Name: Not a Show
Start: 2027-11-12T20:00:00
End: 2027-11-13T00:00:00
Location: Stone Church

The Cold Stares are just fine with being one of the few modern blues-rock power trios in the world today. Based out of Evansville, Indiana, The Cold Stares continue to explore what it means to be a “modern” blues-rock trio on their upcoming album Texas—paying tribute to the state where so many of their influences like ZZ Top and the Vaughan brothers called home.Initially formed in 2012, The Cold Stares began their career as a duo, but expanded their sonic firepower with the addition of bassist Bryce Klueh in 2022. Fuzzed-out guitars, classic rock guitar riffs, and fleet-fingered Cream-style improvisations abound, as do nods to Delta blues and an emphasis on songwriting and lyricism. The group has been praised by Classic Rock Magazine, No Depression, and American Songwriter, among other outlets; they reached #1 on Amazon Music’s Blues Rock album chart; ant they’ve had consecutive albums in Billboard Blues top ten charts.The Cold Stares have earned prime sync license placements in commercials with Dodge and Chevy among others, had songs on hit television shows like Animal Kingdom and Sex Education,&nbsp;&nbsp;and have become a staple on many video games including Cyberpunk 2077 and UFL.Seth Yacovone Band has been a fixture of the Vermont music scene since 1995. The band started when Yacovone was 16 and evolved from a straight blues band to becoming a more open ended and rock-oriented sound. The current lineup together since 2013, consisting of Steve Hadeka, Alex Budney and Seth Yacovone have been making some of the best music of the band’s existence, becoming an improvisational, heavy blues rock trio, power charging Yacovone’s original songs. The band has released 8 albums, toured America and Italy, opened for and or shared the stage with acts such as Ray Charles, BB King, Phish, Neville Bros, Dr. John, Johnny Winter among others.

The Cold Stares

Little Lies is a touring, high-energy tribute band that captures the youthful spirit and classic sound of one of the most popular bands in the world, Fleetwood Mac.&nbsp;&nbsp;&nbsp; &nbsp; Hailing from Boston, this eight person lineup of professional musicians carefully reconstructs the magic of Fleetwood Mac with soaring harmonies and a thundering rhythm section. Presenting a compelling show that has consistently sold out theatres across New England and the Tri-State region over the last two years.&nbsp; &nbsp; The entire catalogue of Fleetwood Mac’s 50 year tenure with Stevie Nicks and Lyndsey Buckingham is passionately recreated with breezy summer hits like “Dreams”, “Go Your Own Way” and “Say You Love Me”. The preceding formative years of Fleetwood Mac are also authentically represented with favorites like Bob Welch’s “Sentimental Lady” and founding member Peter Green’s “Black Magic Woman”.&nbsp; &nbsp; Come dance the night away and sing along to some of the most memorable music in rock history and join Little Lies: A Tribute to Fleetwood Mac for an evening of romance, drama and of course Rumours!Website: <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.LittleLiesTribute.com">www.LittleLiesTribute.com</a>Facebook: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/LittleLiesATributetoFleetwoodMac">https://www.facebook.com/LittleLiesATributetoFleetwoodMac</a>Instagram: <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/littleliestribute/">https://www.instagram.com/littleliestribute/</a>

Little Lies- Fleetwood Mac Tribute

Dead &amp; more like never before! Bearly Dead, a nationally-touring Grateful Dead tribute, is a true party band delivering a full-spectrum live experience filled with danceable energy, extraordinary performance antics, and world-class musicianship. The band's concert-style show celebrates the journey of the Grateful Dead from their earliest records until their final tours while weaving in potent classics from notable jam, rock, and funk artists. Each and every Grateful Dead member is honored through unique takes on the hits, b-sides, and deep cuts. Holding true to the spirit of the music, Bearly Dead frequently adds to their 250+ song catalog and continues to showcase spontaneous improvisation and exploratory jams – live and in-person – making each show a wildly cosmic experience you do not want to miss!

