Jennifer and Jessica Clavin of Bleached // Photo: Nicky Giraffe

Bleached Talk Touring, Sobriety and Being Kind to Your Inner Teenager

Sisters Jennifer and Jessica Clavin have a longstanding history with music. Growing up around the entertainment world in Los Angeles with a parent in the industry, they took to the craft at a young age and eventually went on to form punk band Mika Miko. After the dissolution of that group, the Clavin sisters came together once again to form Bleached, an honest but relatable, realistic but still sunny, band that’s been around since 2011.

While anyone in the music industry for as long as these sisters is bound to look for inspiration in different places, it truly came from the unexpected on their most recent album cycle – getting sober. As the sisters exited a hiatus and worked to improve themselves and their music, they found going through this change (and doing it together) was an empowering and vulnerable way to make music. On Tap chatted with Jennifer (vocals, guitar and synths) about this life changing process, life on the road and learning to have self-compassion ahead of their upcoming stop in DC.

On Tap: Your new album Don’t You Think You’ve Had Enough has been out in the world since July. Now that you’re a few months into the album cycle, what’s it been like being on tour and hearing fan responses?
Jennifer Clavin: I think we’ve got three or four shows on the tour so far. The fan reactions are just so positive and uplifting. Sometimes there are these weird downtimes where you make the record and then you put it down, and you’re just kinda sitting with it before it comes out. And then [the record] came out and then…it’s not really until the live shows I think [we] can really tell [what the response is]. So far it’s been awesome.

OT: Has anything surprised you about the way that fans have responded to the album in general, or to certain songs?
JC: It’s funny because when we were first putting together the album, we didn’t know what songs to make the singles. Like there was a debate between us and our manager and the label. And so now I have proof that “Daydream” and “Somebody Dial Nine One One” are a lot of people’s favorites. And then likewise, I can tell everyone gets super excited for “Hard to Kill.”

OT: You’ve talked a lot about how your sobriety kind of affected your songwriting process and musicianship. Walk me through how that affected this album and why you guys decided to make this change in your life.
JC: Well, it wasn’t a planned decision. I woke up one morning and I was like, ‘I can’t live my life like this anymore.’ I just decided I needed to get sober and then when we started getting the record [together], it was just a very different type of experience than I’d had writing previous records. I feel like the biggest thing was just being present with everything: with every thought, with every feeling, with every reaction. When in the past I could literally check out if I wanted to with drugs or alcohol, which I would do. It was really cool to be more a part of the whole experience.

I guess sometimes it can be scary, right? Just having to be present for all of that and not having the option to check out. But I had to find other ways and use other tools, whether it be meditation, going outside, walking down the street and getting an iced tea or talking to friends. When we were doing the lyrics, I was just thinking about so much stuff from my past that I was trying to let go of. And so singing it over and over and over again, I was just like, ‘I feel insane.’

OT: Yeah. I think a lot about how I have songs that mean so much to me that I can’t listen to anymore because they just affect me emotionally. So I can’t imagine, as a musician – especially for you all, who have been making music for such a long time – having these almost constant reminders of certain parts of your life.
JC: Yeah, totally. It’s similar to that. I remember one time not-so-long-ago we were in Amsterdam playing a show and there was a song about my boyfriend at the time and then we ended up breaking up and I remember playing that [song that] night, crying and trying not to let anybody see that I was crying on stage. Even the process of having to say the lyrics over and over, it was like a form of letting go in a way. But this is one of my most favorite records we’ve ever written. So it’s showed me that doing this whole thing sober and being present actually produced the best record, in my opinion. 

OT: I’ve noticed an uptick in people, especially in creative circles, embracing sobriety. I recently read a book called Sober Curious about someone who was a journalist and then went on a similar journey. It’s just very interesting to see almost a prioritization of overall health, and actually being with your feelings. As somebody who’s gone through getting sober and making this change, why do you think people are starting to be more cognizant of their drinking habits?
JC: [People] have talked about how to do it [on] social media. There are people being super honest about their struggles and their journey – people that we and other people look up to. I feel like that probably is such a big part of it. I think before, you never really knew what other people were going through. You felt very alone in that journey if you were trying to get sober. Now, there’s just so much more support. I feel like that’s almost like the most important ingredient in sobriety is having that support and not just like isolating yourself.

