477 songs. 31 hours 15 minutes. It’s a big mix. And I’m always adding to it too.
This week I hit random and chat about what songs pop up. Maybe we unearth a “new-to-you” vintage gem or rediscover an old favorite that had slipped into the back of your mental crate. My favorite number is 13 so…let’s do 13. Cool?
The “work” playlist is a bit of a misnomer. It’s less of a background-noise situation and more of a living, breathing archive—a personal frequency that operates on the “Chris Bro Radio” philosophy.
It’s curated chaos that’s constantly evolving. One minute it’s a deep-cut Seattle anthem, the next it’s a brand-new indie discovery that just dropped this morning. My music listening is all over the place. I’ll link to the full spotify playlist. You can hit random and see what pops up for you.
The Shuffle Challenge
31 hours is a lot of ground to cover. It’s enough time to drive from Seattle to Chicago with a few hours to spare for coffee stops.
The first song to emerge from the 477-track shuffle is a heavyweight. If this playlist was actually picked on by me for a “Chris Bro Radio” post - this would work. You want to start off strong. This is strong.
Song 1: “Heart of a Nation”
Artist: Columbia Mills
Album: Heart of a Nation (2022)
They are Irish. This is a massive, moody blend of indie-rock and “modern shoegaze.” It also a scathing critique of the Irish housing crisis. The track has a “euphoric, upbeat sound” that almost tricks you into thinking it’s a standard indie anthem, but the lyrics are heartbreaking.
Each verse tackles a different perspective of the crisis—from a mother forced to sleep with her children in a police station to the “crooked businessmen” and politicians behind the scenes.
I’ve always picked up on the “Joy Division” DNA: You can hear that dark, ambient post-punk influence (think Joy Division meets The National) where the pulsing beat keeps things danceable even as the subject matter gets heavy.
In Their Words: The track documents the housing crisis in Ireland... It peels back the political rhetoric and looks at the real people affected when the ruling class looks out for themselves.
— Fiachra Treacy, Lead Singer
Next up in the rotation? Damn. Random is on fire. Well played random.
Song 2: “Bad Behavior”
Artist: The Beaches
Album: Future Lovers (2021) / Blame My Ex era
If you’ve been following “Chris Bro Radio,” you know this band is makes Chris Bro happy.. They are spiritual successors to The Runaways, but with a sharp, 21st-century wit.
And this song? It’s an anthem for those moments when you know you’re making questionable choices and are leaning into the chaos. Deciding to enjoy the ride anyway.
Jordan Miller’s bass i’s the heartbeat. There’s a delicious nonchalance in the vocals. It’s half-sung, half-sneered, capturing that specific feeling of being “over it” while simultaneously being right in the middle of it.
In Their Words: We wanted to write songs that felt like us. We’re not perfect, we make mistakes, and sometimes ‘bad behavior’ is just part of the growing process. It’s about owning your flaws and having a damn good time while doing it.
— Jordan Miller, Lead Vocals/Bass
If you are counting at home. 475 songs to go. Next?
The shuffle just took a turn into the introspective. If the first two songs were about external friction and social energy, this one is the quiet, 3:00 AM conversation with yourself.
Song 3: “Off He Goes”
Artist: Pearl Jam
Album: No Code (1996)
The third single from No Code. Acoustic-driven. Slightly ragged. A very “Neil Young-esque” moment.
For years, fans speculated on who the “he” in the song was. Was it a friend struggling with addiction? A distant father? A nod to the late Kurt Cobain? Eventually, Eddie Vedder cleared the air, admitting the song was a mirror.
The “Asshole” Confession: During a show in Poland in 2000, Vedder introduced the song by saying, “This is about being friends with an asshole,” before pointing directly at himself. It’s a song about the realization that you are the unreliable friend who disappears and reappears without warning.
Jack Irons’ drumming here is incredibly subtle. A car traveling down a long, empty highway.
In Their Words: The song ‘Off He Goes’ is really about me being a shit friend. I’ll show up and everything’s great and then all of a sudden I’m outta there...
— Eddie Vedder
What’s next? Let’s see what song 4 has to say.
Song 4 brings us a good flow.
