Dixie Trahan will be performing this Sunday, April 5 from 11:00 a.m. until noon at the Woodlands Waterway Arts Festival. Known for her powerful vocals, this charming Southern songstress puts on an exciting performance that you won’t want to miss! Besides material from her self-titled debut album (listen to samples here), Dixie pays tribute to some of the greatest women of country music including Patsy Cline
The Woodlands Waterway Arts Festival kicks off on Saturday, April 4 with a Floating Art Parade, showcasing artwork created by local businesses and organizations. For more information, visit www.woodlandsartsfestival.com .
Dixie Trahan packs a powerful punch with her amazing voice
Need a break from your everyday routine? If you’re looking for a great atmosphere, tasty food, and a top notch singer, look no further. Dixie Trahan will be appearing at Pappasito’s Cantina at 10409 I-10 W. at Sam Houston Tollway this Thursday, March 26 from 4:30 – 7:00 P.M. Backing Dixie will be her incredible band, made up of veteran musicians including Skeeter Trahan and Robert DiBlanco.
Dixie’s set list will include such popular songs as Jolene, Atlanta, Seven Year Ache, and Bubbly, as well as selections from her self-titled debut album like I Would Have Missed You, Miss Me, and Too Far Gone.
Come on out to Pappasito’s and enjoy the show – you won’t be disappointed!
Ástor Piazzolla in 1975
Piazzolla was a virtuoso bandoneón player; this is a small Argentinean instrument descended from the concertina, in turn a “cousin” of the accordion. The concertina, a musical instrument European immigrant, evolved into the bandoneón. The difference between the accordion and both of these instruments is that the accordion has a piano-style keyboard on one end and buttons on the other, whereas the concertina and bandoneón have buttons on both ends. The bandoneón is associated with the tango, as is Ástor Piazzolla. Piazzolla had, in his lifetime, various ensembles featuring one or more bandoneóns, and wrote several works incorporating its haunting, reedy sound. He was quite prolific, and moved back and forth from the popular genres to the classical with ease and great naturalness. Early on he was encouraged by Artur Rubenstein, the great pianist, and studied with Alberto Ginastera. He also studied with Nadia Boulanger, whose students included Aaron Copland, among many, many others. Her advice to him was never forget the tango; he listened to her advice, and it is often a feature of his style.
Piazzolla is at one and the same time the quintessential Argentinean and broadly cosmopolitan. Argentina was always in his heart and soul, and yet he worked in Paris and New York City both for extended periods of time. He explored many genres, including an album with famed jazz saxophonist Gerry Mulligan. He also worked in collaboration with several literary and theatrical figures including Jorge Borges and Alberto Muñoz. It is the latter who has a direct connection with the work to be heard on this concert. In 1965 Piazzolla wrote music to accompany a new play by Muñoz, Melenita de oro which he eventually expanded into the Four Seasons Porteño. This suite was first performed in 1970. Again, there is an interesting parallel with Villa-Lobos, who wrote a series of Bachianas Brasileiras as a tribute to Bach with a Latin character. Piazzolla, on the other hand, is obviously paying some tribute to Vivaldi and his Four Seasons, although the Piazzolla has less resemblance to Vivaldi than Villa-Lobos to Bach. As Boulanger suggested, the tango as Piazzolla conceived it has remained at the core of his music, and even his music that is not a tango as such is saturated with a tangoesque quality and passion, so that it is unmistakably Argentinean and through that very fact becomes universal in its appeal.
Check out these links for more of Piazzolla’s music:
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Primavera portena By Astor Piazzolla (1921-1992), arranged by Jose Bragato. Set of performance parts and full score for piano trio (violin, violoncello, piano). Published by Tonos (German import). (TO.20036) See more info… |
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Astor Piazzolla: Verano Porteno and Three Other Pieces By Astor Piazzolla. Arranged by Baltazar Benitez. By Astor Piazzolla; arranged and edited by Baltazar Benitez. For Guitar (Classical). Solos. Chanterelle. Classic. Level: Intermediate-Advanced. Book. 16 pages. Published by Chanterelle. (97426) See more info… |
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Piazzolla Tangos The Phillip Keveren Series. By Astor Piazzolla. Arranged by Phillip Keveren. Piano Solo. Softcover. 56 pages. Published by Hal Leonard. (306870) See more info… |
Todd Fritsch and his band Stampede playing the Hideout at the Houston Livestock Show and Rodeo in 2008.
