My name is Michael Karsh, I am the bass player for the band Lawrence.
A big part of our live act is that we really love what we’re doing and we love to have a good time. My role is to just be the low end that can simultaneously compliment a song and elevate it into a place of really high intensity, in your face funk/soul/jazzy fusion kind of stuff.
So currently I’m using the 4-Stroke 500 Watt amplifier and I’m using the OBC410 and it is a true monster and it’s been a lot of fun to play. I very much try to have a sound that’s very rooted in old funk and soul, kinda like the classic Jamerson and Motown sound but I also like to have a bit more edge and punch to bring it into the modern age so I get all of that with the 4-stroke and the 410 and I feel that I’ve never sounded better with it than any other rig and probably that makes me play a little better because I’m just happier with how it sounds.
I definitely subconsciously saw them, (Orange Amps) all throughout my childhood when watching videos of my heroes playing from the 70s. Jimmy Page and Geddy Lee. Just seeing those amplifiers in the back definitely made an imprint on my mind. As I grew up and got more into equipment I would see them kind of along my musical journey pop up in many interesting places. It was like, “Oh, Wolfmother’s got that thing I remember that guy had,” and “Oh, Ler’s from Primus has got three interesting ones on stage that I haven’t seen before.” I just kinda saw them pop up everywhere and always had them in the back of my mind as a cool look and cool sound.
Hearing myself onstage is I feel, like the unspoken battle of the musician. My band personally has 8 people onstage so we’re all battling to hear each other, hear ourselves and there’s this cacophonous noise happening all the time, so honestly the advantage the OBC410 has given me is just clarity. I can dial it in so perfectly that wherever I go, I’m hearing myself exactly as I want to. Just everything is coming out so crystal clear. So the 410 gives me a good balance of midrange and low end that I hadn’t really found anywhere else. Using backline and borrowing gear, playing festivals I’ve played with these massive stacks like two storeys high and every variation. It doesn’t have that same sort of touch and clarity that the 410 has. It’s pretty interesting, I don’t know how that works, I don’t know how you guys did it but yeah, that’s been the biggest benefit by far.
https://orangeamps.com/wp-content/uploads/2018/10/Michael-Karsh-Lawrence-OB1-500-OBC410.jpg534800Neil Mitchellhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngNeil Mitchell2019-04-09 16:36:282019-07-01 15:09:03Interview With Michael Karsh of Lawrence
I’m tired of normal interviews about guitars and amps. That’s why I created the “Going Nowhere” series. I wanted something that would extend beyond just us tech nerds, something that would appeal to the fans who couldn’t care less what amps the bands are playing.
My interview with Red Fang was the first one we filmed. I think Bryan reacted the most appropriately out of all the artists. He immediately recognized how ridiculous it was going to be and he added a lot of his own ideas into the mix. Also, we’d had a lot of beer prior to filming. It probably shows. – Alex
Steve Harris, where do we begin with Steve Harris? The only constant member in legendary British hard rock band Iron Maiden alongside guitarist Dave Murray, and is also the primary songwriter of the band. Since the formation of Maiden in East London’s Leyton in 1975 the band has released sixteen studio albums, toured the world a countless time in their own airplane flown by singer Bruce Dickinson and made their mark as one of the biggest heavy metal bands in history. Steve Harris has developed a recognisable way of playing such as the “gallop”. Paired with drummer Nicko McBrain and his unexpected clever ways, three guitarists and Bruce Dickinson sprinting and jumping across the stage throughout every single Iron Maiden show, and let’s not forget, fights Maiden mascot Eddie on a regular basis, their shows are nothing but spectacular. In addition to his bass playing and songwriting, Steve Harris has also produced and co-produced their albums, directed live videos and played keys for the band while in the studio. A Jack of all trades, so say the least.
Glenn Hughes is not just an incredible bassist, but a remarkable singer with the most astonishing vocal range. He first made a name for himself while in Trapeze, before joining Deep Purple in 1973 where he shared vocal duties with David Coverdale, and brought the funkiest bass lines to the band. With Deep Purple MK III he released “Burn” and “Stormbringer”, before Ritchie Blackmore left the band and Tommy Bolin was brought in on guitar for Deep Purple MK IV. They released “Come taste the Band” in 1975, before all going their separate ways the following year. Since then, he’s released a one of album with Pat Travers’ guitarist Pat Thrall, recorded with Gary Moore and fronted Black Sabbath briefly in the 80s. In more recent years, he released a one off album with his short lived band ‘California Breed’ with Jason Bonham on drums and guitarist Andrew Watt, as well as playing in Black Country Communion with Joe Bonamassa, Derek Sherinian and again, Jason Bonham on drums. His latest venture is touring the world, twice, as “Glenn Hughes plays Deep Purple”, bringing back to life all the songs from way back when.
