Girls Rock Sacramento Empowers Young Women Through Music

By Myki Angeline


Above: Heart of The Storm. Below: Middle Aged Xnchilla Farmerx. Photo Credit: Elle Jaye Photography

Women have long since faced adversity in the music industry; especially in the rock arena. Many of the “top 10” lists in the music industry reflect this struggle, with the majority of artists being male singers and musicians. However, the Girls Rock Camp Alliance is an organization set out to change those numbers – and Girls Rock Sacramento is the latest music camp to help break that glass ceiling.

Founded by vocal instructor/singer Larisa Bryski and singer/bassist Emma Simpson, Girls Rock Sacramento launched its first music camp on July 17, 2016. A mini camp consisting of twelve girls ranging in age from 7 to 15, the young ladies were placed in a band and worked for five days creating an original song to prepare for the big performance at the end of the week. Coaches Sam Valentine and Katie Pryor mentored the girls as they learned guitar, drums, stage presence and team work. Not only did these young women learn about music, they also learned about empowerment, finding their voice, and collaboration. GRS provides a safe environment for all girls and those who identify as girls to be themselves and follow their dreams.


Founders Emma Simpson and Larisa Bryski of Girls Rock Sacramento. Photo Credit: Elle Jaye Photography

I had the honor of teaching the self defense workshop with the young women and found such a strong sense of community with this organization. I asked some of the camp-goers, volunteers and coaches what they got out of the experience, and the responses were synonymous: confidence and the bonding friendships.

To learn more about this organization and how to sign up for the next session, visit their website:


Check out GRS’ interview with The Sacramento Bee below!



Front and Center: Guitarist and Vocalist, Samantha Fish

The WiMN’s Front and Center is a weekly column that showcases accomplished women who work in the music and audio industries. We spotlight successful female performers, manufacturers, retailers, educators, managers, publicists, and everyone else in between. Want to be featured? Learn how here.

Front and Center: Guitarist and Vocalist, Samantha Fish


By Gabriella Steffenberg 

Born in Kansas City, Mo., blues and rock musician Samantha Fish immersed herself into the music since picking up a guitar at 13. With a fear of performing in front of audiences, Fish pushed through her doubts and realized years later that this was a career she wanted to pursue.

With three albums released to date, Fish has overcome the obstacle that once blocked her creative outlet, and has been working on new music for an upcoming album.

Read on below to learn more about this week’s Front and Center, and check out Fish’s official website here.

WiMN: When did you know that you wanted to be a musician?

SF: I started playing music when I was 13, but I didn’t know that it was going to be my life until I was 17/18. I remember it was a pretty definitive moment. I was a really shy kid and I was thrown onto a stage for my first public performance – it was the scariest thing, but it changed me. I kind of knew after that moment that I wanted to keep chasing down that feeling; I wanted to be a performer.

WiMN: What is the biggest lesson you’ve learned since entering the music industry?

SF: You learn things everyday if you are looking for them. Really the biggest thing I’ve had to learn to do is to trust my instincts. Being young and female in a male-driven industry – there’s a lot of second-guessing yourself. Any decisions that are made, I have to wear them. So I’ve had to start trusting my gut and also be humble enough to keep seeking out education.

WiMN: Have there been any women in your life that have inspired you and your music? If so, in what ways?

SF: My mom and my sister were always singing when I was a kid. When I started hearing females playing instruments that really changed a lot for me. I saw Sheryl Crow early on, just seeing her run all over the stage playing various instruments was really inspiring. It opened the door for me to get into Bonnie Raitt, Lucinda Williams, etc.

WiMN: Are you currently working on new music?

SF: Yes, always. I just finished an acoustic album in December. Not sure about an official release date yet. I am writing again, and I’ve been doing demos; I’m always working on new music.

WiMN: What piece of advice would you give to women looking to be in the music industry?

SF: Hone your craft. Be a bad-ass. Don’t ever stop learning. It’s hard being a female in this industry, so you have to work really hard to prove yourself as a contender. Work hard, find your voice.

