Songwriter · Portland, ME · Autumn dates on sale · a mailing list, not a feed
“Fri 14 Nov · Bramble Hall · Tickets” tells you nothing about whether to come. Seated or standing? Solo or with a band? Does the headline start at nine or half eleven? Every date below answers all four before you buy, which is the least a listing can do.
Autumn 2026
Open a date for the room, the format, who is on before, and what time I actually walk on.
The quiet one. No support, no interval, and the bar closes during the set. If you have only been to the loud shows, this is the other kind.
Loud, late, and the last forty minutes are the reason to come. Support is on at 20:30 and worth arriving for.
Sold out in nine days. There is no waiting list and I would rather say that than run one that never moves.
Early finish on a Sunday, deliberately. Cello and guitar, and about half the set is from the first record.
A Tuesday, so it will be a smaller room than the weekend and better for it.
The longest set of the run, and the only midnight curfew. Bring shoes you can stand in.
Gone. A second night was offered and I said no — two nights in a room this size on a routing this tight is how a voice ends a tour early.
Seated and solo in a room that usually is not either. Requests taken between songs, within reason.
Standing but small. Somewhere between the quiet show and the loud one, which is where most of these songs actually live.
The biggest room of the run and the latest start. Two openers means doors at seven and me at ten — plan accordingly.
A seated theatre with a full band, which is unusual and my favourite kind of night.
Last night of the run, earliest start, and by then my voice will be honest about the twelve dates behind it.
Two of these are gone and they stay on the list, because a tour page that quietly deletes the sold-out dates makes the run look smaller than it is and tells the person who missed one nothing. Where a room sold out fast, the next routing goes somewhere bigger in that city — that is the only thing this list is actually for.
2 of 12 gone.
Records
2025 · 10 songs · 38 min
The loudest of the three and the one the standing shows are built from.
Recorded live to two-inch tape in four days with the band in one room. Three songs are first takes and one of them has a mistake in it that we kept.
2022 · 12 songs · 44 min
The quiet record. If you liked one of these and not the others, it is usually this one.
Made at home over eighteen months, mostly at night, mostly alone. Two songs have a cello on them and nothing else does.
2019 · 9 songs · 31 min
Rougher than the other two and I have stopped apologising for it. Half the seated set still comes from here.
First record, made for very little in a rented church hall with a borrowed pair of microphones.
Store
What things cost, and what actually reaches me. Not a guilt trip about streaming — the numbers, so you can decide with them instead of around them.
| Item | Price | Reaches me | Note |
|---|---|---|---|
| Digital album, direct | $10.00 | $8.20 | Card fees and the platform cut. This is by a distance the most efficient way to support a record. |
| Vinyl, 12" | $32.00 | $9.40 | Pressing, sleeve, shipping and breakage. It is the least profitable thing I sell and I keep making it anyway. |
| CD | $14.00 | $7.10 | Cheap to make, and still the best-selling item at a seated show by a wide margin. |
| T-shirt | $28.00 | $11.50 | Before the venue merch cut, which is 10–25% at most rooms on this run. |
| Ticket, seated show | $24.00 | $8.75 | After the venue, the agent, the support and the crew. On a good night the band and I are paid; on a Tuesday in a 250-room we are not. |
| One stream | — | $0.0035 | Which is why the first row exists. Buying the album once is worth about 2,300 plays, and both are fine — this is a number, not an argument. |
“I drove two hours for what I assumed was the solo show and it was the full band. My fault for not asking, except there was nowhere to ask. This page would have told me in one line.”
From a message after a show in 2024 — the reason the dates changed
Common questions
Because this is a website template and Wren Halloway is fictional. A stock portrait presented as a named performer would be inventing a person, which is a different thing from inventing a song. The two photographs are a seated room and a guitar case: real kinds of place and real objects, standing in for whatever the person using this template actually has.
Volume, length, and about half the setlist. The solo shows are quieter and lean on the older records; the band shows are louder, later, and built from the newest one. Neither is the real version — they are two different nights and the point of this page is that you get to choose.
Because deleting them makes the run look smaller than it is and tells the person who missed one nothing. Where a room sold out fast, the next tour goes somewhere bigger in that city, and that is genuinely the main thing this list is for.
Almost never on a tight routing. Two nights in the same room means either a day off I do not have or a voice that will not last to the end of the run. I would rather come back in six months.
At the seated shows, between songs, within reason — some of them I genuinely cannot play any more without a week of practice. At the band shows the set is fixed because five people have to know what is next.
A mailing list. Roughly six emails a year, all of them either a tour or a record, and no algorithm decides whether you see them. That is the only reason to prefer it and it is a good one.
The list
A tour or a record, nothing else, and no algorithm deciding whether you see it. Fields marked with an asterisk are required.