Rush have over the past forty years pioneered progressive rock with their unusual compositions and musical craftsmanship, with each member repeatedly being listed as some of the most proficient players of their instruments. This has led to Rush being somewhat of a ‘musician’s favourite band, and they have been highly influential within their genre, although that has changed slightly over the course of the career. Geddy Lee first started playing music when he was around 10 years old, and got his first acoustic guitar at 14. Before this, he played drums, trumpet and clarinet. However, it wasn’t until he was introduced to popular music at the time and some of the great Brits such as Cream, Jeff Beck and Procul Harum, and cited Jack Bruce as one of his first and early influences.
It wasn’t until in recent years that Bronx bassist Brad Magers got his hands on his first Orange and we are stoked to now have him as one of our artists. He’s got a few different set ups consisting of either the 4 Stroke, or an AD200, which he describes as: “A monster of an amp, it’s just such a simple set up but exactly what it needs to be. I hate when all these amps have all these annoying tweaks on them as there’s just a few things you really need. As long as there is gain I’m pretty much good to go – you set it up in like two seconds and then you’re just there like: “Well, that’s the best sound I’ve ever heard!” When Brad isn’t busy with the Bronx, he puts on his mariachi suit and picks up the trumpet with side project Mariachi El Bronx. Rumour has it that there might be a surf band in the works as well, but we can’t say for sure – yet..
Anthony Meier’s first encounter with Radio Moscow was back in 2012 when his other band Sacri Monti played a few gigs with some of Radio Moscow drummer Paul Marrone’s other bands, and they got chatting. However, it wasn’t until a year later when singer and guitarist Parker Griggs relocated to San Diego that the band started looking for a new bassist. Paul suggested Anthony and he was invited to jam with them. Needless to say, the jam worked out well, as Anthony’s still in the band over five years later. When not on the road with Radio Moscow, he still keeps busy with his other band Sacri Monti that’s due to come over to Europe this summer. He also DJs regularly at local San Diego / Oceanside bars, and is an skilled pool player, some might even say excellent.
Cheap Trick bassist and Rock ’n’ Roll Hall of Fame inductee Tom Petersson turned heads in the early 70s when he came up with the idea of creating a 12 string bass. The reason behind this was wanting to make the band sound as big as humanly possible, and by adding (after inventing…) the 12 string bass, he was left with an instrument that almost sounded like bass and guitar all in one. This has become a vital part of the bands sound, and his amps plays a huge part in this. He is a big fan of both the AD50 and AD200, and plays them both straight out without any pedals.
Grutle has been an endorsed artist with Orange amps for nearly four years now and has been using the AD200 and OBC810 around the world with Metal band ‘Enslaved’. When he heard news the Terror Bass was being relaunched he had to have a go.
Grutle: Good afternoon! This is Grutle Kjellson from Norwegian hard rock band ‘Enslaved’ and I want to talk a bit about this little gift I just got from Orange, it’s a reissue of their Terror Bass. It’s a 500 watt model, it’s a very powerful unit that weighs only about I think it’s a little more than 4 1/2 kilos (10/1 pounds). Which is pretty amazing for such a powerful unit.
It’s very simple, there’s on/off, standby, there’s a volume, treble, middle and bass, and gain. There is a clean and pad switch, the clean switch gives a bit more headroom and the pad switch is a active and passive switch. If you turn this switch down like I have, it’s for active basses and takes some input sensitivity off, about 6dB. There’s of course a balanced output, there’s an effects loop, it’s a very nice portable solution.
It’s a little bit difficult if you travel around a lot like we do. Try to get an AD200 amp onboard, it’s totally impossible it weighs a tonne. This is like not much bigger than a lunchbox, at least not for a guy like me, an ogre!