WiMN: What are your musical goals that you want to accomplish over the next year?

SF: I want to get out to as many people as humanly possible. I also want to find more time to be creative and write music, and I want to continue growing my business.

Fiona Apple Joins Andrew Bird on “Left Hand Kisses”

By Gabriella Steffenberg 

fiona appleAlternative Rock dream, Fiona Apple, joins Andrew Bird on his newest track, “Left Hand Kisses.” The duo released the official music video on March 14 and it’s off of Bird’s forthcoming release, Are You Serious, due out April 1.

Apple and Bird perform “Left Hand Kisses” in an intimate setting, with two chairs facing each other in an empty room. The video is simple and highlights the extreme talent from the duo, and Apple fans can rejoice that she’s back on some new music. With her signature gravelly voice, Apple sings out lyrics of sweet sarcasm alongside Bird in a joyous, delectable duet.

Indulge in “Left Hand Kisses” for yourself below:

“Sweet Child O Mine” Cover Like You’ve Never Seen It Before

By Gabriella Steffenberg

Guitarist Lucy Gowen.

Guitarist Lucy Gowen.

“Sweet Child O Mine” is a rock n’ roll staple as well as a go-to cover song. If you think you’ve heard every rendition in your lifetime, hold that thought. Two 10 year-olds are taking the music world by storm by their insane cover of the Guns n Roses’ classic hit.

Meet Lucy Gowen, a young guitarist from England and Emma Marie, a singer-songwriter from Colorado. The long-distance duo met through Vincent Burkardt at RAMP (Rising Artist Mentorship Program) in Colorado. The two girls recorded between May 2015 – July 2015, and recently released the music video from their duet cover, 5,000 miles apart on Feb. 13.

Witness these talented girls tear up “Sweet Child O Mine” below:

Donna Grantis Feature with PRS Private Stock Custom Guitar

By Gabriella Steffenberg 



Donna Grantis, guitarist for Prince, is featured in a new Guitar World YouTube video where she talks about her Paul Reed Smith (PRS) private stock custom guitar.

Grantis had the opportunity to visit the PRS guitars factory in Stevensville, Md. and was able to see the process that goes on behind the scenes. She was able to collaborate with them to build her dream guitar, based off of the Mira Semi-Hollow, which she finds are perfect for playing rock and funk.

Watch the full feature with Grantis below, view her beautiful guitar, and learn more about what goes into the creation of a PRS private stock custom guitar:

Front and Center: “Let’s Talk Music” idobi Radio Show Host, Sara Scoggins

The WiMN’s Front and Center is a weekly column that showcases accomplished women who work in the music and audio industries. We spotlight successful female performers, manufacturers, retailers, educators, managers, publicists, and everyone else in between. Want to be featured? Learn how here.

Front and Center:  Let’s Talk Music idobi Radio Show Host, Sara Scoggins

By Gabriella Steffenberg

Tech startup by day, radio show host by night, Sara Scoggins does it all. Host of Let’s Talk Music on the alternative internet radio station idobi, Scoggins has a passion for music and is building a name for herself in the music industry.

LTM Photo 2While being able to interview some of her favorite musicians, discover new music, and connect with users worldwide, Scoggins is fulfilling her love of talking about music with “friends” all across the globe.

Find out more about Scoggins below, and head here for more information on her idobi Radio show.

WiMN: Tell us about how Let’s Talk Music came to fruition.

SS: My buddy Matt Vogel, who works with idobi, asked me if I’d ever want to get involved, and of course I was excited at the idea of doing my own thing. The show is basically how I am in my own life so coming up with what I’d want the show to be was pretty easy. I love sharing music with friends and usually can’t wait to share new music with someone, so this was an opportunity to do what with an audience larger than what would fit in my car.

WiMN: What do you love about radio?