OT: You and your sister have been in the music world for quite a while now, as Bleached and past projects. You also grew up in the music world. How has your relationship with music, personally and professionally, changed over time.
JC: That’s a really good question, because we’re actually on tour with these younger girls right now called The Paranoyds. They were all big fans of our first band, Mika Miko. Watching them is really taking me back to when I first started playing music, first started going on tour, [and was] trying to figure stuff out. It’s funny cause I didn’t have any confidence back then but they all seem, at least to me, very confident and sure of themselves. It’s just really cool to watch and be like, ‘Oh, I probably was, I was cool like them, too.’ But I just didn’t know it because I was so insecure. Now over time, I’ve been being more loving toward myself and having more compassion and just working on myself to where I can now play a song and just feel super proud. 

OT: I always think it’s interesting how, having been a former teenage girl, I have so much compassion for them. I didn’t have that same compassion for myself at the time I was that age, though. I recently started to reflect on how teenage me is still there, too, and I still need to be nice to her and to my current self.
JC: Exactly. That’s another thing, as we are playing these shows and seeing [teenage girls] there it has been bringing back that exciting feeling I feel you kind of lose along the way. Where everything’s so new and maybe it’s a little scary. It’s also just really exciting, you know? And it’s like, just where my brain is right now, too. 

Bleached plays U Street Music Hall on Tuesday, September 17. For more on their new record, visit

U Street Music Hall: 1115 U St. NW, DC; 202-588-1889;

Photo: Courtesy of Ezra Furman

Ezra Furman is Excited About Lunch

Tomorrow, punk-ebullient artist Ezra Furman comes to U Street Music Hall with ex-Deerhunters and ex-Carnivores, Omni. Furman is still touring his 2018 record Transangelic Exodus, a work that rings of inspirations like Woody Guthrie and Bruce Springsteen. However, his take on Americana is queer and it’s the good time we’ve been looking for.

Furman played a wild show at Rock & Roll Hotel last March, one of the funnest I’ve been to, so I jumped at the chance to talk to him, even if only via email. Furman was a fun pen pal though, and I got to ask him about his latest single, a cover of Vampire Weekend’sUnbelievers,” touring life and what excites him (SPOILERS: LUNCH! Also, Furman’s “Unbelievers” kicks the ass out of Vampire Weekend’s original. The difference is that you can tell he’s having a ball.)

On Tap: Tell me about this current tour. How long have you been on the road?
Ezra Furman: Technically this is day three of the tour. But to accurately answer this question, I have to tell you about how tours seem to run together. One ends and you begin preparing for the next one immediately. One begins and it seems like the last one never ended. This is day three of the tour, but also I have been touring for 12 years. It’s a ragged and beautiful tour. It’s a lot of work and often incredibly satisfying, especially in the evenings.

OT: Is the upcoming show the only one you’re going to play with Omni?
EF: No! We started on tour with them last night in Columbus, Ohio. They are playing all eight of these shows with us and I’m delighted about it because they are quite good.

OT: How did you get connected with Omni?
EF: Someone recommended them, can’t remember who. I’d heard of them but not heard their music. I loved it, they were down to do some shows together, and lo, a terrible beauty is born.

OT: Let’s talk about your latest release, because I didn’t see a Vampire Weekend cover coming. Why this song?
EF: First of all, because it’s a very good song from one of my favorite albums of the decade. Second of all, because it’s a song in dialogue with religion, which I am always in dialogue with. I have such a push and pull with my religion, Judaism. I love it so much and find it so fascinating, and also, it often bites, burns [and] rejects me. It’s an untrained dog made of fire. Sometimes I just feel like screaming about it, which this cover gave me the chance to do. Third of all, I could hear the punk song buried inside the Vampire Weekend version. I wanted to dig it up because lately I am persistently in the mood to play punk rock.

OT: Do you play covers often?
EF: Yes. I love playing great songs. Also, I think it helps a band become better – to have some standard of excellence, to study great songs, to see how they’re made and what makes them work. We’ve covered tons of artists: Beck, Kate Bush, the Velvet Underground, Arcade Fire, Little Richard, Madonna [and] more. It’s delicious.

OT: How do you incorporate covers into your practice?
EF: We rehearse them and create our own version and then we play them live. Once in a while we record them. We made an EP of covers a couple of years ago called Songs By Others. I think it’s only on vinyl – there might be CDs. It might not be online.

OT: Do know Vampire Weekend personally? Hear any feedback from them?
EF: My old band and I (Ezra Furman and the Harpoons) heard about them in 2007; they were a college band like us and we were talking about doing shows together. We were messaging on MySpace, I think. Anyways, they put out their first album and blew up so we never played with them. I met them briefly some time around then and we’ve sent some Twitter messages, but we don’t know each other. I heard they liked our cover.