I’ve had this for a couple of months now and i’m really satisfied with it. Our sound guy actually told me that i’m not allowed to use anything else, so i even use this on tours. So let’s take a listen to it.
This is Phil Shouse with the Rock N Roll Residency, Gene
Simmons band, and the Ace Frehley band.
What does rock mean
to you?
It means everything to me. It’s my job, my livelihood and my
lifestyle. Rock isn’t anything without the roll. Anyone can rock but the roll
is the hard part.
Why does Orange work
for rock?
Orange amps are my favorite amps for rock for a couple of reasons. One, they look great. Two, they are built for it. The amps I play are the Custom Shop 50, the AD30, and the Tiny Terror. Their forte isn’t getting super clean, just clean enough with some hair on it. They take pedals well. With the CS50 you can crank the f*ck out if it, dime it, and then use it as a one channel amp and use your volume knob with it. It’s the best amp I’ve found for doing that.
What do you like
about the CS50 in particular?
What I like about the CS50 in particular is that it has 6 knobs. When I look at an amp and it has 37 knobs on the front I think ‘I’m not going to use 30 of those.’ You don’t really need that many. When you know how to set an amp correctly, like this one with a single channel, you don’t need more than one channel, you don’t need any pedals. You can use the guitar for boosting and solos so I prefer a one channel amp over a two channel amp.
What settings do you
use on the CS50?
I’m going to set the gain kind of low and the volume high.
The gain acts as a volume knob so I like to get the volume loud and then move
the gain down from there as needed. I normally like the presence past 3 o’clock
and then put the EQ on 12 o’clock. Since it’s an Orange cabinet I’ll turn the
bass down and then add back in some more mid and treble. That way when my
guitar is at 5 for rhythm and when I dime it it’s gonna have plenty of bite and
cut through the mix.
What bands do you
like that use Orange?
One of my favorite bands that uses Orange amps is SLEEP. If we’re gonna talk about Matt Pike and SLEEP I’m gonna need way more weed. Can you make that happen? Other bands I like that use Orange are Blackberry Smoke and the Raelyn Nelson Band.
https://orangeamps.com/wp-content/uploads/2014/05/Phil-Shouse-OR50-Dual-Terror-PPC212-PPC212OB.jpeg21442144alexhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngalex2019-03-21 15:32:402019-07-01 14:47:49Voice of Rock – Phil Shouse Interview
Back in late 2017 I was tasked with creating an interview video for the, at the time, soon-to-be-released Brent Hinds Terror amp. I’d sit down with Brent, guitarist and co-vocalist for the Grammy-winning metal band Mastodon, and we’d have a chat about the work that went into creating his first signature guitar head. I’ve worked with Brent for almost a decade and quite frankly I’m one of the only people that seems capable of getting him to sit down for an hour to capture an interview.
When it comes to Brent, very little is ever scripted. He just doesn’t operate that way. In fact, most of the time he shows contempt when you give him too much input. Instead, you give him a vague idea and he does the rest, even if “the rest” doesn’t result in usable content. Editing is definitely important in these situations.
About 30 minutes into the official interview it dawned on me that we weren’t going in the right direction. That’s when Brent threw out the idea of having me “get mad” at him on camera. I’d be telling him exactly what to say, he’d say it the wrong way, and then I’d get upset and scream his line back at him. It resulted in a hilarious back and forth that actually resulted in Brent giving us MORE usable content than ever before. Breaking from the standard interview format relaxed him enough that we were able to delve deeper into his psyche. Many people told me that we got one of the best, most serious interviews out of Brent they’ve ever seen (despite the fact it starts off so fake and kooky).
With that said, I wanted to show you the outtakes from that day of filming. This is all unscripted and it’s very “classic Brent.” We only used about 1 second of this footage in the final cut, out of roughly 20 minutes of Brent doing random stuff on camera. Enjoy!
Once again we’ve made it through to March and this year’s International Women’s Day. Haters might say we don’t need it, and how can we be equal if men don’t men have a day of their own? Well, men don’t tend to get grabbed and get abuse shouted at them when walking down the street, they don’t get paid less because of their gender, and you know, they don’t have to give birth either so, yeah, we kinda deserve this day – we can grow a human inside us but in some eyes not even that makes us good enough, yikes! Anyway – enough politics for our end, let’s chat music.
