Press Releases - Page 105 of 171

March 2, 2022

When The Black Crowes and Oasis Co-Headlined “The Tour of Brotherly Love”

2/26/2001

Mitch Schneider recalls that this was a fun press release to write: The Black Crowes + Oasis’ 2001 “The Tour Of Brotherly Love.” And 21 years ago today, MSO (before we were known as Schneider Rondan Organization)

blasted it into the universe, by fax, email + regular mail (on brightly colored paper, an MSO trademark). What a terrific name for a tour—a cheeky nod to the volatility of the Robinson + Gallagher brothers. Mitch saw various shows including a pair at Radio City Music Hall in NYC. Such a treat, he says, to see the Gallaghers team there with The Crowes for the evening’s finale: a cover of The Stooges’ “Down On The Street.”

March 2, 2022

Franky Perez Band: Soul Firepower + Introspection At The Santa Fe Station Hotel

3/2/22

As one of rock’s most in-demand vocalists (Apocalyptica, Deadland Ritual + Scars on Broadway, in addition to his own solo recordings) Las Vegas native Franky Perez brings the magic with his impressively throaty + evocative pipes.

With the Franky Perez Band, the singer-songwriter-guitarist-percussionist has been gigging at venues around town, including the Chrome showroom at the Santa Fe Station Hotel and Casino. His current show combines a soul + blues-rock revue of cover tunes with his own rock presentation of self-written songs. Perez will be back there twice this month (March 11 + 18).

Performing two sets at the Chrome this past Saturday + over the course of two hours, Perez mixed soul firepower + singer-songwriter introspection. His tight four-piece band with standout lead guitarist Christian Brady was pumped up with three horn players and, for the revue part, two sexy female dancers to further light up the stage.

Perez, looking Rat Pack-esque in a shiny dress shirt for the first part of the show, opened with blues standard “Baby, Please Don’t Go,” which he recorded for the “Sons of Anarchy” soundtrack (his version currently has over 4 million Spotify streams). You could immediately feel Perez’ power + charisma as he dug his heels in deep, as he also did on smart choices like “Hard To Handle,” “Mr. Pitiful,” “The Letter” + show-stopper “I Know I’m Losing You.”

Perez also shined on his own material, particularly the hard-hitting bluesy “Run Down Nasty” (from his 2020 album) and his 2021 single “The Great Divide,” a moving + timely acoustic-driven love song with lines like “Love like we’ve never loved before/Kiss like we’re going off to war.”

Perez ended the night with a perfect one-two punch: a high-energy cover of his favorite song, Elvis Presley’s “Suspicious Minds,” which also served to underline Perez’ Vegas roots, and a fierce cover of the Allman Brothers Band’s “Whipping Post.” Meanwhile, look for Perez to release a new solo album later in 2022.

March 1, 2022

New Zealand Alternative Rock Trio CAPITAL THEATRE Share Provocative Video for “Delicately Poised”

DT: MARCH 1, 2022

FM: KELLY WALSH, MITCH SCHNEIDER, LYNDIE WENNER / SRO PR

Text Description automatically generated

NEW ZEALAND ALTERNATIVE/ROCK TRIO
CAPITAL THEATRE
EXPLORE IDENTITIES IN MUSIC VIDEO FOR NEW SINGLE
“DELICATELY POISED”
OUT TODAY, MARCH 1
LISTEN HERE

TAKEN FROM DEBUT ALBUM
‘A HERO’S JOURNEY’
DUE OUT JUNE 24

WATCH THE VIDEO HERE

BAND SHARE NEW Q&A

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Pictured, from left: Paul Reid (drums, vocals), Adam Stevenson (vocals, piano, guitar), Roy Oliver (guitar, vocals); Credit: Robert M. Knight

New Zealand alternative rock trio CAPITAL THEATRE showcase a melodic and edgy guitar/keyboard-driven sound on their debut full-length album A HERO’S JOURNEY out June 24. It was recorded with Grammy Award-winning legendary producer Mike Clink (Guns N’ Roses, Steve Vai) at NRG Studios in Los Angeles, CA (along with some guitar recordings being completed at Slash’s Snakepit Studio) and lyrically takes inspiration from Joseph Campbell’s’ book The Hero With A Thousand Faces.