SS: I love that they can’t see me! It’s so wonderful to know your audience tunes in just because they appreciate your voice and what you have to say. They don’t care about what kind of clothes you have, or what your hair looks like. They tune in for the most pure reason. Because its fun and they enjoy being part of a community.

WiMN: Outside of your radio show, what do you do?

SS: I work for a tech start up in Los Angeles that’s launching a new app in February (fingers crossed). Hopefully one day you’ll download it.

WiMN: Do you have any memorable interview stories involving musicians you admire?

SS: I talk about this all the time, but I had an especially wonderful experience interviewing Aaron Marsh of Copeland last year. He was very generous with his answers and he was really engaged. I’ve always loved Copeland so it was wonderful to talk to him about anything and everything.

WiMN: Who are your favorite musicians/bands at the moment and why?

SS: Oooh, well even just today a friend I’ve known for a few years suggested I check out The Paper Kites and I can’t stop. He knows me really well so it was a great recommendation. It’s really beautiful and there are some tracks that make you want to dance. I also really loved the Foxing album last year and the new one from The World Is A Beautiful Place & I Am No Longer Afraid To Die. But my all time favorite bands are Jimmy Eat World, Brand New and Paramore. I’ve turned to those albums for years when I need them and they’ve always provided me with what I need.

WiMN: Are there any professionals within the music industry who inspire you?

SS: My peers mostly. idobi is filled with such passionate people and my regular jobs is as well. I’m really inspired by people who build their own path. People who have a ton of conviction and belief that they have something to offer. Anyone who has a vision and isn’t afraid to see it come to life inspires me.

WiMN: What’s the best piece of advice you can give to women within the industry?

SS: My advice to anyone who’s looking to get into the industry is to cultivate a voice. Figure out where you would fit in and where you can possibly disrupt things.

WiMN: Where do you see yourself in 10 years?

SS: Well, I would never have said that I’d be here 10 year ago, so I really don’t know. I think I like it better that way.

Front and Center: Pianist and Singer-Songwriter of Photocomfort, Justine Bowe

The WiMN’s Front and Center is a weekly column that showcases accomplished women who work in the music and audio industries. We spotlight successful female performers, manufacturers, retailers, educators, managers, publicists, and everyone else in between. Want to be featured? Learn how here

Front and Center: Pianist and Singer-Songwriter of Photocomfort, Justine Bowe

By Gabriella Steffenberg

Having played their first live show this past year, the indie rock trio (comprised of Justine Bowe, Gabe Goodman, and Will Radin), Photocomfort, is on the rise. Bowe, the lead vocalist, songwriter, and pianist for Photocomfort, is ready to take center stage and venture into the crazy world that is the music industry.photocomfort

Bowe recently spoke with The WiMN about her favorite things about playing live shows, recording and releasing a new sound, her love for Jenny Lewis, and the best advice she’s ever received. Tune in below for the full interview, and check out Photocomfort’s official websiteFacebookInstagram, and Twitter accounts.

WiMN: What was it like to open for Zella Day in Cambridge, Mass.?

JB: Opening for Zella Day at the Sinclair in Cambridge, Mass. was surreal for us – almost to the level of hilarity. We had never played a show before, and were just tinkering on some songs at our practice space when we got the call asking if we’d like to open up for a sold-out crowd at one of our favorite venues.

All we had wanted to achieve as a goal with our first show was to just get through the set without any major issues. But the Zella Day experience delivered so much more for us, and the crowd was incredible. The weirdest thing was that some folks had come out to see us, which, though I’ve been touring with other bands for years, was the first time to happen for my work. Pretty special.

WiMN: Tell us about Photocomfort’s debut single, “Not Love.” It’s a more electronic/80s-influenced sound than tracks that you and bandmate Gabe Goodman had previously released.

JB: Our single, “Not Love,” was kind of a fun foray into synth pop with some punch. It is definitely the most pop-friendly thing we’ve produced, which is a direction we wanted to explore. So, it’s different from our roots, which are more folk and rock influenced, but we always want to push ourselves to try new things.