Bearly Dead

Harbinger 2 Year Anniversary Party (Goth Night) with Hexx Head, Clock Serum, Snowbeasts, Midnight Psychic, BITCRUSHR (DJ set).&nbsp;

Harbinger 2 Year Anniversary Party

THE METEORS started thirty years ago as a reaction against the soft rockabilly that was popular at that time, and they have now evolved to become the acknowledged "Kings of Psychobilly". Their audience has continually expanded, and includes not just psychobillies, but everybody from rockabillies and punks, to bikers, and most alternatives. They are the original creators of Psychobilly Music, and although they have spawned hundreds of imitations, THE METEORS are proud to be the only pure Psychobilly band ever. Their songs are inspired by their personal experiences and interests; Horror, Perversion, and Death in general. They list their hobbies as motorbikes, rock’n’roll, and burying the living; amongst their heroes are Michael Myers, Charles Manson and Mark Chapman the man who shot John Lennon. They have now made no less than 40 official albums, and countless singles, not to mention dozens of compilations and re-issues. Many were made in their own recording studio, "In Heaven" a fully working pro studio used by 100’s of bands including some very famous household names and lead-man PAUL FENECH has also released six successful solo albums. (They have also featured in many films and numerous TV shows) Worldwide sales have increased steadily over the years, and they have toured almost continuously to support these releases. Their live show is wild and addictive, (they have done it over thousands of times in fact this year passing their four thousand five hundredth) and has been seen in just about every country in the world, including Japan, several tours of America, and every major city in Europe and Scandinavia even spending a sell out week in Israel, Everybody is welcome at THE METEORS show, and the band make a point that THE METEORS Live is a political or religious free zone. People should come to enjoy the music, and to wreck if they are brave enough! It's wild and sweaty, but nobody gets seriously hurt. They are supported by a flourishing fan base, with thousands of supporters worldwide, who are kept in touch by the website <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.kingsofpsychobilly.com">www.kingsofpsychobilly.com</a> which is updated daily with tours, band news and new merchandise, and there are several internet web sites devoted to them. And they receive daily e-mail from fans from the 4 corners of the earth. Although there have been line-up changes over the years, (PAUL FENECH being the only original member) the search for the perfect combination is now over. THE METEORS are a known name, experienced, professional working band, with an established audience. Their most recent release is "Hell Train Rollin’" from 2009. Whatever you do, don’t forget Only THE METEORS Are Pure Psychobilly

The Meteors

Playing what they call “face-melting pop music” that mixes chunky guitars with subtle electronics and proud dance beats, Wild Party are a band from San Antonio, Texas whose music sounds more like the work of New York hipsters than folks from the Lone Star State. Wild Party were formed by lead singer Lincoln Kreifels and guitarist Lucas Hughes in 2009; the two had been friends since junior high, and while Hughes had played in local bands before, Wild Party marked Kreifels’ first time singing with a group. The two originally launched Wild Party as a recording project, putting songs on tape and then posting them online, but when a 2010 single caught the attention of British new wave revivalists the Wombats, Wild Party were invited to tour with them in the U.K. The overseas tour proved to be too much, too soon, and Wild Party took a hiatus of nearly two years before they re-formed with a new lineup, featuring Ethan Kaufmann on bass and Jake Kreifels (Lincoln’s brother) on drums.The new edition of the group put a greater emphasis on playing live, but they still focused much of their energy on recording, and in 2013 they released their album Phantom Pop as a digital download via iTunes. As the song “When I Get Older” gained buzz thanks to a music video, the album cracked the iTunes Top 100 Downloads chart, and in 2014 the album was reissued in physical form by the indie label Old Friends Records. By this time, Cary LaScala had replaced Jake Kreifels as the group’s drummer (LaScala also designs and markets a line of shirts for skinny guys, worn by Beck and Rivers Cuomo), and Wild Party were spending considerably more time on the road as their popularity grew.Wild Party is available for corporate events, private shows, milestone celebrations (birthday, anniversary), fundraisers, festivals, and moreband forever, band in loveCapital Soiree is an indie pop band from Chicago consisting of four brothers.* Starting as a childhood trio between best friends James Kourafas (vocals/guitar), Max Romero (bass), and Steven Rejdukowski (guitar), the band has grown from basement practices to playing some of the most acclaimed stages in Chicago; all while maintaining the enthusiasm of some neighborhood kids with a dream.With the addition of Dean Sinclair (drums), Capital Soiree’s latest EP, Reruns, demonstrates the band at their most current: a bit melancholic, weathered by change, and nostalgic for the past but still hopeful for the future.*not actually related but still in love