The band has shared a provocative music video for its latest single, “Delicately Poised,” underlining the track’s exploration of the human identity. Filmed at an adult entertainment club in Barcelona and with live footage taken in New Zealand, the video highlights authenticity and diversity. CAPITAL THEATRE co-directed the video with Julie Gomez of Kalapa Studios and also by Alex Hargreaves who shot the NZ-based content of the band’s performance. Watch it streaming here, followed by an in-depth Q&A with the band. “Delicately Poised” is available today, March 1, across all digital platforms.

From song to song, A HERO’S JOURNEY delivers unbridled energy drawn from guitarist Roy Oliver’s electrifying solos and sequences, drummer Paul Reid’s furiously pounding rhythms and vocalist/multi-instrumentalist Adam Stevenson’s graceful and soul stirring piano work. The realm of their sound is further expanded with cinematic string arrangements completed by guest composer David Campbell (The Rolling Stones, U2, Beck) to add to its multi-dimensional otherworldly perception. Its 10 tracks reveal the undeniable chemistry they’ve honed through years of playing local pubs back home in Auckland, with A-list guest musicians including Jane’s Addiction bassist Chris Chaney and Bon Jovi lead guitarist Phil X.

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A HERO’S JOURNEY Track Listing
1. Fait Accompli
2. People
3. Second Skin
4. Long Way To Fall
5. Fire
6. Delicately Poised
7. Force To Fight
8. Time
9. Better Than This
10. Save A Stranger

Q&A on “Delicately Poised”
with CAPITAL THEATRE’S Adam Stevenson

The lyrics to the chorus—”It’s delicately poised/For the girls and the boys/To find their voice/And shut down the noise”—perfectly frame the song and the video. Is there a social message shared in this video you most want people to walk away thinking about?

ADAM STEVENSON: “Given the band wrote the album in the sequence of a hero’s journey archetype, ‘Delicately Poised’ sits at number six on the album, just before ‘Force To Fight,’ the crescendo battle song. When looking at the moment just before the battle, the experience that the hero undergoes is usually one of delving into the innermost cave, some kind of serious soul-searching and ultimately building up whatever gumption and resources required to fight the ensuing fight and seize the reward. So, what you have in the song ‘Delicately Poised’ is some very personal and intimate disclosures in the verse before it opens up to a much more universal chorus line. To me the chorus line can be interpreted a few ways, but what we were very aware of is that the use of the pronouns ‘girls and boys’ gave us almost ammunition and a conviction to celebrate and delve into gender identity and identity itself with the music video. We would expect viewers of this video and song to just feel and understand that uniqueness is cool and diversity should be embraced and celebrated.”

The title of “Delicately Poised” suggests something exquisite in character and delicate to the senses (smell, taste and color). How did the visual concept and character actors come about?

STEVENSON: “Because the song delves into themes of identity on the whole, we wanted to find an authentic space with authentic characters to be themselves within our music video. The characters in the video were all briefed to simply come as they are, or how they would normally make themselves up for their own art or performances. Each character is an artist, dancer or performer in their own right, so the team in Barcelona did a great job at finding these authentic beings and letting them celebrate their identity without any interruption or direction from us.

Due to New Zealand being in lockdown, we also needed to work globally to ensure we could shoot in locations that could film freely and in close proximity.”

Who directed the video, and how close was the director’s vision for this video compared to Capital Theatre’s vision?

STEVENSON: “The video was co-directed by Capital Theatre along with Bruno Amaral Pereira and Julie Gomez of Kalapa Studios and also by Alex Hargreaves who shot the NZ-based content of the band’s performance. There were many Zoom calls between us all to coordinate how these two worlds were going to come together, it was a real collaboration. From a relatively specific brief and mood board created by Capital Theatre, it was a real score for the band to land on this concept with the team at Kalapa Studios in Barcelona. They picked up our brief and took it to a really authentic place which is exactly what we were after. The band’s original brief needed to be tweaked given the separation between us in NZ and the shoot in Barcelona, so the idea of placing the band in the TV was chosen. From there, the narrative and dynamics of how these two worlds were to interact were mulled over at length, but the overall relationship is one where the characters in Barcelona are somewhat ritualistically entranced by the Capital Theatre ‘Delicately Poised’ act on an old TV set. Likewise, the Capital Theatre performance, which begins in black and white, is then affected by the ritual and we see a manicness evolve as the clown switches into colour and the TV set comes to life, as if the two worlds clearly have some influence over each other.”