OT: Are you working on any more music?
EF: Always. Been writing and recording punk songs. [It’s] very satisfying. I hope to show you them sometime.

OT: Let’s talk a little about DC. I saw you last time you were at Rock & Roll Hotel. Is there anything that you like to do while in town?
EF: We tend to blow in to town, sound check, have dinner and play music, and then blow on toward the next show. We don’t get a lot of time. But last time we had a night off. It was Shabbat, and I went to services and dinner at a great Jewish congregation called Sixth & I. I highly recommend it, if that’s your sort of thing or even if it might be.

OT: What have you got coming up that you’re excited about?
EF: I’m having lunch really soon and I’m so excited. I get excited about very mundane things sometimes. They’re just amazing.

Furman will be at U Street Music Hall Thursday, November 1 at 7 p.m. Tickets $18. Don’t miss the party. And don’t miss post-punk trio Omni either.

U Street Music Hall: 1115 U St. NW, DC; 202-588-1889;


Shannon and The Clams Triumph Over Tragedy on New Album

Shannon and the Clams were well into recording their sixth album, Onion, when tragedy struck their hometown of Oakland, California. A fire at the Ghost Ship warehouse claimed the lives of 36 concertgoers and musicians that night in 2016 – many of them friends of the Clams. The event shook the DIY community of Oakland, and its aftershock was felt in similar creative spaces throughout the country. While their album had already taken shape, bassist and vocalist Shannon Shaw tells me how the group ended up incorporating the fatal fire into their new release.

“I don’t know if [guitarist and vocalist] Cody [Blanchard] felt the same way as me, but I wasn’t sure if I should or not,” Shaw tells me earnestly. “It was one of those things that me and the other people in that world have experienced. It was just on everyone’s mind all the time, and it still is, really.”

I can hear in her voice that while this is something the greater DIY community may have moved on from, it’s now forever ingrained in the fabric of their hometown. Shaw confirms my silent guess.

“It continues to f–k people up.”

In an act of healing – not just for the Clams, but for all of Oakland – it was weaved into Onion, released earlier this year.

“It became this thing were it would be weird of us to not write about our feelings,” she continues. “To me, that’s what music is: a diary that is important to share because it brings people together and sometimes brings people relief. I felt like I would not be being myself if I didn’t express myself in regards to the fire. God, I’ve written a lot of sad songs in my time, but when I wrote these, they were more for other people.”

Shaw and Blanchard have had different feelings in the wake of the fire, but both felt their band could express the way in which it affected them through music.

“I wanted people to know it was okay to feel everything,” Shaw explains, “and to be open about it and to try and grasp and remember all the amazing ways they’ve influenced our scene, and to let people know they won’t be forgotten. Cody’s take was to explain the plight of the artist, and what it’s like to be forced into the shadows, and all the cool and amazing things that happen in the shadows that people miss. I think that ended up being this really unexpected part of the album. Obviously, we didn’t know that was going to happen and we had a lot of material. But when it happened, that event took over.”

Even though Onion’s subject matter is deeply personal and at times heavy, the album does not stray from the Clams’ trademark brand of 60s-inspired, R&B-tinged psychedelic pop. When I ask her about how moments on Onion manage to be musically fun even when lyrically sad, the idea of music being a mirror to everyday life resurfaces.

“The lyrical content is there, but maybe trying to mask the vibe, but also I kind of think that’s a metaphor for life. Nothing is completely black and white, and using art or music as a tool to reflect that – the big picture or the full scene – that comes naturally.”

Their signature sound was fortified further with the help of Dan Auerbach, frontman of The Black Keys, and a fan of the Clams. Before the band signed to Auerbach’s Easy Eye label, Shaw embarked on a solo journey to his Nashville studio as part of his Easy Eye Sound Revue and to record her solo album. An incredibly accomplished musician in her own right, Shaw notes that her newfound creative partnership with Auerbach kept her on her toes.

“The Dan stuff threw me for a loop, because it’s a totally different world. It’s the big time. I come from the DIY punk zone. I’m comfortable in those shadows. I think to be somewhere shiny and pro instead of recording in a bedroom was intimidating – it’s just as simple as that.”

Shannon later returned to Nashville, the Clams in tow, to mold Onion into the lush and layered gem it became with Auerbach by their side.

“Dan is so good at seeing the big picture, and he also has this huge mental catalog – and really good taste – of sounds and instruments. He could just listen to our songs – which were already pretty good – and have these ideas for things we’d never even thought of. He just knows how far you can take a song: how many layers of stuff [and] how many guitars can you get on there before it’s too much.”