Song 4: “Good Intentions”
Artist: Toad the Wet Sprocket
Album: In Light Syrup (1995) / Friends Soundtrack
“Good Intentions” has a strange history. It was originally recorded in 1991 during the sessions for their platinum album fear. The band famously left it off the record. Why? Because they thought it was too catchy. In the height of the 90s alt-rock era, sounding like you had an obvious “radio hit” was seen as a liability for your indie-cred.
The song sat in a vault until 1995, when it was released on their rarities collection In Light Syrup and featured on the Friends soundtrack.
Glen Phillips wrote this when he was only about 19 or 20. It’s a remarkably mature look at the “gray areas” of life on the road—the struggle to stay true to yourself.
If you see them live these days, they often perform a “bluegrass” version of this song with a prominent mandolin. It started as a joke in rehearsal but became a fan favorite because it highlights the folk-roots at the heart of the songwriting.
In Their Words: It was about general misunderstandings. Operating on the edge of ‘moral okayness’ as a young person... pushing those edges and everybody trying to figure out where they stand in a relationship that way.
— Glen Phillips
4 songs in. We’ve gone from Dublin post-punk to Canadian guitar-rock, through the heart of Seattle grunge, and now into Santa Barbara folk-pop.
This “Chris Bro Radio” shuffle has a hell of a range. Should we keep the randomizer spinning for Song 5?
Next in the shuffle - we hit a song that represents the absolute peak of 90s alternative grandiosity. If “Off He Goes” was a quiet acoustic handshake, this is a cinematic explosion of orchestral angst.
Song 5: “Disarm”
Artist: The Smashing Pumpkins
Album: Siamese Dream (1993)
“Disarm” is a rare bird in the Pumpkins’ early catalog because it doesn’t feature a single electric guitar. Amidst an album known for its “Wall of Sleepy Guitar” fuzz, Billy Corgan opted for an acoustic guitar, a thick layer of strings, and—most famously—a set of tubular bells.
The song is Corgan’s way of confronting the trauma of his own childhood and his shaky relationship with his parents.
And Oh those bells. The Tubular Bells. It gives the song a gothic, church-like weight, making it feel more like a funeral rite for a lost childhood than a radio single.
In Their Words: I didn’t have the guts to kill my parents, so I thought I’d get back at them through song. And rather than have an angry, violent song, I thought I’d write something beautiful and make them realize what tender feelings I have in my heart—and make them feel really bad for treating me like shit.
— Billy Corgan
5 songs down, 472 to go. This set is leaning heavy into the emotional heavyweights today. “Disarm” is the kind of track that demands you stop whatever you’re doing and just feel the years burn for four minutes.
What does the randomizer have for us next? Or are you still recovering from those bells?
Here’s what’s next. Oh OK.
The shuffle just took a sharp turn into the deep South. We’ve moved from the orchestral angst of the ‘90s straight into a smoky, neon-lit bar in Nashville.
Song 6: “Satisfy Me”
Artist: Anderson East
Album: Delilah (2015)
Produced by the legendary Dave Cobb (the man behind Chris Stapleton and Sturgill Simpson). The song was recorded at the iconic FAME Studios in Muscle Shoals, Alabama.
You can practically hear the history in the floorboards on this recording. It’s a relentless, brass-heavy stomp that sounds like it could have been released in 1967, yet it feels completely vital in 2026.
The Muscle Shoals Horns: The rhythm section gives the song its “runaway train” energy.
In Their Words: I just want to make music that feels honest. Those old soul records weren’t perfect, but they had a heartbeat. That’s what we were chasing in Muscle Shoals—that raw, human energy that you can’t fake.
— Anderson East
6 songs down. We’ve officially covered Grunge, Indie-Shoegaze, Alternative Folk, and now Vintage Soul.
31 hours and 15 minutes is a long time, but with shifts like this, it feels like the time is flying. Ready to see if Song 7 keeps the soul alive or pivots back to the rock?
The shuffle just took a sun-drenched turn.
After the high-octane soul of Anderson East, the randomizer has landed on the ultimate “deep breath” track.
Song 7: “Put Your Records On”
Artist: Corinne Bailey Rae
Album: Corinne Bailey Rae (2006)
Before she was a global neo-soul icon, Corinne Bailey Rae was a indie-rocker in a band called Helen. When that project fizzled out, she pivoted toward the jazz and soul influences she grew up with in Leeds. Corinne’s voice had a specific, airy lightness that felt like a fresh breeze.
The acoustic guitar riff that opens the song is instantly recognizable. It has a “lazy” swing to it. It’s not rushing anywhere..