–Is the club in the video a real place in Barcelona? If so, why was that location chosen and tell us a bit about the vibe of the club and how you heard about it?

STEVENSON: “When we landed on this concept, the location of Bagdad was the first suggestion from Kalapa Studio, and it was beyond perfect. Bagdad is a real underground adult entertainment club that has been putting on live sex shows for over 40 years. Again, this authenticity of using a space that has been involved in sexual liberation since 1975, was a key part in creating a video that is true in all aspects.”

–The cinematography in this video is excellent including the colors characters’ comfortable expressions along with their interaction. What was behind the decision to put Adam solo in the TV and in black & white?

STEVENSON: “We wanted to explore the identity of the clown further, having now used him in various videos and photoshoots. Given the songs exploration of identity we wanted to show a step-change or deterioration of the clown itself. So, the first part of the video shows the clown as composed and somewhat demure and classic, but by the end of the video he is frantic, makeup running and he is desperately clawing at the TV screen almost trying to breakthrough to the world of Bagdad through the TV screen. Within the Bagdad club we see the cast of characters inhabiting their own identities in a very comfortable and known way, as if this ritual is familiar to them and more importantly that they are bold and confident in themselves.”

–What excites and inspires the band most when viewing this video?

STEVENSON: “To us this song has an energy about it, beyond the lyrics and chord structures, there’s simply an energy that deserved a world to be made for it. So from our position of being locked down in New Zealand, we set about finding that world, and to see it come to life in this video with such exquisite characters and cinematography is a real pleasure for us. It has shown us that reaching out globally and finding other creative professionals to collaborate with is a really effective approach and ultimately has provided this song with a very authentic piece of content.”

For more information on CAPITAL THEATRE, please visit:
WEBSITE | FB | IG

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For press inquiries, please contact:
SRO PR
Kelly Walsh – kwalsh@sropr.com
Mitch Schneider – mschneider@sropr.com
Lyndie Wenner – Lwenner@sropr.com

February 28, 2022

The Newly Rejuvenated “Michael Jackson Tribute Concert” at The Tropicana

2/28/2022

Pop stars are eternal, always playing on endless loops in our minds. And tribute concerts to the dearly departed—not to mention holograms of them—can be fun, if they’re done well. Like the newly rejuvenated MJ Live Show which I saw this past Thursday night at the @troplv having moved from its previous home at The Strat. The show feels more powerful + commanding in the Tropicana showroom.

Of course, MJ‘s body of work is stellar, and the hits (you know them all) kept coming in this vibrant + quick-paced show, with an excellent MJ impersonator who does not disappoint, a three-piece backing band and eight dancers. The choreography is killer, right down to MJ’s moonwalking style which still startles.

The show intentionally has no fancy visual frills like film footage; the focus is on the performance itself—after all, it’s billed as the “Michael Jackson Tribute Concert.” Show stoppers include the self-reflective “Man In The Mirror,” the celebratory “I Want You Back” by the Jackson 5, complete with ‘70s period costumes + wigs, and the Jacksons’ funk-fest finale “Shake Your Body (Down To The Ground).”

Looking at MJ during the show’s most intimate moments, you could see his eyes closed, under the spotlight—seemingly at peace, as if frozen in time—free of tabloid madness, lawsuits + mounting bills.

February 28, 2022

Hard Rock Outfit COLD KINGDOM Release New Single “Criminal” Feat. Danny Case (From Ashes To New)

DT: FEBRUARY 28, 2022

FM: KELLY WALSH, SRO PR

HARD ROCK GROUP
COLD KINGDOM
RELEASE CRUSHING NEW SINGLE
“CRIMINAL” FEATURING DANNY CASE (FROM ASHES TO NEW)

MINNEAPOLIS BAND ANNOUNCE THIRD ALBUM
DUE IN SUMMER VIA ONERPM

Minneapolis-based hard rock outfit COLD KINGDOM have announced plans to release their as yet untitled third studio album this summer via oneRPM. The band previewed the album’s crushing debut single, “Criminal,” featuring guest vocals from Danny Case of From Ashes To New—which Outburn Magazine have lauded as “a lethal combination of fury and sentiment”—on Friday, February 25 across all streaming platforms. Stream it now HERE.

The quartet have shared a gripping music video for the track which can be seen streaming below or on YouTube HERE.

