly wants to get across is that dance doesn't have to be elitist. It's for everyone.

"I want people to leave these performances encouraged, affirmed, inspired, excited and elevated," he said. "I think those things are very important. Ailey is a dance company for everyone. It's that company you could probably invite the uncle who'd rather be at a baseball game and he'd still come and enjoy himself."

What : Alvin Ailey American Dance Theater

When : April 26-28

Where : Tennessee Performing Arts Center

Tickets : www.tpac.org

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Ray LaMontagne and Gregory Alan Isakov Announce Fall Tour Together

TICKETS ON-SALE NEXT FRIDAY

Acclaimed songwriters and musicians Ray LaMontagne and Gregory Alan Isakov will join forces for an extensive co-headline tour this fall. Produced by Live Nation, the 17-date tour includes stops at Seattle’s Chateau Ste. Michelle Winery Amphitheatre (two nights), Los Angeles’ YouTube Theater, San Diego’s CalCoast Credit Union Open Air Theatre, Phoenix’s Arizona Federal Theatre, Charleston’s Firefly Distillery, Cincinnati’s Andrew J Brady Center, Franklin’s FirstBank Amphitheater, Atlanta’s Cadence Bank Amphitheatre at Chastain Park and Charlotte’s Skyla Credit Union Amphitheater among others.

Tickets for these shows, which will feature an opening set by special guests The Secret Sisters , will go on-sale next Friday, April 26 at 10:00am local time. Full details can be found at www.raylamontagne.com/tour and www.gregoryalanisakov.com/tour .

About Ray LaMontagne:

Ray LaMontagne has released eight studio albums, six of which have reached Top 10 on Billboard ’s Top Rock Albums chart and Billboard ’s Digital Albums chart. Additionally, his 2010 album  God Willin’ & the Creek Don’t Rise  won the Grammy for Best Folk Album and was nominated in the coveted Song of The Year category for “Beg Steal or Borrow.” Each release from his catalog over the last 20 years carries its own character and feel. Having worked with producers Ethan Johns, Dan Auerbach of the Black Keys and Jim James of My Morning Jacket, Ray’s vast sonic catalog has been called everything from “a perfect throwback to the lost art of the album-length format,” from  Entertainment Weekly  to “epic and magical,” from  Rolling Stone  and “gorgeous and ambitious,” from  Esquire .  NPR’s All Things Considered  says Ray, throughout the course of his career, “has continued to push himself in different directions,” while  People  calls him a “marvel of nature.”

About Gregory Alan Isakov:

Beloved by his devoted community of fans and critics alike, Grammy-nominated singer-songwriter Gregory Alan Isakov has garnered over 1 billion streams and has over 7 million monthly Spotify listeners. Isakov is in the midst of a landmark year following the release of his acclaimed new album,  Appaloosa Bones , via Dualtone Records and his own label, Suitcase Town Music.  Appaloosa Bones  is his first new album in nearly five years and is filled with his signature “emotionally evocative songwriting style” ( NPR Music ). Of the record, the  Associated Press  praises, “His new songs are relentlessly majestic, a kind of musical morphine.” In addition to the co-headline dates, Isakov will tour, supporting  Appaloosa Bones , throughout this summer, including two sold-out headline shows at Colorado’s Red Rocks Amphitheatre (full itinerary  here ). In recent months, Isakov has collaborated with Noah Kahan and Jeremiah Fraites (of The Lumineers) on their recent record releases. When he isn’t on the road, he runs Starling Farm, which provides produce to the farm’s CSA and a local food bank.

RAY LAMONTAGNE AND GREGORY ALAN ISAKOV FALL TOUR

BOLD  on-sale next Friday, April 26 at 10:00am local time

September 4—Missoula, MT—KettleHouse Amphitheater

September 6—Seattle, WA—Chateau Ste. Michelle Winery Amphitheatre

September 7—Seattle, WA—Chateau Ste. Michelle Winery Amphitheatre

September 8—Bend, OR—Hayden Homes Amphitheatre

September 10—Jacksonville, OR—Britt Pavilion * (on-sale 5/10 at 10:00am PT)

September 11—Berkeley, CA—Greek Theatre *

September 12—Los Angeles, CA—YouTube Theater

September 14—San Diego, CA— CalCoast Credit Union Open Air Theatre

September 15—Phoenix, AZ—Arizona Federal Theatre

October 1—Charleston, SC—Firefly Distillery

October 2—Asheville, NC—ExlporeAsheville.com Arena

October 4—Cincinnati, OH—Andrew J Brady Center

October 5—Indianapolis, IN—Everwise Amphitheater

October 6—Franklin, TN—FirstBank Amphitheater

October 8—Baltimore, MD—Pier Six Pavilion

October 9—Charlottesville, VA—Ting Pavilion

October 11—Atlanta, GA—Cadence Bank Amphitheatre at Chastain Park

October 12—Charlotte, NC—Skyla Credit Union Amphitheater

October 13—Raleigh, NC—Red Hat Amphitheater

*non-Live Nation show

For more information, please contact Sacks & Co., Asha Goodman 615.320.7753, Catherine Snead 615.320.7753 or Carla Sacks 212.741.1000., [email protected] , [email protected] or [email protected]

For Live Nation Concerts, please contact Monique Sowinski and Valeska Thomas [email protected] and [email protected]

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