The Bird Calls: If you listen closely to the intro and the bridge, there are subtle bird chirps layered into the production. It’s a small detail that cements the “afternoon in the park” atmosphere.
The “Three Little Birds” Nod: The lyric “Three little birds sat on my window / And they told me I don’t need to worry” is a direct, loving homage to Bob Marley. It’s a musical bridge connecting her 2000s soul to the roots of reggae.
In Their Words: It was about not feeling like you have to be anyone else. I spent so much time trying to fit in, and this song was about that moment where you just decide to let your hair down, put on your favorite record, and be okay with exactly who you are.
— Corinne Bailey Rae
7 songs deep. We’ve gone from the political grit of Columbia Mills to the breezy optimism of Corinne Bailey Rae.
31 hours and 15 minutes of music, and we’ve barely scratched the surface.
Does this one stay in the “Work” rotation for the focus, or is it a “sing-along-at-your-desk” distraction?
What’s the randomizer got for Song 8?
The 477-song shuffle just landed on a cornerstone of power-pop history. If “Chris Bro Radio” has a Mount Rushmore of pure melodic energy, Todd Rundgren’s face is carved right into the center of it.
Song 8: “Couldn’t I Just Tell You”
Artist: Todd Rundgren
Album: Something/Anything? (1972)
You can hear the DNA of this song in everything from Big Star and The Raspberries to Cheap Trick and The Replacements.
The “Wall of Todd”: Because he’s playing everything, there’s a singular, frantic energy to the track. There is a moment where the music almost catches its breath before crashing back into the chorus. It’s a classic songwriting trick that creates a physical sense of release.
The “Fading” Guitar Solo: The solo feels like it’s spiraling upward as the track fades out. Leaving you wanting to hit the back button and hear that riff one more time.
In Their Words: I had a formula for a while... a certain kind of “yearning” song. “Couldn’t I Just Tell You” was part of that transition where I was trying to figure out how to make a pop record that still felt like it had some teeth.
— Todd Rundgren
8 songs down. We’ve officially hit the 1972-2022 timeline spread. Is Song 9 going to keep us in the 70s, or are we jumping back to the future? Let’s hit random and find out.
The shuffle just took a heavy, high-voltage turn. Turn this one up!
Song 9: “You’re No Good”
Artist: Van Halen
Album: Van Halen II (1979)
The Background
Most people know “You’re No Good” as a chart-topping pop hit for Linda Ronstadt in 1975 (and even hers was a cover!). Van Halen took that soulful blueprint and ran it through a Marshall stack. The “Van Halen-ization” process could turn any melody into a hard-rock anthem.
Recorded at Sunset Sound in Hollywood, the track features the classic “Brown Sound” that Eddie Van Halen spent years perfecting.
And I need to talk about that intro: Before the song even starts, you hear Eddie’s guitar “moaning” with heavy feedback and dive-bombs. He uses his volume knob and a flanger effect to make the guitar “breathe.” The Bass “Throb”: Michael Anthony enters with a low, menacing pulse. The “Scratch”: Just before the main riff, there’s that percussive “chug-chug” of muted strings—the literal sound of a coiled spring about to snap.
It’s the ultimate “calm before the storm.” It takes a pop-standard melody and dresses it in leather and shadows before Dave even opens his mouth.
In Their Words: We didn’t just want to play the songs; we wanted to own them. We’d take a song, strip it down to the chassis, and then build a hot rod around it. That’s what “You’re No Good” was—a high-speed chase in a three-minute song.
— David Lee Roth
9 songs down.
We’ve officially hit the 1979 hard-rock peak. From Todd Rundgren’s power-pop to Van Halen’s heavy strut, the “Chris Bro Radio” vibe is leaning into the “Big Guitar” era right now.
31 hours and 15 minutes of music is a lot of territory. Does song 10 keep the volume at 11, or are we heading back to the acoustic side of the street?
Oh man. This song! This song is in “Desert Island” territory. One of my all time favorites.. This and “Oh La La.”
Song 10: “Can’t Find My Way Home”
Artist: Blind Faith
Album: Blind Faith (1969)
The opening seconds are some of the most hauntingly beautiful in the canon of British rock. It starts with an intricate, folk-baroque acoustic guitar. Add “Ghost” Percussion: Ginger Baker is magical on this one.