“It was really awesome to collaborate with Danny on ‘Criminal,’” stated COLD KINGDOM vocalist Elissa-Marie Ogaard. “His voice added an edge to the song that we were excited to hear. I think that he not only complemented my vocals, but also added a contrast that brought the song to a whole different level. We can’t wait to release it into the world.”

From Ashes To New vocalist Danny Case adds, “It was a pleasure working with Cold Kingdom. ‘Criminal’ is a powerful song with a soaring chorus that really keeps your attention from start to finish.”

“The pandemic really screwed a lot of things up for us, but it also gave us a lot of time to write,” relays COLD KINGDOM drummer Chris Morely. “‘Criminal’ was one of the first songs we wrote and recorded during the lockdown, and I believe it’s one of our strongest songs to date. The lockdown made us angry, annoyed, distraught, and we had so many other negative feelings. We just channeled all that into our writing and ended up with an album’s worth of material.”

COLD KINGDOM were formed in Minneapolis in 2014 and released their first full-length album The Moon and The Fool in 2015. It was followed by a self-titled EP produced by Shinedown’s Eric Bass in 2017 and a second full-length record Into The Black Sky in 2019. When they aren’t writing or recording, the band has brought their energy-filled shows across the U.S. supporting genre leading acts such as Shinedown, Chevelle, Papa Roach, Buckcherry, Saving Abel, Puddle of Mudd and Nonpoint. They have also appeared on festival stages including Northern Invasion, RockFest, Summerfest, Moondance Jam and Halfway Jam.

COLD KINGDOM will next be seen live at a headlining show in Omaha, NE at Waiting Room Lounge on March 26 with further dates to be announced in the coming weeks.

For more information on COLD KINGDOM, please visit:
WEBSITE | FACEBOOK | INSTAGRAM | SPOTIFY

PRESS ASSETS: www.sropr.com/portfolio/cold-kingdom

Lineup (l-r): Evan Ogaard (Guitar), Elissa-Marie Ogaard (Vocals), Jason Michael (Bass), Chris Morley (Drums)
Credit: Brad Gunnarson

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For press inquiries, please contact:
SRO PR
Kelly Walsh – kwalsh@sropr.com

February 25, 2022

Superbly Curated Food App “Neon Feast” Launches

2/25/2022

There was a whole lotta love + respect in the room earlier this week for Al Mancini who has launched Neon Feast. It’s a free + essential Las Vegas dining app—curated by chefs, critics + pros like Al himself—that plugs you right into the Vegas food scene on + off The Strip. The event at SoulBelly BBQ in the Arts District was jammed—not surprising since Al has done so much to shine a light on what makes eating out in Vegas truly special. His reviews at the Las Vegas Review Journal, where he had a long run, played a part in luring me to move here.

February 25, 2022

California Country Artist JD HARDY Releases New Video For “Let Her Run” From His Current Debut Album ‘Killer’

DATE: FEBRUARY 25, 2022

FROM: MITCH SCHNEIDER/MARCEE RONDAN

CALIFORNIA COUNTRY ARTIST
JD HARDY
RELEASES NEW VIDEO FOR “LET HER RUN”
FROM HIS CURRENT DEBUT ALBUM ‘KILLER’
WATCH IT HERE

READ Q&A BELOW ABOUT THE STIRRING SONG AND VIDEO

JD Hardy Photo credit: Simon Mercado Photography

California country artist JD HARDY has just released “Let Her Run,” the latest single and video from his current debut album KILLER. Watch it here.

The stirring clip by the Bakersfield born-and-raised singer, songwriter and guitarist was premiered yesterday at SOUNDS LIKE NASHVILLE whose Vernell Hackett said: “It takes a brave man to write a song so close to his heart, one about breaking up with the girl he loves. It takes an even braver man to film the video for the song on the place where it all happened. JD Hardy did exactly that.”

Anchored by the song’s strong viewpoint (“…a woman with her mind made up does in fact have all the power,” says JD), the video was beautifully shot by director Alisa Daglio at multiple locations throughout the central coast of California and underlines the song’s compelling themes of love, trust and freedom. It features JD Hardy and actress Monique Guilfoyle.

JD Hardy grew up amidst the oil rigs, farms, and West Coast honky-tonks that once inspired hometown heroes like Buck Owens and Merle Haggard to create their own form of country music. For JD, the so-called “Bakersfield sound”–a mix of West Coast twang, electric guitars, and rock & roll spirit–always sounded like home.