The tune we released after that, called “Slowdance,” is definitely a lot truer to our usual form. We’re an unsigned band, so there’s no one telling us what we can and can’t do, what we can and can’t release. We want the tunes that we release to reflect our dynamic interests. Music should be fun to create, but it should also be an intellectual challenge. That’s what we try to convey.

WiMN: What methods have you found work best for your songwriting sessions?

JB: Generally either Gabe and I will come to the table, or in most cases, an email, with some sort of idea that we think is promising or interesting. That idea could be a verse, a chorus, a beat, a few chords – it totally varies. But the most important thing for us is that we’ve figured out a work flow that works for us as individuals and as a team – if we’re working on a tune on the computer and get stuck, we move to acoustic instruments, and vise versa.

The general rule for our songs, though, is that they have to stand up for themselves if we play them acoustically without any fancy production or frills. That rule keeps the songs, the content, and the concepts as the heart of the project, not just the production or the instrumentation.

WiMN: At what moment did you realize you wanted to pursue a career in music?

JB: I didn’t start writing songs until I was seventeen or so. Until then, I had always been a lover of music, and always fell in with a musical crowd. I would have to say at that time there weren’t a lot of cool contemporary stuff for me to turn to and see front women owning the craft of writing and performance.

I think discovering Jenny Lewis changed things for me. Up until then, the ladies I was listening to were from the past, like Joan Baez and Jefferson Airplane. But Jenny was out there making an impact on the scene, and I suppose that’s when I saw myself up there, too. So, I dyed my hair red. Not a good look for me.

WiMN: What do you enjoy doing in your down time?

JB: Nothing makes me happier than hanging out with a group of my buddies and watching a movie. Or baking cookies. Or going for a run around Brighton. Or getting coffee with my parents. But that whole time, I’m usually like, “I should be writing songs…” And then I shut myself up in my room for a while.

WiMN: When did you start playing piano?

JB: I started playing piano when I was probably 7 or 8 years old. The experience was so classic – it was from an old lady who lived up the street, who made me sing while I played, and who gave recitals in her living room. The structure of that didn’t really work for my rebellious stage, which I think lasted until a couple years ago.

What made a real difference for me was taking a few lessons with teachers who saw that even though I had trouble reading music, I was really engaged by improvisational work. One of those teachers even wrote out the score for the first song I ever wrote – I oughta try and find that.

WiMN: What’s the best advice someone has given to you regarding the music industry?

JB: TURN AND RUN – I didn’t take it though. The best advice, which I’m still trying to take into account, is to play a bunch of shows, and to say yes to opportunities. To get comfortable on stage, and to figure out who you’re going to be up there… I’m still figuring that out.

WiMN: Which musicians have inspired you and influenced your sound?

JB: I’ve got a lot of love for some 60s and 70s folk stuff, like early Bob Dylan, Leonard Cohen, Simon & Garfunkel. After that I got into a big Radiohead phase, which of course I haven’t left, as well as The National and Grizzly Bear. All are pretty accessible, yet inventive stuff.

WiMN: What’s your favorite part of playing live shows?

JB: My favorite part about playing live shows is the feeling of completing the circle of song creation. Bringing something from an inspired idea, to a whole song, to a recorded and released product, and then playing that song for people (who hopefully like it!) is the most gratifying conclusion to a lot of really hard work.

WiMN: What are your plans for 2016?