Wild Party/Capital Soiree

Two of Boston’s most influential and enduring voices have joined forces for a bold new project.&nbsp;Tanya&nbsp;Donelly—co-founder of&nbsp;Belly, Throwing Muses, and The Breeders—and&nbsp;Chris&nbsp;Brokaw, guitarist/singer for the legendary&nbsp;Come&nbsp;and longtime collaborator with Codeine, Thurston Moore, and The Lemonheads, have come together to reimagine the centuries-old form of medieval music for the modern era.Their forthcoming EP The Undone is Done Again&nbsp;(Fire Records, 2026)&nbsp;set for release in&nbsp;early 2026, offers a collection of&nbsp;modern interpretations of&nbsp;medieval music, built on the intimate interplay of Donelly’s luminous vocals and Brokaw’s intricate, atmospheric guitar work. The result is music that feels both ancient and immediate—haunting, beautiful, and defiantly new.Both artists bring decades of experience shaping alternative and indie rock history. Donelly’s unmistakable voice and songwriting have inspired generations, while Brokaw’s genre-spanning guitar work has pushed boundaries in rock, folk, and experimental music. Together, they create a duo project that is&nbsp;at once stark and lush, rooted and forward-looking, bridging Renaissance tradition with contemporary songcraft.Following the EP’s release, the pair will embark on a&nbsp;series of live concerts, bringing their unique collaboration to some unique spaces across North America, Europe, and beyond. Audiences can expect intimate, mesmerizing performances of the&nbsp;madrigals, where two artists at the height of their powers explore uncharted musical territory,&nbsp;and also will perform songs from their unique solo histories.Tanya&nbsp;Donelly: vocalsChris Brokaw: guitars“Having always been a big fan of all of&nbsp;Chris&nbsp;Brokaw’s music, bands, and projects, I asked him if he and I might team up to play a song or two for our mutual friend Hilken Mancini’s&nbsp;annual holiday event last year. He had the unusual and very cool idea to perform a medieval carol, in Latin, something far outside of anything I’d done before. We quickly synced up in practice, and I was (as usual) blown away by&nbsp;Chris’s gorgeous, trancy guitar. (His playing on this project reminds me somehow of throat-singing.) As it felt very natural to be playing this music together, we decided to work up a few more of these traditional pieces. We are very happy that Fire Records will be releasing this EP in April ’26, and we’re planning some shows for the Spring as well.” ~Tanya Donelly“In December 2024,&nbsp;Tanya&nbsp;asked me if I’d collaborate with her at a local (Boston) holiday benefit show we’ve both participated in for several years. I’d been listening to the Norwegian vocal group ‘Medieval Trio” and kind of on a lark suggested&nbsp;that we perform a medieval Christmas piece.&nbsp;Tanya&nbsp;quickly agreed, we did a little research, and arrived at the song ‘In Hoc Anni Circulo”. I invited her over, she started singing, I started playing electric guitar, and – I felt like we immediately came upon a new language, sound, dialect. It sounded more like Bedouin music to me than anything particularly ‘Christian’, or much like anything we were ostensibly drawing from. I found it really exciting, and suggested we pursue&nbsp;it further. We worked up another 3 pieces and decided that these 4 would be a complete statement. We went in the studio with David Minehan engineering and mixing in April 2025, finished it all in July.&nbsp;I’ve always loved&nbsp;Tanya’s music but her singing here is, I think, on an entirely new level. She’s amazing and I’m really proud&nbsp;+ excited about this work.”&nbsp; – Chris Brokaw, August 2025.—Roger Clark Miller was guitarist/co-leader in the highly influential post-punk band Mission of Burma. Their album “Vs.” was listed at number 19 in POP MATTERS, “50 Best Post-Punk Albums ever”. They have a chapter dedicated to them in the Indie Rock Book “Our Band Could be Your Life.” Miller was listed as number two of nine absolutely essential Post-Punk Guitarists in TONE REPORT. (Number one was Andy Gill). He continued expanding his guitar skills after Burma, recently in his “Dream Interpretations for Solo Electric Guitar Ensemble” and his current rock band, “Trinary System” (both on Cuneiform Records). Treble Magazine, 2026: “Miller puts on a master class in guitar sonics, unleashing a torrent of fuzz-drenched strings stabs, bends and scrapes.”Premier Guitar, Jan. 2023: “The post-punk 6-string hero takes a deep dive into sonic surrealism with his new album, a loop-driven collection of riveting soundscapes.” Pop Matters, Jan. 2023: “His skills as a guitar player and his bottomless imagination have collided in a perfect encapsulation of the two traits, bringing forth a third strandthat just can’t be imitated by anyone else, no matter how hard anyone should try.” On April 10 he will perform solo as a singer/song-writer on electric guitar and voice. He tours nationally and internationally. His music can be found on more labels than you can count.<a target="_blank" rel="noopener noreferrer nofollow" href="https://rogerclarkmiller.com/unplugged-from-a-band/">https://rogerclarkmiller.com/unplugged-from-a-band/</a>