Blind Faith was the definition of a “flash in the pan.” Featuring Eric Clapton, Steve Winwood, Ginger Baker, and Ric Grech, they lasted for exactly one album and one massive free concert in Hyde Park.
Ginger Baker’s Restraint: Known for his volcanic drumming in Cream, Baker plays with incredible delicacy here.
In Their Words: It was a very acoustic-based song, and I think it stood out because everything else at the time was getting very loud and very heavy. It was a song about a search for identity, really... trying to find where you belong when everything is changing so fast.
— Steve Winwood
We’ve covered the spectrum: from the Dublin streets of Columbia Mills to the supernatural folk of Blind Faith. This playlist has crossed six decades.
NEXT? The 477-song shuffle just pulled a brand-new wild card. We’ve moved from the legendary foundations of Blind Faith into the cutting-edge, moody atmosphere of 2025. If “Chris Bro Radio” is about keeping the ear to the ground for what’s next, this is the proof.
Song 11: “Bitter Honey”
Artist: The eight five two
Single: Bitter Honey (2025)
The Moody Synth Wash. Dark. Cinematic. A crisp, minimalist electronic beat enters—dry and sharp—contrasting perfectly with the flowing synths. When the vocals hit, they have that intimate, “whispered-in-your-ear” quality that defines modern dark pop.
It’s the sound of a private conversation happening in the middle of a crowded, low-lit club.
The eight five two is a family affair, primarily driven by the de la Hoyde brothers (Nicholas, Joseph, Johnathon, and Timothy). The title is classic oxymoron. It explores the relationship that feels sweet and addictive at first but leaves a sharp, painful aftertaste once the reality of the situation sets in.
The “Space” in the Mix: This song uses silence and space as an instrument. It’s a “less is more” approach that makes every beat feel more intentional.
In Their Words: It’s about that contrast—the things that draw you in even when you know they might be bad for you. We wanted the music to feel like that: attractive, smooth, but with an underlying tension that doesn’t quite let you relax.
— The eight five two (Team De La Hoyde)
This is exactly what a “Chris Bro” station should sound like—no boundaries, just great songs that demand to be heard again. Although the “flow” of the mix would be different if I were to rearrange these specific songs.
But that’s not what we are doing here. We hit shuffle. Chris Bro needs to turn off that part of his musixcal brain.
Whoa - the shuffle just kicked into overdrive. If “Chris Bro Radio” had a “Maximum Energy” button, this is it.
Song 12: “Ha Ha Ha Ha (Yeah)”
Artist: White Denim
Album: Stiff (2016)
We’re breaking down the front door with the spirit of 70s soul-rock. The Twin-Guitar Attack: A synchronized, fuzzy riff that feels like a high-speed chase. It’s got that “Stax Records” soul but played at 2x speed. And oooh The Walking Bass: It gives the track a “boogie” feel that makes it impossible to keep your feet still.
The song is a celebration of pure, unadulterated joy—the kind of “Ha Ha” that comes when you finally stop overthinking and just lean into the groove. Listen for the brass stabs in the background. They aren’t there for a jazz solo. They’re punctuation marks. Hitting you right in the chest.
In Their Words: We wanted to make a record that felt like a celebration. ‘Ha Ha Ha Ha’ was just about that feeling of release—getting outside of your own head and just letting the music take over. It’s supposed to be a good time, period.
— James Petralli
12 songs in. 465 to go. We’ve gone from the spiritual depths of Blind Faith to the high-speed garage-soul of White Denim. This “work” playlist is officially a workout.
Is Song 13 going to keep the tempo up, or is the randomizer going to bring us back down to Earth?
The shuffle brings us back to the Pacific Northwest. It’s no shock that the 477-track “Chris Bro” rotation hit PJ again. There’s a lot of Pearl Jam in this mix. Turn off your brain Bro. This may be a big NO GO but for this post - it’s what happened.
Song 13: “Not For You”
Artist: Pearl Jam
Album: Vitalogy (1994)
Abbruzzese’s drums enter with a slow, deliberate march. It’s not a groove you dance to. It’s a rhythm you stomp to.
Released as the second single from Vitalogy. “Not For You” was Eddie Vedder’s manifesto against the commercialization of the “Seattle Sound.” He was watching a culture he helped build get packaged, sold, and diluted by people who didn’t understand the heart of it.