Todd has reportedly recorded 5 brand new songs with his new production team in Nashville, Tennessee and is ready to present the fresh material to his fans. “I am very excited about this next chapter in my career,” said Fritsch in a recent interview, “my new production team has introduced me to new songs and songwriters and I am very proud to be a part of this team. I can’t wait for the fans to hear the new stuff.”
Now’s your chance to hear his new stuff… bring your friends and check out Todd and his band at the Hideout after ZZ Top this Sunday, March 22. It’s a show you won’t want to miss!
Photo taken from the loft during a wedding at Ashton Gardens in Houston.
Your special day is one of the most important events of your lifetime, so finding the perfect music to suit your wedding is a top priority. Besides the dress, food, and décor, the music you and your partner choose will help to create an atmosphere that is uniquely yours. There is no better way to express how you truly feel about each other than through the musical ambience you will create for this momentous occasion.
Many couples choose a string trio or string quartet to add a sense of elegance or to make their wedding extra special with a live musical performance. Whether walking down the aisle to the traditional strains of Pachelbel’s Canon or the regal rhythm of the Bridal Chorus or more modern selections such as Can’t Help Falling in Love or God Bless the Broken Road, the warm tones of a string ensemble are timeless and always get rave reviews from brides, grooms and guests alike.
Le Jardin provides a lovely setting for an outdoor wedding.
Third Floor Strings frequently perform in Houston, Sugar Land, Missouri City, Spring, Cypress, Galveston and surrounding communities. Recent and upcoming wedding and reception sites include Ashton Gardens in Houston, San Luis Resort in Galveston, Le Jardin Events in Houston, Rockefeller Hall in Houston, Rainbow Lodge in Houston, Saint Patrick Catholic Church in Galveston, Stafford Centre in Stafford, Westlake Club in Houston, and Shoalwater Royale Lodge in Tiki Island.
For more information or to book Third Floor Strings, please contact Sweetgrass Talent. It is our extreme pleasure to recommend this excellent ensemble to entertain you and your guests as you celebrate the beginning of a lifetime of memories together.
Antonín Dvořák (1841-1904) is the Czech nation's best known musical personality.
To Czech-Americans, Antonín Dvořák (1841-1904) was THE hands-down, sentimental favorite Czech composer, often referred to as “Our Antonín.” Dvořák and his music represented the essence, the very heart and soul, of the beautiful mountains, fields, and forests, Prague “the golden,” and the other features that were left behind in “The Old Country.” Dvořák is probably best known and remembered for his magnificent Symphony No. 9, one of the greatest works in the entire symphonic literature, which bears the title, “From the New World.”
The title might lead many to take this to be music by a Czech composer trying to be American. In fact, it is a vast and sweeping impression of “the New World,” the land, the people, the music, the multitude of transplanted cultures blended in “the American melting-pot,” as experienced by a great composer who was thoroughly Czech, and recorded in this marvellous musical form.
It is as if it is a very personal, and yet universal, musical “letter to the folks back home,” telling them of how it feels to be a Czech in this vibrant “New World.” It is also a musical message and testament to the American people, as if to say “look what you have here!” It is well-known that Dvořák was impressed by the wealth of musical folk-culture in North America. It was Dvořák who was largely responsible for bringing to the attention of “serious” musicians in this country the musical riches of the Native American and African-American sub-cultures. Dvořák had been invited to the United States to head the new National Conservatory of Music in New York City; he was there from 1892-1895. During that time, one of his students was Henry Burleigh, an African-American. In some ways, the student became the teacher, as when Dvořák became aware of Burleigh’s knowledge of African-American music and his ability to sing it, he called upon his student to in effect teach him by singing this literature for him. Dvořák also familiarized himself with American Indian music, which he readily recognized as a cultural treasure and an important musical resource.