Tanya Donelly and Chris Brokaw- Madrigals and Guitar

lespecial is redefining the term “power trio”. The multi-instrumentalists from Connecticut continue to push the boundaries of what a three-piece band is capable of both live and in the studio ahead of their latest album, “Odd Times”. The band’s signature blend of “heavy futuregroove” combines head-banging metal riffage and surgical rhythmic precision with bone shaking808s, sub synths and ethereal vocal stylings for a dance floor that welcomes moshing, dancing and hip swaying alike. Listeners are taken on a journey to the musical netherworld through esoteric soundscapes punctuated by raw, primal power.Odd Times, lespecial’s darkest and heaviest record to date, is an enigmatic and compelling musical project that explores the ever-changing nature of time amidst isolation. With heavy riffs, tribal drumming, and hints of levity, it's a captivating journey crafted in collaboration with Havok's David Sanchez. An intriguing blend of old-school metal and modern djent-inspired riffage awaits in this haunting sonic experience.

lespecial

Pallbearer’s Foundations of Burden (2025 Redux) is a meticulous sonic reconstruction of their transformative, landmark 2014 album. The newly remixed and remastered version arrives digitally on Nov. 7, with physical editions (2xLP and CD) available on Dec. 5. “During the writing and preparation for Foundations, everything was ephemeral and we were practically feral,” recalls bassist/vocalist Joseph D. Rowland. “We had no real practice space, we barely had a single working computer between the four of us. Our demos of the record consisted of something barely discernible from white noise. Nevertheless, we knew we were working towards building a set of songs we were deeply enthusiastic about. Once in the thick of recording, the feeling went from dream to dreamlike very quickly, as we found ourselves in what felt like an endless churn of repetition. We slept at the studio on whatever soft surfaces we could find, waking each day to discover that some of the previous day’s work had been corrupted overnight. This resulted in some parts of the album being recorded many times over. The guitars in particular mutated into something Sisyphean.” Rowland continues, “Since the time that we finally committed the original version of Foundations to print, we knew it would be a sonic space we would eventually revisit. Its form did not unfold according to the original version as the numerous file corruptions, delays, and exhausted studio budget compounded into a final feverish push to finish the mix. We were relieved to get those massive and difficult mixes turned into finished songs just in time, but not without a nagging thought; we had to sacrifice much of the nuance we had spent so much time crafting.” More than a decade later, Pallbearer seized the opportunity to revisit the record from the ground up. Over the past year, the band meticulously reconstructed the album from the original sessions. “In the time since then, we have played most of the songs from Foundations more times than we can count, and they remain some of our favorites,” Rowland continues. “The songs have grown with us. And while we hold a deep love and attachment to what we created in 2014, we also gained a fuller understanding of how we would want to re-present them if we had a chance. After years of discussion, listening and learning, we found ourselves in the position to fulfill that vision.” Foundations of Burden (2025 Redux) features new mixes and mastering, plus new artwork featuring a painting by Benjamin Vierling. The six-song, 55-minute collection is produced by Pallbearer, mixed by Mario Quintero (Spotlights), and mastered by Adam Gonsalves. In celebration of the 2025 Redux edition of their landmark album Pallbearer will be playing select shows performing Foundations of Burden in full.