The band’s roots, their “shadows,” were not forgotten in the sparkle of a new producer and album, though. Shaw explains what she’s most looking forward to on the tour they’re about to embark on, and it’s not the big cities that thrill her.

“There’s a tiki bar out in Wilmington, North Carolina, and they have a big dock. At the end of the dock they have bands play right over the ocean. They’ve been asking us to play for years and it’s just never worked out with our routing and our schedule to go all the way out to the beach and play, so we’re doing that this year and I’m so excited. I’ve never played over the water.”

It’s clear that the Clams are on to their next adventure, with hope in the face of tragedy and shimmering sounds in tow.

Catch Shannon and the Clams at U Street Music Hall on Thursday, July 26. Big Huge and Gauche open. Doors at 7 p.m. Tickets are $15. And don’t miss the after-party with DJ Baby Alcatraz and Rob Macy at Dodge City. Doors at 10 p.m. Free.

U Street Music Hall: 1115 U St.NW, DC; // Dodge City: 917 U St. NW, DC;

Carlotta Cosials, Ana Perrote, Ade Martin and Amber Grimbergen // Photo: Alberto von Stokkum

The Secret World of Hinds, Spain’s Indie Stars

On the morning I was scheduled to interview Ana Perrote – singer, guitarist and one-fourth of ramshackle Spanish indie rock group Hinds – she messaged me “Hola” before I had even headed into work. I was a few minutes late to hop on the call due to technical difficulties, and when we finally connected (after my profuse apologies) a relaxed Perrote popped up on my screen, perched at a desk on a computer and surrounded by clothes on hangers and drying racks in her room. I commented on her framed Picasso painting, and she proceeded to pan around the room to show all the laundry she was prepared to take on tour, talking to me as if I was an old friend from school and not a total stranger.

This openness and energy Perrote possesses is also so evident in her music as one of Hinds’ primary songwriters, setting them apart in a sea of beach rock revivalists that have popped in and out of the worldwide scene in the past decade. A way with words in conversation and in song, Perrote chatted up Hinds’ new album and tour, working with band idol Gordon Raphael and why no one can truly understand what life is like as a member of Hinds – and that’s a good thing.  

On Tap: You’re influenced by Mac DeMarco, Ty Segall and The Strokes – all bands that are contemporaries of yours and still currently put out music. But your overall sound is very cool and retro, so do you consider any older bands to be influences or are you just inspired by these bands who are also reimagining older sounds?
Ana Perrote: We have two faces, almost two different moments in the writing process. When we first started playing together, even when we played covers, we used to play things like Bob Dylan and Creedence Clearwater Revival – older stuff by bands who don’t release music anymore. Then suddenly we discovered Mac DeMarco and The Growlers, and we totally freaked out. It was like, “Oh my God, you can actually write good stuff and be alive!” That’s why we say our influences are those kinds of bands, because it’s actually what you can now be influenced by more, but there’s always the older stuff.

OT: Is there a garage rock scene in Spain, or are you on your own in pioneering your sound there?
AP: It’s not a big scene, but there’s definitely a scene. It’s a really tiny scene, actually. Mainly around six bands, but we’re all friends with each other. Like, “The guy who takes the pictures is dating the bass player of this band.” You know what I mean? So the first time we went to rehearse songs, it was with Diego from The Parrots, who also produced our first record and is from a band from Madrid. It’s not big, but it’s really, really strong.

OT: You and Carlotta Coisals (vocals and guitar) got your start as a band playing covers, and quit playing after a particularly bad show in your hometown. What made you want to not only try again but start playing your own songs?
AP: First of all, we gave two gigs playing covers. One was good and the second was a horrible – really horrible – one. And then there was maybe a year-and-a-half between that and going back to rehearsing. We didn’t play at all after that show, not even a rehearsal. We totally stopped playing because of how bad it felt to give a bad show. During that summer before we started writing, we went to this festival in Spain called Benicassim, which is our favorite festival ever – it’s really really good. Our friends from the scene, Los Nastys, were playing that festival. It was crazy because we were music lovers for so many years and suddenly we have friends in the lineup of a festival that we love. It was the biggest deal, the biggest thing ever in our community. When we came back from that, we were totally drunk off music and emotions. Carlotta used to have a blog, and she was rereading some of the posts she made when we were in the cover band. Then she just texted me, “Hey, are you free tonight? Do you want to play again?” So I drove to her house and we covered a song by Los Nastys, and two weeks later wrote our first song.