At Orange we’ve got quite a few women working for the company such as myself, my name is Ella and I do freelance content creation and artist relations, plus a bunch of other ladies in our offices keeping this ship afloat as well as the wonderful female artists we endorse. Now, there might not be a secret that rock and guitar music might be slightly more male dominated but that doesn’t mean that it’s a boys club, there’s a bunch of rad ladies out there, and today we’ll be shining a light on a few of them:
Orianthi’s got a pretty spectacularly impressive resume, having performed for Steve Vai at the age of 15, and been asked to jam on stage with Carlos Santana at 18. Her big breakthrough came in 2009 when she played lead guitar for Carrie Underwood at the Grammys, which led to Michael Jackson reaching out to her, inviting her to join his band for his “This is it” concert series, which unfortunately fell through due to his death. Since then, she’s played with Alice Cooper, as well as releasing various solo albums as well as winning the award for “Breakthrough Guitarist of the Year” 2010 by Guitar International Magazine.
Despite her young age of 21, Hannah Wiklund, the soulful blues guitarist that could probably fit the description of the love child Janis Joplin and Hendrix never had, has got a remarkable 2000 shows behind her. Hannah was gifted a guitar from her dad an an early age, and had her first ever The Steppin’ Stones band practice back in 2005, with the first ever song they played being Neil Young’s “Rockin’ in the Free World.” By the time she finished high school at 16 they had already played over a thousand gigs together. The band released their debut album last year, and are currently touring and gigging, as they’ve always done.
Thao Nguyen is a guitarist and banjo player and the front woman of Thao & the Get Down Stay Down, a San Francisco based alternative folk rock band. She started playing music around the age of 11, and ended up starting a country pop duo with one of her friends. Shortly after she began performing acoustic solo shows, before eventually forming Thao & the Get Down Stay Down with fellow students. Thao’s lyrics are often about relationships and childhood, with some crossing over into politics. She has also been featured in the 2017 documentary “Nobody Dies: A Film about a Musician, Her Mom and Vietnam”, which follows Thao and her mum as they visit Vietnam, Thao for the first time, and her mum for the first time since the Vietnam war, where she is faced with the two conflicting cultures that helped shape her and her music.
Laura’s career got a kickstart in 2008 after joining Youtube and sharing videos of herself playing guitar, the response was overwhelming and she quickly built up a following which has now reached over 363k followers and 80 million views. Due to her online success, she formed The Laura Cox Band, which is influenced by Southern legends Lynyrd Skynyrd and ZZ Top as well as Aussie rockers AC/DC. There was no other musicians in her family when she was growing up, but hearing her dad play Dire Straits and AC/DC records she felt inspired and intrigued to play that music herself, and was shortly after gifted a guitar for Christmas. The rest is, as they say, history.
OB1-500 OBC810 MILK TEETH bassist Becky grew up in a music loving household with a musical and saxophone playing dad who regularly However, it wasn’t until the age of 11 that she found her own taste thanks to bands such as Nirvana and Smashing Pumpkins, which are two of the bands that led here to where she is today. Influenced by the above, punk band MILK TEETH was born in 2013 and have been playing together ever since, although with a few line up changes along they way. The band’s latest release is the single “Stain” which was out just before Christmas, and brings to mind bands such as Hole and Nirvana.
https://orangeamps.com/wp-content/uploads/2019/03/Hannah-Wicklund.jpg14001863Ella Stormarkhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngElla Stormark2019-03-08 12:00:552019-05-19 20:54:02International Women’s Day: Women in Rock
Hey my name is Pepper Keenan and I play guitar and sing in a band called Corrosion of Conformity and I highly love my Orange amps!
Clearly when I think of Orange I think of the 60’s,70’s coolness factor of Orange amps. They were unobtainable things when I was a kid and I knew if I ever could reach out to that, get to that level that would be an amp that I would love.
The first time I tried out the Orange Thunderverb 50 I was actually at the NAMM show in California, I plugged into that thing and it was just instantly, raked a G chord and it was a classy sounding, right out of the gate, no pedals, real deal amp. You could feel it, you could tell and the simplicity was what I liked with it the most. The tone, you could tell somebody had put some thought into it, it felt like a handwired amp.
