Weyes Blood has 2017 North American and European tour dates supporting Father John Misty

[Photo Credit: Katie Miller]

Yes indeed! We signed Weyes Blood (!!!) aka Natalie Mering for the world, to release her label debut in 2018. We’ve been longtime fans of the Los Angeles-based musician/singer’s work, from her four releases for Mexican Summer, as well as her collaborations with the likes of Ariel Pink, Perfume Genius, and Drugdealer.

Weyes Blood’s most recent release is the universally acclaimed, Front Row Seat To Earth. Pitchfork gave the album “Best New Music” and said, “…She crafts emotional epics that masquerade as psych-folk ballads, subtly symphonic songs that are informed by yesterday but live and breathe right now.” The Fader raved, “The exceptional voice of Natalie Mering never ceases to sweep us off our feet…” And NPR Music offers this, “She embraces composure as a response to her generation’s uneasiness with the ruination of the planet and fading promises of stability and prosperity. Rather than treating gentleness and grace as liabilities, she refracts her kinship with the voices of ’60s folksingers like Joan Baez and Mary Travers, ’70s soft rockers like Karen Carpenter, and Celtic new-age stylists like Enya — particularly their dulcet timbres, cursive phrasing and willowy vibratos — through her own vision.”

While we wait for the new album, Weyes Blood has just released a new 7” single via Mexican Summer [link here]. The single featuring covers of Soft Machine’s “A Certain Kind” and Fred Neil’s song “Everybody’s Talkin”. “Everybody’s Talkin’” b/w “A Certain Kind” is a capsule of Mering’s care for those artists and songs that have influenced her but also a discovery of a different kind — the words and melodies become Mering’s and ours through her intimate interpretation and commitment to seeking culture’s fringes for deeper meaning. For more information on the single, please visit mexicansummer.com.

Now is the time to follow Weyes Blood everywhere, including but not limited to subpop.com | Spotify | Bandcamp | Facebook | Twitter | Instagram

About Weyes Blood:

Natalie Mering aka Weyes Blood has released three full-length albums, a couple EPs, and has collaborated with such acts as Ariel Pink, Drugdealer and Perfume Genius. Mering’s entire output thus far has been an exercise in exploring the atemporal. She is a musician and a singer, after all, but the particular process of Weyes Blood’s development and Mering’s experimentation, with everything from her early days of local-noise-scene strangeness, to her present mastery of timeless balladry highlight her as a meticulous sonic alchemist.



The Innocents, Weyes Blood’s Mexican Summer debut, deepened and broadened the shimmering murkiness of her earlier album, The Outside Room, by shaving away the fuzzy lo-fi production to reveal a classic and singular songwriting ability.



Cardamom Times, the EP that followed, went further down the folky, lyrically evocative path that The Innocents traveled. The influence of classical music can be felt throughout these two works, rivaling the folk music lineage one may like to situate Mering’s songs.



Weyes Blood’s most recent album, the critically acclaimed Front Row Seat To Earth, captivates immediately with its frank clarity in both sound and word. Still retaining the deep influence of the classical while also blending in noise experimentations, Mering is at her most intimate and vulnerable here, due in large part to her stunning vocals and simple, essential lyrical phrasing.



Weyes Blood is currently touring and working on her Sub Pop debut which will be released in 2018.



Weyes Blood Tour Dates + Ticket Links

Weyes Blood will also act as direct support on Father John Misty’s forthcoming North American and European fall tour in some of the largest rooms she’s played to date. The tour begins September 18th with a sold out show at Toronto’s Massey Hall and ends November 20th at Lisbon’s Coliseu dos Recreios. Along the way, she’ll play one-offs at The Institute of Contemporary Art in Boston, Pop Montreal and Joshua Tree’s Desert Daze.

Sep. 14 - Boston, MA - The Institute of Contemporary Art

Sep. 18 - Toronto, ON - Massey Hall * [SOLD OUT]

Sep. 19 - Royal Oak, MI - Royal Oak Music Theatre *

Sep. 20 - Chicago, IL - Auditorium Theatre *

Sep. 21 - Grand Rapids, MI - Covenant Fine Arts Center Auditorium

Sep. 22 - St. Louis, MO - Peabody Opera House *

Sep. 23 - Columbus, OH - Palace Theatre *

Sep. 25 - Asheville, NC - Thomas Wolfe Auditorium *

Sep. 26 - Nashville, TN - Ryman Auditorium * [SOLD OUT]

Sep. 27 - Atlanta, GA - The Tabernacle *

Sep. 29 - Austin, TX - Bass Concert Hall * [SOLD OUT]

Sep. 30 - Dallas, TX - Bomb Factory *

Oct. 01 - Houston, TX - White Oak Music Hall *

Oct. 02 - Austin, TX - Bass Concert Hall *

Oct. 04 - Phoenix, AZ - Orpheum Theatre *

Oct. 05 - San Diego, CA - The Observatory North Park *

Oct. 06 - San Diego, CA - The Observatory North Park * [SOLD OUT]

Oct. 11 - Santa Barbara, CA - Arlington Theatre *

Oct. 12 - Las Vegas, NV - Brooklyn Bowl *

Oct. 13 - Los Angeles, CA - Greek Theatre *

Oct. 14 - Pomona, CA - Fox Theater Pomona *

Oct. 15 - Joshua Tree, CA - Desert Daze

Nov. 01 - Edinburgh, UK - Usher Hall *

Nov. 02 - Glasgow, UK - O2 Academy *

Nov. 04 - Cardiff, UK - The Great Hall * [SOLD OUT]

Nov. 05 - Manchester, UK - O2 Apollo * [SOLD OUT]

Nov. 07 - London,UK - Hammersmith Eventim Apollo * [SOLD OUT]

Nov. 08 - London, UK - Hammersmith Eventim Apollo *

Nov. 09 - Brighton, UK - Brighton Dome *

Nov. 11 - Paris, FR - Le Trianon *

Nov. 12 - Brussels, BE - Ancienne Belgique *

Nov. 13 - Utrecht, NL - TivoliVredenburg *

Nov. 14 - Berlin, DE - Huxley’s *

Nov. 16 - Milan, IT - Fabrique *

Nov. 18 - Barcelona, ES - Razzmatazz *

Nov. 19 - Madrid, ES - La Riviera *

Nov. 20 - Lisbon, PT - Coliseu dos Recreios *

* w/ Father John Misty







What “The People” have said about Weyes Blood and Front Row Seat to Earth:



What people have said about Weyes Blood and Front Row Seat to Earth:



“Weyes Blood captures a particular sort of generational anxiety and mystery on her fourth album, a softly orchestrated work of pensive, symphonic folk.” - Los Angeles Times



“Singer to watch” - Esquire



“…’60s-leaning throwback bursting with cinematic harmonies, a lysergic, dream-like melody, and vocals that sound like they were dug up from ’70s-era Laurel Canyon and Downey, when the likes of Joni Mitchell and the Carpenters roamed…” - Elle



***** - The Guardian



“Mering envelopes hearts with her mournful, full-throated bellow, which would have been just as at home in the folk-heavy ’70s as it is in 2016.” - Newsweek