Another direct source of insight into American culture came from Dvořák’s summer visits to Spillville, Iowa, which is still home to a large Czech-American community. The house in which he stayed while there is, to this day, a tourist attraction. Antonín Dvořák’s father was a butcher, and his son was very proud of the fact that he himself had passed his apprenticeship as a butcher in his mid-teens. He was essentially a working-class man, a “blue-collar” classical composer, if you will. He regularly spent time in Spillville, as he had done in Prague, hobnobbing with, and talking to, working class men over a pitcher of beer. On one occasion, according to an old family story of ours (from a cousin who had lived in Spillville at the time) Dvořák learned that the local butcher was short-staffed, so he walked down to the butcher shop, put on an apron, and cut meat all day. He also played organ in the local church on several occasions. In sum, he thoroughly immersed himself in the transplanted Czech American sub-culture, which became for him a window on the immigrant experience in the United States. It was in Spillville, during the summer of 1893, that Dvořák completed this symphony. It was premiered on December 16, 1893 by the New York Philharmonic at Carnegie Hall with Anton Seidl conducting. It has been a mainstay of the orchestral repertoire ever since.
Dvořák’s symphony, and his ideas about American folk-sources, had a profound, multi-layered influence on American music. On the one hand, tunes from this symphony actually became popular, and were fitted with texts. The best-known example is the tune known to most as “Goin’ Home,” which has often been misidentified regarding its origin: one writer described it as “a Negro folk-tune used by Dvořák.” Well, “the shoe was on the other foot,” so to speak. It was one of many melodies created by Dvořák out of his internalization of American musical sources, and it has become enormously popular and universally loved as “Goin’ Home.”
On the other hand, American composers, having been given the notion and the blessing of a major European composer, now felt both free and encouraged to turn to their own North American musical roots. One of the chief among these was the great American composer, Charles Ives (1874-1954), whose Symphony No. 1 is redolent with the sound of Dvořák, but takes a delightful “wrong turn” here and there. Ives subsequently relied heavily on the utilization of American musical sources for the creation of his original and complex works, and in the opinion of this writer this would have been unthinkable without the influence of Dvořák. Charles Ives is one of dozens of American composers strongly influenced by Dvořák. Much of the North American orchestral sound in particular is, to a large extent, a Dvořák sound. To paraphrase a famous title, when it comes to the stream of post-1893 American classical music, “A. Dvořák runs through it.”
** Article by Monte Keene Pishny-Floyd **
To purchase the music, check these suggested links:
Study Score with CD:
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Dvorak – Symphony No. 9 in E Minor (From the New World) Score & Sound Masterworks. By Antonin Dvorak. Study Score with CD. Softcover with CD. 88 pages. Published by Hal Leonard. (220053) See more info… |
Easy piano solos:
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Symphonic Themes Made Easy for Piano Solo. By Edvard Grieg, Camille Saint-Saens, Antonin Dvorak. Arranged by John Brimhall. Solo piano. For Piano Solo. Great Music Made Easy Masterwork Series. Solo part. 48 pages. Published by Carl Fischer. (PL1114) See more info… |
HOUSTON (March 14, 2009) – The Fort Bend Symphony Orchestra, under the musical direction of Héctor Agüero, Jr., will be presenting a concert entitled “A Night in Vienna” on Saturday, March 28, 2009 at 7:00 p.m. This concert is made possible by generous support from TIAA-CREF/Four Oaks Place.
Escape with the Orchestra as they take you on a musical journey to the beautiful city of Vienna. This program of waltzes, polkas, and Austrian songs is sure to have you feeling carefree in no time at all!
The program will include the Tritsch Tratsch Polka and The Blue Danube by Johann Strauss, Jr., and the Radetzky March by Johann Strauss, Sr. Also featured is Laura Agüero, soprano, singing selections from Des Knaben Wunderhorn and Songs to Poems by Rueckert by Gustav Mahler.
Also featured will be the winners of the Houston Music Teachers Association/Houston Young Artist Concert Concerto Competition. Jesse Lozano, Senior Division Winner, will be the soloist for the first movement of Piano Concerto in G Major by Maurice Ravel, while Winston Wu, Junior Division Winner, will be the soloist for the first movement of Piano Concerto No. 1 in B-flat minor by Pyotr Ilyich Tchaikovsky.
The concert is scheduled for Saturday, March 28, 2009 at 7:00 p.m. at First United Methodist Church, located at the corner of FM 1092 and Lexington Boulevard in Missouri City. Ticket prices are $15 for adults; $10 for seniors/students; and children 12 and under are free. For more information or to purchase tickets, please visit www.fbso.org or call (281) 276-9642.
Biographies of Soloists:
Laura Agüero is an emerging young soprano from Texas.