KILLER, his newest collection of muscular, modern country anthems, finds JD firmly planting his flag in the present without forgetting his roots. It was produced by Dean Miller (son of country great Roger Miller) and features nine self-written songs, plus a distinctive cover of Simple Minds’ “Don’t You Forget About Me.” These are country songs for the present-day California: a soundtrack for Friday night barrooms, boot-scuffed dance floors, highway drives, and unbroken horizons, all performed by a deep-voiced Californian who isn’t afraid to blur the lines between genres. Confidently moving between blue-collar heartland rock songs, slow-burning ballads, and rootsy rave-ups, KILLER positions JD Hardy as Bakersfield’s newest rule-breaker.

Q&A WITH JD HARDY

–What inspired you to write “Let Her Run”?

A: I’m dating a gal who has trust issues based on a past traumatic relationship that seemed to bleed on me so to speak. As a real cowboy, I used the analogy that when a green broke horse starts to buck, you run them as long and hard as they want and typically you’ll have their attention and gained some more trust.

–The song seems a very modern take on the “If You Love Someone, Set Them Free. If They Come Back They’re Yours” quote. Was that your intention?

A: Wasn’t my intention; however, I get the connection and it really is just that.

–The song, and especially the video, seem to give the woman in the relationship the power. Was that the intention?

A: Yes, because a woman with her mind made up does in fact have all the power.

–What are you hoping that people can take away from the song after they hear it?

A: To control what they can and let go of what they can’t and in that process try to accept that fact and enjoy what they can control.

–What are all the locations of the video? Do these locations have significance for you?

A: Locations are variously spread throughout the central coast of California where Scootch (Melodie, my GF) and I went and enjoyed.

–Who is the gal in the video? Is she an actress?

A: Monique Guilfoyle, she is an actress I know who played the role of Scootch.

–The video shows the development and intimacy of a relationship and the possibility of someone walking away. In the video, the two end up together, whereas the song is more open ended. Did you deliberately set out for the video to have a happy ending for the couple?

A: That was more of the director’s idea and kind of the direction the plot went; however, when I wrote it, I had no idea if she’d come back.

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FACEBOOK | TWITTER | INSTAGRAM | YOUTUBE

SRO CONTACTS:

Mitch Schneider, mschneider@sropr.com
Marcee Rondan, marcee@sropr.com

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February 24, 2022

Nashville Singer-Songwriter MACKENZIE GRANT Debuts Intimate New Track & Video for “Little Girl”

DT: FEBRUARY 24, 2022

FM: KELLY WALSH, MITCH SCHNEIDER/ SRO PR

NASHVILLE-BASED SINGER/SONGWRITER/PIANIST
MACKENZIE GRANT
DEBUTS INTIMATE NEW SINGLE/MUSIC VIDEO
“LITTLE GIRL”
IN ADVANCE OF FEBRUARY 25 RELEASE

SOPHOMORE ALBUM
‘WONDER WORLD’
DUE MARCH 18
VIA BLACKBIRD RECORD LABEL
PRE-SAVE “LITTLE GIRL” VIDEO HERE

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“A little too tall
A little too thin
A little too scared to look within
Well, I don’t blame you”
—MacKenzie Grant, “Little Girl”

“I wrote this song as a message to my younger self,” says Nashville-based singer, songwriter and musician MacKenzie Grant about “Little Girl,” the third single from her upcoming album WONDER WORLD due out March 18.Ahead of the track’s release this Friday, February 25 (pre-save it here), MacKenzie has today (2/24) premiered the intimate music video for “Little Girl” via YouTube HERE. It was filmed at her home and the beautiful Ellington Agriculture Center in Nashville, by her 13-year-old son Bram who co-directed it with her. Read a Q&A with MacKenzie on “Little Girl” and its music video below.

After taking a 15-year hiatus from the music industry–during which time MacKenzie worked as a school counselor in a high-poverty and high-trauma preschool–she has returned with her transformative sophomore effort WONDER WORLD via BlackBird Record Label. Produced and engineered by Phil Dubnick, the self-penned album highlights MACKENZIE’s classically trained background featuring her on vocals and piano while featuring accompaniment from Josh Kaler on pedal steel guitar on various tracks. Its lyrics stem from her experience working as a counselor covering deep themes such as self-reckoning, feminine empowerment and overcoming negative mindsets.