—Knoll is a Tennessee-based 6-piece "funeral grind" band formed in 2017, blending dissonant death metal, grindcore, and noise with avant-garde elements like free-jazz horns. Known for a DIY ethos, they have released three acclaimed albums—Interstice (2021), Metempiric (2022), and As Spoken (2024)—and are recognized for their intense live performances.—ORDHA lot of things happen when you get older. Life gets more expensive. Aches and pains become more prominent, frequent and frustrating. The potential for isolation and loneliness is increased. Never mind being haunted by the specter of regret about what could have, should have, would have been if you only had thought things out and had a better thought out plan when your bloodstream was mostly piss and vinegar. Growing longer in the tooth can be a negative experience, if you choose to frame that way. Flip that framing and getting older is: 1) still better than the finality of the alternative, and 2) also comes with perks: wisdom, experience, growth and progression that accompanies a fiery sense of iconoclasm, confidence and independence. Should one choose to apply those positives to artistic expression, it can put spring in steps and lead to creation rooted in heartfelt singularity.&nbsp;When Graham Brooks and Dylan Blake formed Barishi in 2012, they were mere kids jamming on their version of Mastodon, Baroness, Inter Arma and Gojira in garages, sheds, basements and bedrooms in and around the scenic Brattleboro, Vermont area. By the time Barishi issued their first two full-lengths (2013’s Barishi and 2016’s Blood from the Lion’s Mouth), Jonathan Hébert was beginning his tenure as the guitarist/vocalist in doom sludge graybeards Come to Grief and skulking down his own path of progression. A tour pairing Come to Grief with Barishi tour in support of the latter’s final release, Old Smoke, brought the trio into each other’s spheres and onto each other’s radars. Following the dissolution of Barishi, Brooks and Blake found themselves without a band at the same time they were tapping into a deeper and portentous conglomeration of metallic prog and filthy death metal that dared to utilize unnerving discord and poke at inky vortexes. Then, they remembered Hébert, his cavernous larynx and how they bonded over the same musical touchstones — Iron Maiden, Death, Edge of Sanity, Opeth — and Ordh was born.“A few of the songs were written for Barishi when I was at a weird point when I didn’t know if I wanted to continue with Barishi,” explains Brooks, “So, we had some of the songs five years ago and the skeletons for the rest shortly thereafter. I hate singing and I’m not especially good at it and Jonathan was down. It just kind of snowballed, fell into place really quickly and felt really good.“Barishi was a band that never really caught up with our tastes and what we wanted to do,” he continues. “We started that band when we were kids and we couldn’t write and play the stuff we wanted. With practicing, working and becoming better song writers we got to a place where we could. Being older and wiser I felt we could now wear our influences on our sleeves a little more and do all the things I felt some weird societal pressure to not do, like have three guitar solos in a song to satiate my inner 15 year old.”&nbsp;As the sands tumbled through the hourglass, the members of Ordh — rounded out by Kiefcatcher bassist Josh Smith — drew upon their knowledge working with labels like Season of Mist and Translation Loss, becoming regulars on the regional touring circuit, and navigating the tricky waters of art and inspiration vs. deadlines and commerce. Those experiences were utilized, channelled and taken into consideration, but left to their own devices and without any industry looming over their shoulders or pressure lurking around corners, the band hunkered down to create their progressive death metal masterpiece debut, Blind in Abyssal Realms.From the start, Ordh — the “corrupted spelling” of an old English word meaning “the tip of a spear” — have bucked trends to do things differently. Unlike the majority of today’s new bands, where the desire to put themselves, underdeveloped music and overdeveloped merch drops into