Laura Agüero is an emerging young soprano from Texas. She received her Master’s degree in vocal performance from Texas Tech University in Lubbock. She has performed the role of Norina with the Pine Mountain Music Festival in a production of Donizetti’s Don Pasquale. Mrs. Agüero has also been featured as Marenka in The Bartered Bride, Zerlina in Don Giovanni, First Lady in Die Zauberflöte, and Miss Titmouse in Too Many Sopranos. She has performed with the Cedar Rapids Opera Theatre as Annina in La Traviata.
In addition to her work on the operatic stage, Mrs. Agüero is an active recitalist. She has participated in several recitals throughout the northern United States. Her other oratorio and symphonic engagements have included Mozart’s Exsultate Jubilate, Brahms’ Neue Liebeslieder, Bach’s St. John Passion, and as a soloist with the Midland-Odessa Symphony and Chorale and the Woodlands Symphony Orchestra.
Young musician Jesse Lozano will take the stage with the Fort Bend Symphony Orchestra later this month.
Jesse Lozano has been studying piano since 2nd grade. For eight years he studied with Sandy Toews, and for the last two years he has studied with Dr. Dariusz Pawlas in the Rice University Preparatory Program. Jesse is in the 11th grade at Cypress Springs High School. He plays trombone and is drum major, but his favorite instrument is the piano because, as Jesse says, on the piano he can play a whole symphony with his hands.
Jesse is also a composer. He composed his first piece in 5th grade, and since has won many state and national competitions for his original compositions. One of his first full-length piano pieces, “Circus Rag,” composed at the age of 12, was published when he was just 13 years old.
This past summer, Jesse was one of 10 young composers selected from over 50 countries to be admitted to Interlochen Arts Camp in northern Michigan. He recently decided to attend the Interlochen Arts Academy for his final year of high school, after which he hopes to study piano and musical composition at a music conservatory.
Winston Wu will be a featured performer with the Fort Bend Symphony Orchestra later this month.
Winston Wu is a 15-year-old sophomore at Friendswood High School. He started playing piano at the age of five, and he is currently studying with Mr. William Chaisson. Winston has won numerous awards at piano competitions in the Houston area. Last year, he won in the Junior Division of the Clear Lake Symphony concerto competition and had the opportunity to perform Lizst’s Totentanz with the Clear Lake Symphony. He enjoys piano composition and teaching piano to younger children. Winston is also a percussionist in the Friendswood High School Wind Ensemble, where he plays the marimba.
In school, he likes computer science and computer applications. He has won several awards at computer competitions at the local and state level, and is a member of the school’s UIL Computer Applications team. He enjoys spelling and won the school spelling bee twice. As a member of the UIL Spelling team, he has won awards at local invitationals. He enjoys Latin, and is an active member of the Latin Club. In addition to his other achievements, Winston is a member of the National Honor Society.
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Houston's premier groove team - The White Lion Rhythm Section
The White Lion Rhythm Section is based out of Houston, Texas and has established itself as one of the premier rhythm sections for live shows and recording sessions.
Drummer Joe DeLeon and bassist Robert DiBlanco make up this “grooving” rhythm section team that looks back on numerous years of experience in the studios and stages around the world. Artists like Doug Supernaw, Todd Fritsch, Jarrod Birmingham, Clay Farmer, Zona Jones, Johnny Bush, The Tearjerkers, Dixie Trahan, Cooper Wade, Celeste Terrell, Patrick Murphy, John Slaughter, Neil Austin Imber and many more have used the services of the White Lion Rhythm Section in the past and present because of their expertise and talent.
The White Lion Rhythm Section currently works with Sweetgrass Talent artists Todd Fritsch, Dixie Trahan, the Armadillo Playboys and Celeste Terrell.
Click here to visit the White Lion Rhythm Section on MySpace!
CYPRESS, TX (March 10, 2009) -
Cypress based SWEETGRASS TALENT GROUP launched the beta version of their new website today. The official launch date for the site is set for April 1st, 2009.
With a growing talent roster and a growing clientele, Sweetgrass Talent decided to update their web presence in order to fulfill their current and future needs. The website work was accomplished with the help of Houston based companies RoBiCom and Sounds of Texas, the latter being responsible for most of the programming work and RoBiCom providing the hosting solution.