JB: Write, write, write. Write write, write write write write…

Front and Center: Becky Gebhardt and Mona Tavakoli of Raining Jane and Founders of Rock n’ Roll Camp for Girls Los Angeles

The WiMN’s Front and Center is a weekly column that showcases accomplished women who work in the music and audio industries. We spotlight successful female performers, manufacturers, retailers, educators, managers, publicists, and everyone else in between. Want to be featured? Learn how here

Front and Center: Becky Gebhardt and Mona Tavakoli of Raining Jane and founders of Rock n’ Roll Camp for Girls Los Angeles

By Gabriella Steffenberg 

Becky Gebhardt and Mona Tavakoli are determined to make the rock world better for women in music, and they have already made waves. From being in the band Raining Jane together, who have toured with the likes of Sara Bareilles and Jason Mraz (in addition to him producing and co-writing multiple tracks of theirs), and co-founding Rock n’ Roll Camp for Girls in Los Angeles, these ladies are already paving the way for fearless women in the music industry.

MONABECKYCheck out Raining Jane’s website, and find out more about Rock n’ Roll Camp for Girls Los Angeles.

Read below to find out more about these talented and inspiring women.

WiMN: How did your band, Raining Jane, form?

BG: Raining Jane formed before I was a part of it. It all started with a couple of undergrads at UCLA who wanted to put together an all-female band. I didn’t enter the mix until a little while later after they had already been playing gigs. I was introduced to the band through their drummer, Mona Tavakoli. Mona and I became friends while working together in the residence halls. She taught me important social skills like how to hi-five, and she brought me in to Raining Jane.

MT: When I was living in Sproul Hall at UCLA as an undergrad resident assistant I was approached by two girls across the hall. They had seen me play cajon at a flamenco dance class recital and were wondering if I also played drum kit. They wanted to start an all-female folk-rock band and play around Los Angeles. Santa Monica local, Mai Bloomfield (vocals, guitar, cello, women studies major) was also recruited. Over the course of the next few years band members changed. We added Chaska Potter (vocals, guitar, captain of the UCLA bruins volleyball team) and Becky Gebhardt (bass, sitar, cheese lover). Our first show as Raining Jane was at UCLA’s Spring Sing talent show where we played at the Los Angeles Tennis Center performing a medley called “A Tribute to the Women of the Eighties.” Raining Jane took home trophies that night for Best Band, Best Director and Grand Sweepstakes.

WiMN: What have been some of your most memorable shows?

BG: One of the most memorable shows I’ve had the honor to be a part of is “Live Art,” a fundraiser for SPARC (School of the Performing Arts in the Richmond Community). What’s amazing about this show is that it integrates about 200 kids of all abilities, and 50 adults into one big theatrical performance. All kinds of art – music, dance, spoken word, puppetry and even painting – are involved. It’s all about how art breaks down barriers and builds connections between people. It’s a magical experience that has changed me forever.

MT: The best part of being in Raining Jane is all of the opportunities for sharing it has given me. I am grateful for all of the beautiful/weird experiences we have had to share music around the world. There was that one time we drove to a college gig in western Pennsylvania and instead of looking at our technical rider they decided that we were an a cappella group so they only set up 6 vocal mics and nothing else. Don’t worry, we used all the mics- AND IT WAS MEMORABLE. Then there was that time we played in Daegu, Korea and the crowd was so spirited and responsive that we gave them singing parts. Never in my life could I imagine an entire venue in Korea singing along to a Raining Jane song.

WiMN: Who are your biggest musical inspirations and why?

BG: Different musicians inspire me at different times. Two artists that come to mind right away are Kaki King and Anoushka Shankar. I appreciate that they both are such excellent players of their respective instruments and also are doing very innovative things with them. And I just love the sounds they make. Their music is beautiful, interesting, and engaging.

MT: My first musical inspiration was Madonna. As a tiny, hairy 10 year-old I would rock a lace headband bow, draw in a fake beauty mark and sing “true blue” at the top of my lungs. I remember being so moved by her confidence and willingness to engage. Throughout my high school marching band/drum line years I was turned on to Neil Peart, the drummer of Rush. Neil Peart’s creative and musical drumming inspired me to think differently about the role of a drummer in the band. Thank you to Prince, Bjork, Paul Simon, Missy Elliott, Ben Gibbard, Gloria Estefan, Ani Difranco, Tori Amos and Peaches for being some of my favorite writers/performers on the planet as well.