It’s done extremely well, I would put it against anybody. The way I play guitar, it really gives back what you lean into it with, its top of the line amplifier. It’s designed well but the shape knob got me, I don’t even know what the shape knob does but I know if i turn it this way it sounds like “Master of Puppets” and if i turn it this way it sounds like Tom Petty.
They ain’t broke yet! They are consistent, once I had that thing, I kind of felt like prior, the other amps I was using I kind of felt I was getting ripped off! Something was missing. The sustain, the whole nine yards, it really articulates what I think i am as a guitar player.
For me the way an amp is with Orange, the analogue thing about it, you open up an Orange amps and it’s just a bunch of wires, tubes and there isn’t much to it but its done well. I do think there is a degree of that era of amp making that goes with the sound of the rock that you are playing. Even so far as some of the pedals you use go in line with that amp. In terms of sounding real and like bands that I dig, that’s it, it’s got it.
I have been Orange amps for a very long time and i think without a doubt it is one of the most quality made amplifiers out there. And if you need something to get your point across, there ain’t nothing better than an Orange amp. You can ask just about anybody!
There is one thing we love more than anything else and that is rock ’n’ roll, in all shapes and sizes – we love it, can’t get enough. Without rock ’n’ roll, we wouldn’t be where we are today, and we owe everything to this beautiful genre and it’s offsprings. We like to take this opportunity to shine a light on a few (of many) rock bands and artists on our roster today.
Another legendary guitarist making their way into this article is ZZ Top guitarist Billy Gibbons. Gibbons started his career in The Moving Sidewalks as a young teen, a band that landed shows supporting bands and artists such as Jimi Hendrix and The Doors – he then went on to forming ZZ Top in the late sixties alongside bassist Dusty Hill and drummer Frank Beard (who funnily enough is the only member without a beard), which remains the standing line up of the band today nearly fifty years later.
Throughout his time in the band, Gibbons have become a massive name among respected guitar players, and again and again produces quality blues infused rock albums whether it’s with the ZZ Top or as a recording solo artist. Latest one out is his solo project “The Big Bad Blues” released September 2018, which just adds to his already impressive resume. Billy Gibbons is a master bluesman, to say the least. Gibbons is not a big user of pedal, so we were particularly pleased when he took a liking to our Bax Bangeetar pedal which he uses both live and in the studio.
Phil Campbell is first and foremost known as the former guitarist of legendary speed rock band Motörhead. His career in the band lasted for 31 years, which he pretty much spent on the road touring or in the studio recording. Sadly, the band’s disbanded in 2015 after the tragic passing of frontman Lemmy. Since then, Phil has formed his own band “Phil Campbell and the Bastard Sons” with three of his actual sons, almost a family business much like our own, sort of.
AD30HTC x 2 Rockerverb100 Turbonegro kind of came out of the Norwegian woods having created their own sort of genre called “Denim Death Punk”, which is pretty close to what we call rock ’n’ roll hence why we’re allowing them on our list. Turbonegro were initially formed in the late eighties and kept it going for about a decade, before a three year long hiatus. Luckily, to the joy of Turbojugends across the world the band got back together and kept releasing music. Rune’s one of the founding members of the band, and has been a constant member with the exception of a few years which we’re choosing to ignore. Watching Turbonegro live is in many ways the most masculine and feminine thing you’ll ever see all at once – middle-aged men in daisy dukes, sailor hats and make up, playing sweet rock ’n’ roll to a bunch shirtless dude and women (although they tend to keep their shirts on) – few bands throw a party like Turbonegro. Rune’s been using Orange for about 15 years now both live and in studio, and tends to stay clear of effects, as “The Rockerverb sound provides him with the softness of classic rock mixed with the modern hard rock growl which is perfect for the full on Turbonegro guitar attack.” – Rune Rebellion.
Some people say rock ’n’ roll is going, so whenever a band such as Rival Sons comes up it makes us happy as it means we can prove people wrong. Rival Sons are one of those bands that are kind of ticking all the boxes for a classic rock band, but with a modern twist – they have the anthems as well as the ballads, a killer frontman who can play the tambourine and look super fly while doing so, which is pretty rare in 2019, and they have Scott Holiday and his magician moustache. Scott’s all about the big sounds, and with the “killer and colourful heritage and history, healthy list of some of the greatest players ever and the high quality of current amps and cabs, Orange was an easy choice.” – Scott Holiday.