The song was famously debuted on Saturday Night Live before the album even dropped, with Vedder pointing a finger at the camera during the bridge, making it clear that the “you” in the title wasn’t the fans—it was the industry vultures.
The Bridge Breakdown: The music drops out and Eddie repeats “All that’s sacred / Comes from youth.” It’s the eye of the storm before the final, fuzzy explosion. And listen for the way the feedback lingers at the very end. It feels like the band walked out of the room and left the amps humming.
In Their Words: I think there’s a certain self-expression and a certain passion that’s being used and being sold... This song is about the fact that those who are “using” it don’t really own it. They don’t have a right to it.
— Eddie Vedder
We said 13 songs. That was 13. We’ve gone from the 1969 “Desert Island” classics to 2025 dark-pop, and back to the 1994 barricades of Seattle.
Traditionally, one of the golden rules of the mixtape era was “one artist, one track.” Since we just doubled down on the Seattle legends, let’s reset the balance with a fresh voice that’s currently carving out her own space in the alt-rock canon.
Song 14 please…(and I LOVE PJ just don’t be PJ or any of the others that have plays already)
OK - good.
Song 14: “What’s Fair”
Artist: Blondshell (Sabrina Teitelbaum)
Album: If You Asked For A Picture (2025)
Oh man…This isn’t just another track on the pile. This is a band my son claimed as an absolute favorite after hearing it on NEXT. He didn’t find them on a random algorithm or a TikTok trend -No. He picked them up straight from the NEXT airwaves. There’s no better feeling for a dad (or a DJ) than seeing the next generation claim a piece of the curation for themselves.
Love the “quiet-loud” dynamics.
It starts with a simple, slightly melancholic electric guitar line. It’s clean and crystalline, providing a vulnerable bed for the vocals. Just as you’re settling into the indie-folk vibe, the drums and a heavy, fuzzy bass kick in together. It’s a physical shift that turns a bedroom confession into a stadium-ready anthem.
The 90s influence (think Liz Phair or PJ Harvey) is undeniable.
The song doesn’t provide a neat, happy ending. It lingers on the tension.
In Their Words: It’s about the people you love the most also being the people who can hurt you the most. I wanted to write about that feeling of not knowing where you end and someone else begins. It’s messy, but it’s real.
— Sabrina Teitelbaum (Blondshell)
We’ve broken the “no repeats” rule for Pearl Jam, but Blondshell is here to remind us that the next generation of “all-time favorites” is already being written.
There’s a specific kind of magic in that moment of recognition. Te split second where a song clicks into place. Maybe you’re unearthing a “new-to-you” vintage gem that feels like it was written just for this morning. Perhaps you’re suddenly reunited with an old favorite that had slipped into the back of your mind. Lost to the noise of work, life, or just the passage of time.
Whether it’s a fresh discovery or a rediscovered classic, that’s the heart of the “One Big Mix”: finding the sounds that stick, no matter when they were born.
New music is the lifeblood of our culture, representing the evolving sound of the world and providing a fresh perspective that keeps art moving forward. Since streaming alone rarely sustains an artist, your active support—whether through buying merch, attending a show, or sharing a track—is the essential fuel that allows them to keep creating. When a song makes your ears smile - don’t just listen - become a stakeholder in that band’s future by finding a way to help them stay loud.
Welcome to a brand-new edition of NEXT. I’m Chris Bro, and for the next hour, we have one very specific goal: we are going to make your ears smile. Fresh frequencies and sonic discoveries. Let’s get those grins started.
Johnny Blue Skies – “Ain’t That A Bitch”
Coming out of the gate with some heavy-duty grit, this track feels like a long, dusty highway drive into the sunset. If you’ve had one of those weeks, this is the raw, bluesy country-rock anthem you need to turn up and let it all go.
Florence Road – “Break The Girl”
This quartet is proving exactly why they’re the leaders of the new wave of Irish guitar-pop. Built on a conversation lead singer Lily Aron had about watching a friend get treated poorly. This track from their debut mixtape Fall Back blends that classic Cranberries-style ache with a modern, Wolf Alice grit. It’s a beautifully honest reminder that sometimes the best songs come from the toughest conversations.
Triples – “Happy”
Need an immediate, three-minute shot of adrenaline? Triples have you covered with a fuzzy, power-pop burst of pure, unadulterated energy that’ll have you reaching for your skateboard—even if you’ve never owned one.