WiMN: When did you know that you wanted to be in the music industry?

BG: I don’t feel like I ever knew I wanted to be in the music industry. I’ve found myself in it because I love being in a band and I love playing music – I wanted to see how far I could take it. I knew I wanted to be in a band when I was 13 years old and it basically progressed gradually from there. Where I’ve been able to go with it has surpassed all of my dreams and expectations.

MT: I don’t think I ever thought I would be in the music industry. I thought I would go to Business School and become a real professional business lady. I just loved playing music with my friends. I loved playing the drums. I loved sharing and singing and laughing. And it all seemed to come together when Raining Jane would play a show. And the shows became a tour and the tours became my life. And now I am playing music as my job. I can’t even believe it. I am so grateful I get to do something that I love with people that I love. And don’t even get me started on the fact that I get to connect and share with people all over the world through music – it’s just too much!

WiMN: What influenced you to found Rock n’ Roll Camp for Girls Los Angeles?

BG: Mona and I had heard about the original Rock n’ Roll Camp for Girls which started in Portland, Oregon in 2001. We went up there to volunteer in 2005 and kept going back after that. The experience of mentoring girls while also being inspired by their bravery and brilliance was super powerful. We knew we needed to start something similar in Los Angeles. L.A. can be so fame-focused sometimes, we wanted to create something that was explicitly not about fame or “making it in the music industry.” It’s really about harnessing the power of music for personal empowerment and rocking at life. However, for girls who do want to consider a job or career in music, this summer camp would be an incredible resource as well.

We really wanted to build a non-competitive space where girls and women could feel safe to fully express themselves and support each other. Now we have a really awesome community of like-minded people that’s sort of a haven. And it’s a reminder that it is possible to effect change and create the world that we wish existed at least for two weeks out of the year, and take those high vibes into the rest of our lives as best as we can. The volunteers end the week as pumped and inspired as the campers do, if not more.

MT: Becky Gebhardt and I had heard about this movement in the Pacific Northwest called the “Rock N’ Roll Camp for Girls” from a publication called Venus Zine. We got in the car and drove from Los Angeles to Portland in the summer of 2005 and spent the week volunteering and teaching girls how to play music TOGETHER. It moved us so much that we knew we wanted to bring this magic to our community in Los Angeles. After Raining Jane took a break from touring full time we were able to get started. We are now in our sixth year of Rock N’ Roll Camp for Girls Los Angeles!

WiMN: What’s the most rewarding part about working with young women in the music scene?

BG: Young people are brilliant and hopeful and creative and when I get to work with them some of that rubs off on me and I am so grateful for that.

MT: I think the most rewarding part about working with young women in music is being able to witness through them how much is changing in the world. I am watching girls of every background come together create together and sing together. As a young girl, I never saw a Persian woman playing the drums. Now I see every kind of woman and girl expressing themselves in ways I never imagined. Rock Camp has helped me discover how passionate I am about creating a safe space for expression and personal growth. Our mission is to create an environment where girls are encouraged to take risks, be loud, take up space, express their true selves and collaborate with their sisters. I am grateful to be a part of this work and movement. It informs my music and the way I engage and approach the world.

WiMN: Have you two ever faced adversity within the industry, just because you’re women?

BG: I don’t feel like I’ve faced adversity just because I’m a woman, but I’ve often wondered how my gender identity has affected how people treat me and perceive me. A lot of times you just don’t know. Sometimes people are just assholes, and as women we have the burden of wondering if it’s because of our gender. Systemic biases are much harder to pin down and point to than an isolated degrading comment, for example. Gender discrimination isn’t always a conscious act and nor is there always tangible evidence to prove it’s happening.

Also my gender presentation isn’t typically feminine so I think that also affects how I am perceived and treated by others too. I’ve definitely heard messed up stories from other women. But I don’t go on auditions and I’m not trying to fit in to other people’s visions of videos or bands, and I’ve never had to work on a team with a lot of men. I roll with a pack of ladies almost all the time (Raining Jane) and since we’re an indie band we make our own choices.

