HEAR: “Confessions Pt III” ft. Colin Stetson –

Today, BADBADNOTGOOD is back to share a new song. “Confessions Pt III” features Colin Stetson, and starts out in a measured cadence before rising to a chaotic crescendo. The track is available to stream now, and will be available across all digital platforms 9/22. BADBADNOTGOOD is set to embark on a lengthy fall/winter tour that will take the band through North America and Europe, kicking off in Boston and wrapping up in December in Oakland. Tickets are on sale here.

BADBADNOTGOOD is also announcing a partnership with Carhartt W.I.P. who are sponsoring the upcoming tour and will release a collaborative capsule made in tandem with the band. Hear “Confessions Pt III” (feat. Colin Stetson) above, and see below for full tour routing and to read more about BADBADNOTGOOD.

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Tour Dates:

9/14 – Boston, MA @ Royale

9/15 – Philadelphia, PA @ Theatre of Living Arts

9/16 – New York, NY @ Meadows Festival

9/16 – New York, NY @ Irving Plaza

9/17 – Washington D.C. @ 9:30

9/19 – Asheville, NC @ The Orange Peel

9/20 – Atlanta, GA @ Variety Theater

9/21 – Nashville, TN @ Exit In

9/22 – Champaign, IL@ Pygmalion Festival

9/23 – Kalamazoo, MI @ Audiotree Music Festival

9/24 – Cincinnati, OH @ Midpoint Music Festival 

10/4 – Houston, TX @ Warehouse Live

10/5 – Dallas, TX @ Trees

10/6 – San Antonio, TX @ Paper Tiger

10/8 – Austin, TX @ Austin City Limits

10/10 – Boulder, CO @ Fox Theatre

10/11 – Denver, CO @ Ogden Theatre

10/13 – Joshua Tree, CA @ Desert Daze Festival

10/14 – Miami, FL @ III Points 

10/15 – Austin, TX @ Austin City Limits

10/31 – Ludwigshafen, DE @ Enjoy Jazz

11/1 – Amsterdam, NL @ Paradiso

11/3 – Rotterdam, NL @ Rec Festival

11/4 – Paris, FR @ Pitchfork Paris

11/6 – Cologne. DE @ Bürgerhaus Stollwerck

11/7 – Hamburg, DE @ Mojo Club

11/10 – Warsaw, PL @ Palladium

11/11 – Groningen, NL @ Rockit

11/12 – Berlin, DE @ Astra

11/14 – London, UK @ The Roundhouse

11/15 – Bristol, UK @ Marble Bar

11/16 – Manchester, UK @ The Ritz

12/14 – Seattle, WA @ Showbox

12/15 – Portland, OR @ Rev Hall

12/16 – Oakland, CA @ The Fox Theater



Like musical theatre and scripted television, jazz and hip-hop are uniquely, undeniably North American art forms. Though the latter genre was born out of funk and disco in the late 1970s, many of its landmark artists embody the ethos of jazz: loose, visceral, instinctive. Some hip-hop acts–A Tribe Called Quest, or more recently Kendrick Lamar–have successfully repurposed jazz, but the older genre has seldom made successful inroads into new generations of rap fans. And that’s what makes BADBADNOTGOOD, the four-piece, Toronto-bred jazz outfit that has melded jazz and instrumental hip-hop into something elusive, something altogether their own, so unique.

On their latest full-length effort, IV (due out via Innovative Leisure on July 8th), BBNG decide to expand their universe, which was already one of the most compelling, labyrinthine worlds in pop music today. Saxophonist Leland Whitty, a long-time collaborator, joins Chester Hansen, Matthew Tavares, and Alexander Sowinski on a full-time basis; for the first time, guest vocalists are welcomed into the fold. Some artists find collaboration stressful and cluttering, but BBNG simply seems freer to chase down creative rabbit holes than ever before.

The effect is apparent immediately. See “Lavender,” a collaboration with the Montreal-based producer Kaytranada, which pairs delicate, skittering production with a punishing low end. Or take the virtuosic closer, which underscores superb performances by Whitty and Tavares with a grand swell of strings. On “Hyssop of Love,” upstart Chicago rapper Mick Jenkins moves languidly, stretching out taunts (“I heard your plug was drrrrry”) before he snaps upright (“Never needed no dollars to prove worth”). The result is not just BBNG’s most expansive, most dynamic effort to date, but their best. Lest anyone think the group is only concerned with blurring genre lines, the title track alone is enough to ensure the most discerning jazz purists will have to respect BBNG’s technical chops. IV is a master class in mood.

The opening three-song suite (“And That, Too.,” “Speaking Gently,” and the Samuel T. Herring-assisted “Time Moves Slow”) is a slow, slinking creep, like moving uneasily through an abandoned house. And while BBNG explores different tones on subsequent tracks, that feeling–the search, the push for the unknown–is the prevailing theme. “Chompy’s Paradise” is peaceful and serene, but ends on an uncertain note, unresolved. Like most great artists before them, the quartet understands that it’s more important to raise questions than to answer them.

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