Two Feet – “The Way She Looks”
This one is for the late-night drivers, defined by a bassline that hits you right in the chest and Two Feet’s signature soulful, breathy vocals. It’s a smooth, seductive track that finds that sweet spot between electronic groove and raw blues.
TA GA DA – “Another Love Song”
This is the antidote to the cliché. TA GA DA delivers a punchy, indie-rock track that doesn’t just ask the question, it demands you to join the chorus, proving that even a broken heart can have a brilliant, catchy hook.
Jack White – “G.O.D. and The Broken Ribs”
If you like your rock and roll slightly unhinged and brilliantly chaotic, Jack White is still the reigning king. This is a jagged, slide-guitar tour de force that sounds exactly like a thunderstorm rolling through a garage.
Wire – “23 Years Too Late (24 Years Later Edit)”
The post-punk legends return with a track that is as tight as it is cerebral. This is a sonic architectural marvel—minimalist, propulsive, and a strong reminder that nobody does atmospheric dread quite like Wire.
Rainbow Kitten Surprise – “Sixteen”
RKS has a gift for blending genres into something completely original, and “Sixteen” is no exception. It’s a nostalgic, genre-bending journey that builds from a quiet acoustic groove into a massive, choir-fueled anthem.
HighSchool – “149”
Coming straight out of the modern shoegaze scene with a bassline that’ll rattle your dashboard. HighSchool delivers a dark, atmospheric track that feels like the soundtrack to a movie about the coolest party you were never invited to.
U2 – “Scars”
Taking a break from the stadiums for something deeply intimate and raw. U2 reminds us with “Scars” that they are masters of the emotional gut-punch, delivering a vulnerable track that explores the quiet architecture of the human heart.
Adult Leisure – “The Light You Attract”
This one is for everyone searching for that perfect slice of guitar-pop with a nostalgic 80s shimmer. It’s a melodic, soaring track about hope and magnetic connection that’ll have you swaying along from the very first beat.
Sharp Pins – “Fall In Love Again”
If your heart is feeling a little rusty, this is the track to get it beating again. Sharp Pins brings a bright, acoustic-driven folk-pop energy that sounds exactly like that first perfect spring morning after a long, cold winter.
The Twilight Sad – “Waiting For the Phone Call”
Nobody does magnificent, roaring melancholy quite like The Twilight Sad. This track is a wall of feedback and raw vocal emotion that captures the agonizing weight of silence better than any song has a right to.
Angine De Poitrine – “Sarniezz”
We’re ending with something completely unexpected from the Canadian rock duo from Saguenay, Quebec. “Sarniezz” is a brilliant, angular, jazzy-punk explosion that sounds like a cartoon fight in a sophisticated art gallery—completely captivating.
—-
And that’s the final note for this week’s session. I hope we hit the mark and left your ears a little happier than we found them. I want to leave you with a thought from the great Victor Hugo: Music expresses that which cannot be said and on which it is impossible to be silent.
If you heard something today you can’t be silent about, go share it with someone. I’m Chris Bro, this has been NEXT, and I’ll catch you right back here next time. Thanks for listening.
This Month on The Drink with Kate Snow: Demi Lovato
Pull up a chair for a conversation that cuts through the typical Hollywood noise. This month, Kate Snow (my wife) sits down with Demi Lovato for a candid, glass-in-hand look at a life lived under the constant hum of the spotlight.
Snow has a knack for creating a space where the celebrity persona fades, leaving room for the real person underneath. Lovato opens up about the evolution of her sound, the hard-won wisdom of her journey, and what it actually looks like to find your own rhythm after years of playing a part.
Plus, we get a look at Demi’s latest creative venture: her brand-new cookbook.
Proof that sometimes the most honest stories—and the best recipes—are shared over a drink.
Link to full podcast
Or the condensed video version on NBC
Music is Life. Live music is good for your soul.
If you love someone hug them right now.
So many good songs here. I saw Toad the Wet Sprocket in the 90s in New Haven, had no clue who they were, and loved them. They have such a distinct sound.
Always love to hear some Todd.
Love this!!! So many of my favorite older songs and a lot of my new faves as well!!
LOVE to see Florence Road here!! They are just sooooo good!!! I got to see them and meet them after they opened for The Last Dinner Party at The Salt Shed in Chicago last night and both bands were incredible!!