the public eye as quickly as possible, Ordh took the opposite path, choosing to ruminate, simmer, write and rewrite the material that comprises Blind in Abyssal Realms over the course of five years. The result is as stunning and devastating as it is massive and hulking. “Apis Bull” roars out of the gate like a spacious colossus of sonic desecration, swimming with truncheon-swinging cavernous melodics and cacophonous harmonies. “Moon of Urd” is the deftly organized result of competing sewer-dwelling neighbors blasting their collections of ‘70s prog and spidery death metal at each other through uninsulated rice paper walls. The title track rides shotgun with the beasts of cryptozoological burden as they mimic the sound of their tearing down new buildings and three-step dancing on the remnants.&nbsp;“We’re all pretty psyched about this as a snapshot of where we are now,” says Brooks. "The editing process was pretty ruthless and nothing was sacred and unless a part could prove itself, it was fair game to be cut.” &nbsp;The recording process was just as labored over and extensive. Blake’s drums were originally captured in the summer of 2023. At the time, the band figured, given their protracted writing process and meticulous preparation, that the rest of the recording would quickly follow and be hastily completed. Artist Paolo Girardi (Cryptopsy, Revocation, The Black Dahlia Murder) was approached about knocking out an image to coincide with what was thought to be an impending release. A conversation with Girardi had the artist offering up an illustrative depiction of his own personal fantasy world for the cover, to which the band wisely agreed. As the recording process lumbered on, in a reversal of procedural fortune, the band began using Girardi’s cover painting as inspiration.“The album cover is sick!” enthuses Brooks. “Paolo is the man! In terms of us telling him what we wanted, we said ‘something vaguely cave-ish,’ and that was it. He’s the master, leave the creative process to the master. He knocked out the painting so quickly that we only had drums done. But a lot of parts changed and we didn’t have all the lyrics done, so it was pretty cool to have this thing that was going to be the visual representation as inspiration. There were a lot of times we’d look at the cover and try to emulate it sonically.”Five years on from inception and with a deal worked out with Singapore’s Pulverised Records, Ordh are finally emerging from their lengthy creative hibernation. Blind in Abyssal Realms is set to burrow its way into the earholes and consciousness of the extreme music underground with the band finally ready to bring itself to the live arena with a spate of local shows followed by concentric circle touring as their profile grows and demand increases.“The goal with this band is more about creating something that sits well with us in the long run,” reasons Brooks. “A band that has caught up to our tastes and is something where we can do those epic song structures as opposed to when we were in Barishi and the goals were like to play this or that venue, open for this or that band or sign to this or that label — the goals you have when you’re 16 years old. I’d be lying if I said getting Ordh to a wider audience and having people enjoy it wasn’t part of the equation, but it’s mostly about maturing artistically and being the band we’ve always wanted to be.”&nbsp;Blind in Abyssal Realms was produced by Ordh and recorded at Guilford Sound in Guilford, VT by Mikey Allred (Inter Arma, All Them Witches) and Matt Hall, as well as at Merle’s Tower in Dover, VT by Graham Brooks. It has been mixed by Andrew Oswald (Mortiferum, Caustic Wound, Vanum) and mastered by Brad Boatright (Come to Grief, Creeping Death) with cover art by Paolo Girardi (Cryptopsy, Revocation, The Black Dahlia Murder). The album is set to be released in spring 2026 on Pulverised Records.&nbsp;Jonathan Hébert – Vocals (Come to Grief)Graham Brooks – Guitars (ex-Barishi)Dylan Blake – Drums (ex-Barishi)Josh Smith – Bass (Kiefcatcher)