MacKenzie debuted the album’s first single “Putting Down Some Things” in January via Americana Highways which wrote: “Grant’s songwriting is informed by witnessing a wave of these elements of the human experience, and the gentle easiness of her vocals helps to soothe the soul.” This was followed by her sharing a cover of Joni Mitchell’s timeless single “Borderline” earlier this month which Americana UK praised stating, “Grant’s version of the song is beautiful; the exquisite melody is delivered in her clear, pure voice.” Elsewhere, in an album review in the March issue of Music Connection, Eric Harabedian praises the “cache of touching and well-crafted tunes. The album is about truth telling and shedding personal conflict (‘Memo To My Sister’ and ‘Little Girl’) with hypnotic, compelling and dreamy sonic landscapes. ‘Turn the Other Way’ explores the end of a relationship, with a rhythmically dense and jazzy lilt. ‘Coffee and Wine’ and the uplifting ‘Putting Down Some Things’ are emotionally charged and lyrically astute.”

Pre-save WONDER WORLD in advance of its March 18 release here:
https://smithmusic.ffm.to/662582257922

Credit: Bram Fairhead

MacKenzie Grant Q&A

There is a looming undertone to the lyrics that alludes to overcoming trauma or abuse with lines such as “You know that nothing bad lasts for very long” and “Cause the darkness is so deep, And so killing, And the devil takes your hand, And you go willing, And he f*cked up so bad, That you are coming undone.” Can you elaborate on the intention behind these lyrics?

MacKenzie: “I wrote this song as a message to my younger self. When I became a parent, I was able to see myself as a child with more compassion. I experienced abuse throughout my childhood that I internalized as me being deserving of, that it was happening because I was inherently not any good. As a parent, I was able to see through having my own children that no child is deserving of those circumstances. But most children take responsibility and ultimately blame themselves.”

Throughout the song you are speaking to “Little Girl” and trying to portray wisdom for the future. The lyrics repeat the question “what are you running from?”. If the ‘little girl’ could respond, what do you think she would say?

MacKenzie: “I actually started running at a young age. I would leave my house and just run for a while. At the time it was to get away from what was happening and to feel like I had some power to escape for a while. So, I started physically running to get away from emotional pain pretty early on. But then as an adult, I was running psychologically from pain for years. I left relationships, friendships, etc. when I felt my past pain catching up with me. I felt so responsible for my abuse that I would end things or walk away because I ultimately didn’t believe I was deserving of them.”

How do you feel this song will resonate with those that suffered trauma in their childhood?

MacKenzie: “There is a loneliness and isolation to abuse. When you are experiencing it, there is shame around being the abused. Most people blame themselves and don’t reach out for help because they are embarrassed that it’s even happening. Understanding the difficulty and stigma around being open about what survivors experience, often times hidden from everyone else, is really important. Many of us have had to keep secrets and hold on to that responsibility when we never should have. Letting others know that you can get to the other side of it, understand more clearly what happened, and forgive yourself for how that abuse has affected your life and your choices is something I wanted to share with others. I think it helps to connect people experiencing that isolation that comes from childhood abuse.”

Noting your past experience as a grief counselor working with children in high poverty & trauma areas, can you share how that may have influenced or inspired this song?

MacKenzie: “I have always felt a strong connection to the most vulnerable people in our society, children being at the top of that list. I was a child with a lot of privilege who experienced a lot of trauma. The children I worked with had in many ways so many more obstacles and disadvantages that I often didn’t see my experience as even in the same ballpark. But trauma is trauma. It was really in working with these kids that I started to see my experiences as just as valid and needing of processing as theirs.”

Where was the video filmed and who directed it?

MacKenzie:“The outdoor shots were filmed at the Ellington Agriculture Center in Nashville, close to where I live. My son, Bram, who was 13 at the time, did the filming and co-directed it with me.”

Why do you feel the footage of you walking in this rural location illuminates the song’s emotional heart?

MacKenzie: “The landscape of the park was perfect in that with it being winter, the trees almost look like skeletons. It is a very quiet, contemplative, and healing place. That experience of being in such a raw, beautiful, isolated and stripped-down place is much like the emotional experience of living with and honoring the experience of abuse.”

For more information on MacKenzie Grant, please visit:
WEBSITE | IG | FB | TWITTER

PR ASSETS: www.sropr.com/portfolio/mackenzie-grant

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For press inquiries, please contact:
SRO PR
Kelly Walsh – kwalsh@sropr.com
Mitch Schneider – mschneider@sropr.com

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