By Azzam Bilal 
HangupsMusic.com – LOS ANGELES, The indie-rock landscape is often defined by its fleeting collaborations and ephemeral side projects, yet few have left as lingering an impression as the minimalist powerhouse known as Nice As Fuck. After nearly ten years of relative silence, the trio—comprised of indie-pop royalty Jenny Lewis, Erika Spring, and Tennessee Thomas—has officially announced their return to the stage. This sudden re-emergence marks a significant moment for fans of the mid-2010s alternative scene, signaling not just a brief run of shows, but a celebration of a project that many feared had been permanently retired to the archives of musical history.
The group’s revival is anchored by an upcoming October tour that spans the United States, beginning in the intimate settings of the West Coast before traversing the country toward the Atlantic. This "anniversary tour" serves as a dual celebration: a look back at the band’s formation and a long-overdue victory lap for their self-titled debut album. Adding to the excitement for collectors and audiophiles, the band has confirmed that their sole studio effort, which has been notoriously difficult to find on physical media for years, is finally receiving a vinyl reissue. For a record that has been out of print since its initial limited run, this news is as vital as the tour dates themselves.
To understand the weight of this reunion, one must look back to the peculiar and politically charged atmosphere of 2016. Nice As Fuck (often abbreviated as NAF) did not arrive with a traditional marketing blitz. Instead, they debuted with a sense of urgency, playing their very first show at a high-profile rally for Bernie Sanders’ presidential campaign. At the time, the trio represented a collision of different corners of the indie-rock world. Jenny Lewis was already a household name in the genre, having fronted the legendary Rilo Kiley before establishing a formidable solo career and collaborating with The Postal Service. Erika Spring brought the dream-pop sensibilities of her band Au Revoir Simone, while Tennessee Thomas provided the driving, rhythmic backbone familiar to fans of her group The Like.
What made Nice As Fuck stand out from the "supergroup" label was their commitment to a specific, stripped-down aesthetic. In an era of maximalist production, NAF chose the path of "less is more." Their sound was built almost exclusively on bass, drums, and vocals. By eschewing traditional electric guitars, they created a lean, punchy, and surprisingly danceable brand of "protest pop." Songs like "Guns" and "Door" showcased a raw energy that felt both retro and modern, drawing comparisons to post-punk pioneers while maintaining a contemporary lyrical edge. The self-titled album, recorded in a whirlwind session that captured the trio’s immediate chemistry, became a cult classic, though its limited availability on vinyl eventually turned it into a "white whale" for record hunters.
The 2024 reunion comes at a time when Jenny Lewis is experiencing a broader career renaissance. Just last year, Lewis’s primary vehicle, Rilo Kiley, surprised the music world by reuniting for the Just Like Heaven festival in California. That appearance, which many thought would be a one-off nostalgia trip, blossomed into a full headlining tour, proving that the appetite for Lewis’s various creative outlets has never been higher. However, Nice As Fuck offers a different facet of her artistry—one that is more collaborative, punk-inflected, and rhythmically focused than her more Americana-leaning solo work or the polished indie-pop of Rilo Kiley.
The upcoming October itinerary is a curated selection of venues that reflect the band’s penchant for cool, vibey atmospheres. The tour kicks off on October 16 at Sid the Cat in Pasadena, a venue known for its discerning bookings and close-knit feel. From there, the trio moves through the Bay Area and the Pacific Northwest, with stops at San Francisco’s August Hall, Seattle’s Nectar Lounge, and Portland’s Wonder Ballroom. The trek then heads into the Midwest for a night at Chicago’s Outset, before finishing with a run through the Northeast corridor, including dates in Washington, D.C., Philadelphia, and a final show at Brooklyn’s Xanadu Roller Arts on October 29.
Joining the trio for the duration of the tour is DJ Alix Brown, a mainstay of the New York and Los Angeles fashion and music scenes. Brown’s inclusion as the opening act suggests that these shows will be more than just standard concerts; they are likely to be immersive evening events that lean into the "cool-girl" indie aesthetic that the band members have helped define over the last two decades.
The vinyl reissue of Nice As Fuck is perhaps the most tangible piece of news for the broader fanbase. For years, the album has existed primarily on streaming services, with original 2016 pressings fetching high prices on secondary markets like Discogs. The decision to bring the record back into print suggests that Lewis, Spring, and Thomas recognize the enduring legacy of these nine tracks. The album’s minimalist cover art and its urgent, bass-heavy grooves were designed for the analog experience, and the reissue ensures that a new generation of listeners can experience the project as intended.
The broader significance of Nice As Fuck’s return can also be viewed through the lens of the "female supergroup" phenomenon. In recent years, groups like Boygenius (Julien Baker, Phoebe Bridgers, and Lucy Dacus) have dominated the cultural conversation, but Nice As Fuck was an early and vital precursor to this trend. They demonstrated how established women in the industry could step outside their primary brands to create something that felt communal and experimental. By operating as a trio with no clear "lead" in the traditional sense—despite Lewis’s high profile—they fostered a sense of musical sisterhood that resonated deeply with their audience.
As the October start date approaches, speculation has begun to swirl regarding whether this reunion will yield new music. While the announcement focuses on the anniversary and the reissue of the debut, the chemistry between Lewis, Spring, and Thomas has always been noted for its spontaneity. Their original formation was born out of a desire to create something fast and meaningful in response to the world around them. Given the current global climate, many fans are hoping that the "back as fuck" slogan accompanying the tour might hint at a second chapter for the band’s discography.
Regardless of whether new songs materialize, the return of Nice As Fuck is a reminder of the power of simplicity. In 2016, they proved that you didn’t need walls of guitars or complex synthesizers to make a statement—you just needed a groove and something to say. In 2024, as they prepare to take those same grooves back on the road, that message remains as potent as ever. The October tour promises to be a masterclass in minimalist rock, led by three of the most influential figures in modern alternative music.
For those looking to catch the tour, tickets are expected to move quickly, given the relatively small capacities of the chosen venues. From the skate-rink vibes of Brooklyn’s Xanadu to the historic stages of the Pacific Northwest, Nice As Fuck is poised to reclaim their title as the most effortlessly cool trio in the business.
Nice As Fuck 2024 Tour Dates:
- 10-16 Pasadena, CA – Sid the Cat
- 10-18 San Francisco, CA – August Hall
- 10-20 Seattle, WA – Nectar Lounge
- 10-22 Portland, OR – Wonder Ballroom
- 10-24 Chicago, IL – Outset
- 10-26 Washington, D.C. – Black Cat
- 10-28 Philadelphia, PA – Theatre of the Living Arts
- 10-29 Brooklyn, NY – Xanadu Roller Arts