MT: There have been times where dudes were just rude. We have walked into venues and have been asked if we were the girlfriends of the band. I have friends that have had incredible challenges based on their gender identity and the way they look. However, I can see that the landscape is changing and I have a lot of hope for the direction that our industry is headed in.

WiMN: What’s the most valuable lesson you’ve learned throughout your careers?

BG: Don’t be so afraid of making mistakes. My fear of messing up has held me back and it hasn’t been until fairly recently that I’ve really let go of that fear – it’s incredibly freeing.

MT: The most valuable lesson I have learned in my career is to take every opportunity to keep learning and evolving within my craft. There is no substitute for hard work and growth. It helps you lean in deeper into creation and gives you the confidence to share whatever you make. I have also learned that kindness always wins. Work your ass off and be nice while doing it.

WiMN: Do you have any advice for women looking to break into the music industry?

BG: My advice to anyone is to stay true to yourself, be great at what you do, work hard and find mentors. Also be nice and show up early but not too early. There’s definitely no blueprint for how to find success in the industry. Everyone’s path is different.

MT: Dolly Parton said it best: “Find out who you are and do it on purpose.”

WiMN: What does it mean to you to receive a She Rocks Award?

BG: I feel very honored to receive a She Rocks Award. It’s really inspiring to see how the She Rocks Awards have grown over the years. Last year was my first time attending the event. It was an oasis of much-needed acknowledgement and celebration of women by women. It means so much for it to be happening during the NAMM Show and I’m grateful to everyone who has championed it.

MT: It is such a badass honor to receive a She Rocks Award! I am so grateful that this event exists and that we have a place to celebrate the accomplishments of women doing good work in the music industry. Yay She Rocks!

Julia Holter Shares “Silhouette” Video & Announces Headlining US Tour Dates

Silhouette video still

“Silhouette” video still

Following the release of her richly acclaimed new album Have You In My Wilderness, Julia Holter has shared the video for the album’s latest single, “Silhouette,” directed by Rick Bahto. Watch the video now HERE.
Julia Holter performed ‘”Silhouette”’ recently as part of a KEXP session. The session can be viewed HERE, and ‘”Silhouette’” specifically HERE. 
Holter has also announced a run of 2016 North American tour dates. All dates are below, and are on sale this coming Friday, November 20 at 10:00am local time. 
Thurs Jan 28 || San Diego, CA || The Irenic || TIX
Sat Jan 30 || Los Angeles, CA || Teregram Ballroom || TIX
Sun Jan 31 || San Francisco, CA || The Chapel || TIX
Tues Feb 2 || Portland, OR || Holoscene || TIX
Wed Feb 3 || Seattle, WA || Columbia City Theater || TIX
Thurs Feb 4 || Vancouver, BC || The Cobalt  || TIX
Tues Feb 23 || New York, NY || Bowery Ballroom || TIX
Fri Feb 26 || Philadelphia, PA || Johnny Brenda’s || TIX
Have You In My Wilderness is available on CD, digitally, and LP. The album includes the singles ‘”Feel You’” (watch the video HERE) and ‘”Silhouette’” (watch the video HERE) as well as previously released tracks ‘”Sea Calls Me Home’” (watch the video HERE) and ‘”Betsy On The Roof’” (listen to the official audio HERE). Buy from Dom Mart HERE and iTunes HERE.
Praise for Have You In My Wilderness:
“Minimalist patterns and airy lyrics mesh in the songs of Julia Holter, who easily walks the line between classical and pop.” – New York Times
“Enchanting” – Rolling Stone
“It’s a wholly absorbing record, one that doesn’t so much tell a single story as stitch together those tiny snatches of memory that make up our idea of another person” – The Fader
“Soothing and gently unsettling at once” – Mother Jones
“Transcendent” – ­Pitchfork, Best New Music
“A breathtaking headphone record that rewards amplified, focused listening.” LA Times