Rockerverb 50 OR100 PPC412 x 2 Peter Hughes, the classically trained and exceptionally skilled guitarist of heavy rock ’n’ roll bands Danava and Sons of Huns. Peter got his hands on his first ever Orange (which was a Rockerverb 50 combo) back in 2007 having just graduated the Willamette University with a Bachelor of Music degree in Classical Guitar performance. It didn’t take longs before he had his hands full playing for both bands, venturing far away from the classical sounds but bringing along all the tricks of the trade to the table, now catering for a new audience with his high paced and heavy rock ’n’ roll which would suit fans for the likes of Motorhead and Thin Lizzy. Since then, he’s become an official Orange ambassador and acquired a few more pieces to his rig in the form of two PPC412 cabs and an OR100. When Peter isn’t playing his Orange amplifier at excessive decibels, he enjoys “plucking out the Baroque stylings of the one and only J.S. Bach on Classical Guitar”, as well as being a amateur mycologist, or a fungi enthusiast.
https://orangeamps.com/wp-content/uploads/2019/03/Voice-of-Facebook-Header-ROCK.jpg9241640Ella Stormarkhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngElla Stormark2019-03-01 10:53:452019-07-02 12:21:33The Voice of Rock
Once again Desertfest London has gone and done it and put together yet another cracking lineup for this year’s festival featuring bands and artists such as OM, Fu Manchu, Earthless, All Them Witches, Kadavar, Electric Citizen, Witch and more. We might still be a while away, but we’re impatiently waiting as we count down for the festivities to begin.
The festival is held every so slightly later than usual this year as it’s taking place over the weekend 3rd to 5th of May, and as spring should have properly sprung by this point we’re hoping for even sunnier conditions than last year – there is just something beautiful about casually bumping into about 98% of the people you know drinking sunny pints at 3.45 on a Friday in the designated Desertfest area outside the Black Heart, browsing through records and merch while chatting along.
Desertfest means madness to us at Orange, and we’d probably all clone ourselves if we could to stretch out between the different venues to catch all the bands as well as conducting all the interviews, shoots and unsuccessfully trying to upload Instagram stories while in our favourite but 4G-less basement at The Underworld. In many ways, it’s very much like a wedding, our wedding – lots of planning and excitement during the months leading up to it, until day one’s all of a sudden there and you’re jet launched into an overwhelming experience of people to talk to and a gallon of booze thrown into the mix. Not your average day in the office, and sometimes it’s hard to differ between working hard or hardly working – somehow the two go hand in hand delightfully during this weekend.
As always, there’s always some acts that excite me to the point of explosion, last year it was Hawkwind who’s set timed perfectly with me finishing all interviews for the weekend, allowing embrace the space and go full Rainbow Rhythms in the crowd during their set. This year I’ve got my heart set on Earthless at The Roundhouse despite having seen them a whole bunch a times before, the last one being at Brighton’s The Haunt where I for a second thought I’d take off into hyperspace during the 20 minute long into. My heart sings for Earthless, the finest psych connoisseurs and masters of their instruments, and some of the kindest people in the industry. I spoke to guitarist Isaiah about his expectations towards the gig, and being one of the bands chosen to close the festival at Roundhouse on the Sunday;
Earthless at Islington Assembly Hall April 2018
“We’re stoked and honoured and excited to be playing with all these bands that we love, and to play a venue such as the Roundhouse makes the whole thing even sweeter! We can’t wait to get to London and let it all out.” – Isaiah Mitchell, Earthless
Another band I’m genuinely stoked to see at the Roundhouse is All Them Witches – having first seen the band play London’s Lexington just three years ago it’s incredible to think how much they’ve grown during those years, from Lexington to Scala to Koko to the Roundhouse – almost sounds like a classic case of “dreams come true”. Having recently parted with their keyboard player the band is now performing as a three piece, so seeing how they’ve adapted their music to be performed one man down is pretty exciting. Everyone loves a power trio, and ATW might just be the next big one.
Day passes and weekend tickets are up for grabs via Desertfest London’s website, so get your hands on yours before it’s too late.
https://orangeamps.com/wp-content/uploads/2018/04/IMG_8914.jpg20003000Ella Stormarkhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngElla Stormark2019-02-17 11:52:072019-02-19 09:50:10Desertfest London 2019 – While We Wait…