Pallbearer

Established in Virginia’s Shenandoah Valley, Palmyra captures the collective spirit of three Virginia natives: Teddy Chipouras, Mānoa Bell, and Sasha Landon.&nbsp;Palmyra straddles at least two musical worlds. They are, on one hand, a band from the South that plays traditional instruments and indeed once lived in the old-time locus of Floyd, Virginia. Comparisons to and a kinship with The Avett Brothers and even Old Crow Medicine Show are inevitable. On the other hand, Palmyra writes about grief, gender dysphoria and identity, and coming of age in songs that flirt with soul, post-rock, and even emo; the South, too, is the place of My Morning Jacket, Band of Horses, Cat Power, and now, Palmyra.&nbsp;The band’s first full length LP, Restless, is out now on Oh Boy Records. Framed by moments of struggle, solidarity, and hard-won growth, Restless is an unqualified ringer for anyone who loves the space where the roar of indie rock collides with raw folk.

Palmyra

Building off the strengths of their critically acclaimed works, POISON RUIN return with their new album, Hymns From the Hills. The Philadelphia Punk band have developed their signature approach to grim mythmaking and scythe-swinging aggression in bold new directions, offering up a new body of songs that strike one as equal parts natural, undeniably of this world, and phantasmal.The band's vision has grown substantially, pushing well past the tales of peasants and serfs that stood as allegories for contemporary alienation in their previous work. On this newest offering, their previous stories of toil and dispossession are revealed to be but one chapter etched upon a bleaker tapestry- One populated by spirits traversing sunless deserts and wilted hillsides, demonic torture objects limning the edges of the psyche, bodies transfigured into Luciferian snakes, Sadean prisoners bound to the screaming silence of abandoned castle towers. The record is at once a forceful restatement of POISON RUIN's trademark sound and a departure from it- The crackling, cassette-dubbed darkness and crushing rhythms listeners have become accustomed to are buttressed by a carefully sculpted mosaic of new textures, from flourishes of Killing Joke hacksaw primitivism and blast-beats worthy of the Relapse catalogue number to crisp analog synth lines and ambient serenades reminiscent of Scott Walker and The Durutti Column. Like a serpent moving ever outward with spiraling circularity, Hymns From the Hills expands POISON RUIN's sonic landscape in imaginative new directions while maintaining its center of gravity firmly in the band’s already established mythos.Hymns From the Hills is meticulously composed. Much like the rest of POISON RUIN's body of work, this LP was self-recorded without the use of professional studio equipment. To meet the greater sonic demands of Hymns From the Hills, however, mastermind Mac Kennedy relocated to a private practice space, retiring from his previous routine of squeezing in tracking sessions around the rare moments that the band’s shared practice space happened to be vacant. “Having added time to breathe and really get things right felt crucial this time,” he remarks. “The stress of having to work quickly and at chaotic intervals used to feel productive, in that it instilled a sort of rough, energetic ethos into the recordings, but I began to feel that those working habits were blocking me from pursuing certain ideas that required a more measured, methodical approach.” To best serve the record’s grander ambitions, the band enlisted the mixing prowess of Jonah Falco (Fucked Up, Career Suicide) and the mastering of Arthur Rizk (Power Trip, Trapped Under Ice, Cavalera, Integrity), who helped to elevate the record’s teeming variety of sounds to new heights of self-assured fidelity. Kennedy lent a second hand to the mixing process, splicing in grittier tape recorded segments in order to maintain a certain tonal continuity with the band’s previous work, creating a rich structure of unconventional frictions, crystalline flashes of polish ripping through abysses of hissing low end only to shatter against the whipping sting of rusted chains moments later.Lyrically, Hymns From The Hills extends both the cynicism and the defiant bravado of POISON RUIN's established fantasy aesthetics. While the record continues POISON RUIN'S tradition of employing medieval-inflected fantasy imagery, Kennedy does not intend for these figures to be read as historically accurate. “I’m not very interested in conveying the historical facts of medieval culture. If we are to make sense of the present, we need to employ a more mythic mode of language and symbol&nbsp; to reach beyond the spiritual malaise that envelopes us. A mythic truth resonates within any time, but it’s echos call from outside of time. Medieval and fantasy imagery are simply effective personal starting points for tapping into that mode of communication.”With Hymns From The Hills, POISON RUIN have accomplished a feat of creative labor which few have the courage to entertain, much less the capacity to execute so effectively. Hymns From The Hills ambitiously rewrites the very rules of what punk is capable of achieving, pushing POISON RUIN's sound into expansive new terrains without sacrificing an ounce of the bleak symbolism and uncompromising aggression that first established them as an urgent new voice in the world of extreme music.