Excerpt of a Nashville Number System chart
The answer to all of these questions lies in a little-known solution called the Nashville Number System. This fairly simple system to write down music is widespread in the Country Music field (especially in the studio/session world). Its origins can be traced back to Elvis Presley’s harmony singers, in particular Neil Mathews of the Jordanaires. He devised this musical number system to be used in the recording studio. After Charlie McCoy saw this method he and countless other musicians and session leaders adapted the system to their own needs and used it on many sessions. Today it has evolved into a complete method of writing charts for sessions (sometimes it is also referred to as the “Nashville Shorthand”).
One of the main advantages of the Nashville Number System is the fact that its way of notating a song is completely key-independent. This comes in very handy in the recording studio, where a lot of times keys have to be changed on-the-fly to accommodate singers’ vocal ranges and preferences.
As there are no standards and rules for the Nashville Number System, everybody can and has made their own little set of rules – therefore you can find charts written in different ways for the same song. Once you ‘get the picture’ of how the system works, you should be able to quickly adapt to anybody’s customized style and play any song (in any key) right away.
To find more detailed information about the Nashville Number System, please visit Chas Williams’ website and order his outstanding book on this very helpful way to jot down the songs you learn/play.
Robert DiBlanco, charts@diblanco.com
April 3, 2008, 9:38AM
Dixie Trahan
In The Land of Dixie
By JOEY GUERRA, Copyright Houston Chronicle 2008
Dixie Trahan smiles when she remembers her little-girl dreams of being a grown-up star.
“I used to stand up on the side of the bathtub, in front of the mirror, with my dad’s hairbrush for a microphone and just sing for hours,” she says.
Sweet dreams that, for most kids, dissolve when reality sets in a few years later. But Trahan held onto that optimism — and channeled it into her self-titled debut disc, an alternately sweet, slick and kicky set of country tunes.
The highlight is her delicate, soulful voice, which has rightfully earned comparisons to Alison Krauss but also boasts shades of Pam Tillis.
“Country music has just always been a constant for me, whether it’s a love song or a hell-raisin’ song,” Trahan says. “It fits just about any mood. It just lets you express so much emotion.”
Trahan says her record has been a “long-time coming.” That’s an understatement, to say the (very, very) least.
Her father was a pastor and eventually took the family on the road for full-time music evangelism. That meant constant moving and, at times, mobile living between gigs. Trahan was born in Kansas, moved to Texas two weeks later and was living in Canada within a few years.
“My parents were always singing. They would sing with other couples, the old church quartets, and stuff like that,” she says.
“I grew up playing in the church while they were practicing. I remember rolling under the pews. Anything you could do to pass the time.”
A formal family band inevitably developed. They toured churches, recorded albums and spent a summer doing a show in Branson, MO.
“There was no, ’I don’t feel good today. I’m not singing.’ We did the job,” she says.
Trahan toured with her family until she was 17 years old, prime time to perhaps embark on a solo career. But, as the title to one of her songs goes, life had other plans.
She met and married her husband, Skeeter, and the pair settled in Houston and had three kids — now ages 10, 13 and 16 (and all musical).
About three years ago, Trahan decided to give music another go, on her terms. She recorded her self-titled effort in Nashville, a collection of “positive,” hopeful tunes highlighted by the autobiographical Back To Me and You, which she co-wrote with her husband.
“I realize I really am a baby duck at all this,” Trahan says. “My experience in the industry, in the Texas market — I’m just starting with all that. But I can’t imagine anything better at this point.”
She found a “kindred spirit” in Bruce Wiggins of local country act Drywater, who was looking to add a female vocalist into the mix. Trahan has been gigging with the group for about two months. Wiggins also is helping manage her career.
“It was the first time Dixie had been to a bar in her entire life,” Wiggins says of that first show.
“She came onstage for the first time with us — no rehearsal or anything — and we played two songs that just went without a hitch.”
That’s a far cry from gospel quartets and church revivals. But for Trahan, it’s all part of the same journey.
“Whether I’m playing in a bar, playing in a church or singing in the elevator on my way to the office in the morning, for me, it’s all an expression of who I am,” she says.
“The reality is that I am right where I am supposed to be.”
Todd Fritsch and his band were part of another record breaking year at the World Championship Bar-B-Que contest in February 2009. According to the official Houston Livestock Show & Rodeo website (www.hlsr.com) all three days resulted in new attendance records (THU 34,223 – FRI 76,889 – SAT 106,528 => combined attendance of 217,640).