OT: What is your songwriting process like? You and Carlotta are the principal songwriters, but how involved is the other half of the band – Ade Martin (bass and backing vocals) and Amber Grimbergen (drums) – in writing? 
AP: There’s always two sides to a song. One is the four of us in the rehearsal room, and the other is Carlotta and I trying to find melodies, chords and the rest of the structure. We really prioritize the melodies in our songs, because we’ve had situations where we had great chords and a great drum solo and everything sounded really good but suddenly we can’t find a good melody. Without a melody, you don’t have a song. We would fight because we would bring it home and be like, “Guys, we changed it because we really couldn’t find a good one” and then someone says, “But I love this bass line!” It can get tricky with four people writing, but at the same time it’s more fun and more interesting. I think you can tell with this album that most of the songs started in the rehearsal room, but at the same time, we always say that the good songs are the songs you can actually play with just one guitar while you sing along, so we really want to keep that in mind even when all four of us are writing.

OT: Tell me about working with Gordon Raphael. That must have been surreal since he’s worked with The Strokes in the past and you have cited them as a huge inspiration. How did Hinds’ collaboration with him come about? Did he have any influence on the more polished direction you moved in on this new album?
AP: We chose him because he was a fan of ours back when we had just released two songs. It was only Carlotta and I, and he sent us a Facebook message – this is back when we only had around 100 followers and said, “Hey guys, I really really like your songs, and I’m going to Primavera Sound. If you guys are going, I would love to meet you there.” We were going just to see bands so we met up with him really quickly. He was really nice and sweet. When we were thinking about this record, we knew that we wanted to make a step by not working with a friend, but with someone who has a [production] background. We thought of him because he would tweet at us and had been keeping track of where Hinds was. We brought him to Madrid and he totally just let us do whatever we wanted. With the way Hinds started, everything is really private and in a close circle. It felt frightening to have someone with a name that we respected getting inside our process. But we write all the songs before we get in the studio, and he was totally cool with us coproducing the album, which was really fun for us.

OT: As a group, you’ve commented that you feel like people don’t give you a lot of credit since you’re an all-girl band. You had such a successful run on your first album and tour, and now have done the same with your second album. Do people continue to treat you that way while recording and touring with the new album, or has it gotten any better?
I think it’s gotten a little bit better, which kind of sucks because it means you have room for so many years [like this]. If you didn’t like Hinds last year, you don’t get Hinds this year. It’s not fair, but I do feel like it’s getting better, because before there was this whole belief that it was bad because we were a new [band]. Maybe now on the second one, it’s just because my hair isn’t longer   there’s always some stupid excuse. We have to fight a 100 percent more that anyone else, and all the time be proving certain things: the way we dress, talk, pose, play, sing and dance. Everything is under watch. It’s way easier to judge us than any other band.

OT: Does that get exhausting after awhile? Do you ever get to a point where you decide to just not think of people judging you, or is it always in the back of your mind? How do you get to a point where you’re all thinking, “Screw them, we’re going to do whatever we want?”
AP: We don’t usually read reviews and things every day. Those specific people’s opinions are not in our day-to-day because we’re just touring and being with our fans, who totally respect us and are the best fans in the world. The worst thing that can happen is that it can actually convince you. It gets to the point where constantly people are telling you things, and you think, “Well, maybe I’m just here because I have boobs!” In the weakest moments, the worst thing that can happen is when those things can actually convince you because of the constant pressure of it, but we’re getting better at [not listening]. It’s really lucky, being a group of four and all experiencing the same problems. It’s really easy for us to talk about it. When I’m feeling down, I have Carlotta telling me the things that I would tell her when she’s down.

OT: Tell me more about this bond that you have with your bandmates. I know you and Carlotta are old friends and you found Ade and Amber through Facebook. What’s it like making music and touring the world as a group of four women?
AP: It has gone from being friends to being sisters, which has its good things because now there’s nothing that can break that, but at the same time, you lose a lot of things because all the time we’re sharing everything. Even when we get to Madrid, the first thing we do is have a beer with each other and our other friends. We love the same things, same people and same places so it gets really exhausting. At the same time, we have something indescribable. The life we have, our whole experience, it’s such a crazy thing for four girls from Madrid. Everything we do is so specific that I think no one in the world would really understand it. You can try to explain it, but not my mom, my best friend, my manager these people who are still close to it – no one f—ing knows what it is to be in Hinds, the good things and the bad things. And suddenly you share this experience with three different people – it’s just really a sisterhood.

Hinds play U Street Music Hall on Friday, May 11 with Made Violent. Doors and show at 7 p.m. Tickets are $20. All ages.

U Street Music Hall: 1115 U St. NW DC; 202-588-1889;