Emily Wells’ ‘Promise’ – A Soul Record in Baroque Clothing – Out January 29, 2016

Headlining Tour Kicks Off Feb 2; Listen to New Track “You Dream of China” via Brooklyn Vegan: LINK HERE

From Glide Magazine

From Glide Magazine

While composing her new LP Promise, Emily Wells read Joan Didion, ran to Drake and projected Pina Bausch films onto her studio’s walls. The repetitive, agonistic and emotional nature of the dancer’s work is akin to Wells’ practice of building on layers of repetition, disrupting, then building again. Recording it she spent 12-hour stretches holed up alone in her studio over the course of two cathartic years, her patience inspired by light artist James Turrell’s quote, “Not everyone will sit in a darkened room for ten minutes before they begin to see.”

The resulting 11 original songs, out January 29 on her newly minted label Thesis & Instinct, are a meditation on Wells’ life and world view deeply nourished by art and literature. A soul record in baroque clothing, ‘Promise’ reflects on friendship, risk and desire. The cover and title are derived from the installation “Promesa” by Cabella/Carceller, an interdisciplinary collaborative pair of Spanish artists, who lent Wells the work after she discovered it in the book Art and Queer Culture by Catherine Lord and Richard Meyer.

On Promise, Wells is composer, producer and multi-instrumentalist performer proving yet again why NPR praises her as “one woman with the force of a band.” The classically trained violinist builds a cocoon of layered and looped sounds live and on record completely analog–no computers in sight. In addition to violin she plays viola, drums, synth, guitar and bass on the album alongside friends who guest on everything from vibraphone to French horn.

The New Yorker praises Wells’ “moving voice and boundless imagination” while The Guardian UK compliments her ability to “merge different styles at will and create accessible tunes even – or especially – when they’re weirdly melodic, or melodically weird.” She has collaborated with hip hop producer Dan the Automator and as a composer she contributed to the soundtrack and score for Park Chan-Wook’s Stoker and scored Here Is Something Beautiful (Etc.. She will tour in support of Promise in 2016. Tour dates below.

Promise Tracklist:
1. Los Angeles
2. You Dream of China
3. Don’t Use Me Up
4. Pack of Nobodies
5. Take it Easy
6. Come To Me
7. Fallin In On It
8. Antidote
9. Adagio
10. Richard
11. Light Is Drainin

Emily Wells 2016 North American Tour Dates:
2/2 – Washington, DC – Black Cat 
2/3 – Boston, MA – Great Scott
2/4 – New York, NY – Bowery Ballroom
2/5 – Philadelphia, PA – Boot & Saddly
2/8 – Atlanta, GA – The Earl
2/10 – Houston, TX – Rudyard’s
2/11 – Ft. Worth, TX – Lola’s
2/12 – Austin, TX – Stubb’s Jr.
2/15 – Phoenix, AZ – Valley Bar
2/16 – San Diego, CA – The Casbah
2/17 – Los Angeles, CA – The El Rey
2/18 – San Francisco, CA – Bottom of the Hill
2/19 – Portland, OR – Doug Fir
2/20 – Portland, OR – Doug Fir
2/23 – Seattle, WA – Triple Door
2/24 – Spokane, WA – The Bartlett
2/25 – Boise, IN – Neurolux
2/26 – Boise, IN – Cinder Winery
2/27 – Salt Lake City, UT – Kilby Court
3/2 – Denver, CO – Lost Lake
3/3 – Kansas City, MO – The Riot Room
3/4 – Omaha, NE – Slowdown
3/5 – Minneapolis, MN – The Cedar
3/6 – St. Louis, MO – The Luminary
3/9 – Louisville, KY – Zanzabar
3/10 – Indianapolis, IN – White Rabbit Cabaret
3/11 – Chicago, IL – Beat Kitchen
3/12 – Lakewood, OH – Mahall’s