Todd Fritsch played all three nights at the 777 cookers tent, with guest appearances at the CGG Veritas and Candlelighter’s tents. He was also a featured performer at the Garden Stage on Friday, February 27th 2009.
The Texas based performer will conclude his “Rodeo season” with a concert at the HIDEOUT after-party on the last day of this year’s Houston Livestock Show & Rodeo on March 22nd 2009 – with his fellow Texans ZZ TOP being the featured Rodeo performers that same night.
All attendance figures provided by www.hlsr.com.
SADDLE UP WITH TODD
Horse lovers and fans of country music will have a chance to (virtually) saddle up with Todd Fritsch and author Lisa Wysocky to discuss their passions during the Horse Country Q & A podcast that originates from Nashville on Tuesday, February 24 from 8 – 9 p.m. CST
Horse Country: A Celebration of Country Music and the Love of Horses (Lyons Press, 2008) is a hard cover coffee table style book that invites readers into the private world these country music stars share with some of their closest friends – their beloved horses. The book features heartwarming stories and beautiful color photography of twenty-seven artists, including: Fritsch, Eddie Montgomery (Montgomery Gentry), Toby Keith, Willie Nelson, Clay Walker, Hal Ketchum, and more. For more details on the podcast, go to Todds web site.
And then for all you Houston area folks, tune into Great Day Houston (KHOU-TV / CBS CH 11) on February 26 when Todd performs Texas Talkin’ live in the studio during the program’s 9 – 10 a.m. slot.
Written by Katie Key for KeyNotes, Wednesday – February 25, 2008
Todd Fritsch will be the featured guest on a podcast about country music stars and their horses on TONIGHT from 8:00 – 9:00 p.m. central standard time (CST). You can listen to the podcast by following the instructions below, and you can also email a question to Lisa or Todd before or during the podcast. Instructions for that are also below.
The podcast is hosted by Lisa Wysocky, author of Horse Country: A Celebration of Country Music and the Love of Horses. The first half Lysa will be talking about Todd, his horses and horse experiences, and any new project(s) on the horizon. They also will answer as many emails from fans as possible. The second half they will discuss horse stories, horse training and general horse questions from fans. A few things to note:
Podcast call space is limited, so participants should call 218-844-8230 (followed by the access code 199874#) a few minutes before the podcast begins to register. Fans can also ask Todd questions by sending an email (either before or during the event) to lisainfo@comcast.net; in the subject line, enter “PODCAST QUESTION” and include first and last name, city and state (and country if from outside of the U.S.) in the body of the email.
Click here to listen to the recorded podcast (*.WAV format) !!!
Saddle Up With Todd Fritsch & Lisa Wysocky For
“Horse Country” Podcast Tuesday, February 24
At 8 p.m. CST
Click ‘Read More …’ to read the complete Press Release.
George Strait once sang “When you hear twin fiddles and a steel guitar, you’re listening to the sound of the American Heart” and that’s exactly what is happening when you listen to Todd Fritsch’s sophomore album “Sawdust.” Released in 2007 on Spinville Records, the album features a steady package of seventeen songs that couldn’t be considered anything but country music.
Here is the a recording of TODD FRITSCHs 9 ½ minute interview that aired
on 11 stations in the mid-West the weekend of February 13-15 2009 on YOUR COUNTRY REVIEW radio show.
Click here to listen to the interview!
Guitars, Spare Ribs & Honky Tonk Music – Todd Fritsch Performs Before, During & After This Year’s Houston Livestock Show & Rodeo
Click ‘Read More …’ to read the complete Press Release.
RODEO’N
RodeoHouston is coming up and our friend Todd Fritsch will be there! Todd and his band return to the Rodeo grounds for “pre-rodeo” events, including four private-party shows and a performance from the Main Stage at the legendary Rodeo Houston BBQ Cook-Off. Todd will be a celebrity judge during the Cook-Off and “wrap” the Rodeo on March 22 as the final act of this year’s Hideout.
Written by Katie Key for Key Notes, February 10th 2009, www.texasmusicchart.com/Pages/Keynote.htm
Steve Martin of Backstage Country interviews Todd Fritsch about the new single and anything new.
Click here to listen to the interview!