Poison Ruïn

The follow-up to 2021’s rustic, folk-tinged Green to Gold, Blight asks many questions without offering easy answers. Over the course of nine new songs, the Antlers’ founder and primary songwriter Silberman reckons with our passively destructive tendencies – absentminded pollution, unwitting wastefulness, and the inadvertent devastation of the natural world. But despite its heavy themes, Blight is far from a punishing listen. With its adventurous arrangements and persistent momentum, it plays more like an iridescent odyssey.The album was recorded over the course of a few years, with the lion’s share tracked and produced in Silberman’s home studio in upstate New York, a compact outbuilding perched at the edge of a neighbor’s sprawling hayfield.“So much of the record was conceived while walking these massive fields,” he says. “I felt like I was wandering around an abandoned planet.”And in a sense, Blight does feel like science fiction, sounding as if it were delivered from the near future. The album is a work of meticulous world-building, teeming with ear candy and surprising stylistic shifts. While many songs begin with sparse elements— a fingerpicked guitar, hypnotic organ stabs, or a nimble piano melody — they rarely remain tethered to their foundations. They often reimagine themselves partway through, shifting mid-track from gentle ballad to throbbing electronica, only to land somewhere entirely different by the end.Silberman has been confronting weighty matters ever since The Antlers’ 2009 breakthrough Hospice, an unrelentingly heavy concept album about a child cancer patient and her caregiver that addressed psychological abuse and post-traumatic stress with explicit detail and unflinching vulnerability, resonating equally with those grieving loved ones and rocky relationships. The album’s ambitious sonics— an unlikely amalgam of intimate folk confessionals, haunted soundscapes, and sky-scraping post-rock— belied its modest origins: Hospice was mostly recorded alone in Silberman’s Brooklyn bedroom, with an economy of equipment and hardly any expectant audience. The surprise popularity of Hospice placed the Antlers on a rapid ascent, touring globally, playing major festivals, and supporting such luminaries as The National and Explosions in the Sky.The music that followed grew The Antlers’ sizable following while resisting the impulse to rehash their initial success. The electronic pop of 2011’s Burst Apart, the aquatic psychedelia of 2012’s Undersea EP, and the brass-laden soul of 2014’s Familiars all embraced the band’s ingenuity while simultaneously subverting expectations, expanding the band’s emotional palette beyond the morose rage and desperation that characterized Hospice to reveal a playful expansiveness. The Antlers further pushed the boundaries as a live entity, trading the lush orchestration of their ambitious recordings for wall-of-sound maximalism and thunderous dynamics.Sadly, Silberman was forced to scale back after an unexpected hearing incident left him temporarily deaf in one ear and hypersensitive to sound. Putting The Antlers on pause, he made 2017’s Impermanence, a meditative and minimal solo album, pairing his then-fragile voice with gentle guitar and an abundance of silence. After regaining his hearing and recovering from vocal cord surgery, Silberman and longtime drummer Michael Lerner revived The Antlers for 2021’s Green to Gold, a collection of songs notably devoid of the darkness that characterized the band’s previous work.Following Green to Gold, Silberman honed his collaborative chops, including co-producing Wild Pink’s critically-acclaimed breakout ILYSM. Shortly thereafter, he released the debut album from Cowboy Sadness, his instrumental band with David Moore (Bing &amp; Ruth) and Nicholas Principe (Port St. Willow).During these intervening years between Antlers albums, Silberman and Lerner kept busy as well, releasing a series of free-standing singles unified by The Antlers’ gift for acid-dipped timbres, shape-shifting production, and impressionistic imagery.“These singles were metaphysical songs about connection with nature, which in turn put me in touch with all the ways that nature is under threat,” he says. “The smell of wildfire smoke on a sunny afternoon, the sound of chainsaws on a hike through the woods — these contradictions became impossible to ignore.”Whereas The Antlers have previously dealt in extended metaphors, Blight now takes a more direct approach. In “Calamity,” for instance, Silberman asks point-blank: “Who will look after what we leave behind?” The final and perhaps fundamental question posed by Blight appears in the penultimate track, the tragically relevant futuristic hymnal&nbsp; “A Great Flood”, in which he wonders: “Will we be forgiven should there come a great flood to drown out our decisions?” This question hangs in the air unanswered. Blight invites listeners to consider it for themselves, as if the survival of the natural world is in their hands, slowly slipping through their fingertips.&nbsp;Brooklyn-based songwriter and trumpet player Tōth (Alex Toth of Rubblebucket) will return with his third album – And The Voice Said – on February 27, 2026 (Northern Spy//Egghunt Records). Tōth is known for his emotionally direct songwriting, magnetic stage presence and trumpet playing. His forthcoming album was co-produced by Grammy nominated artist Caroline Rose and features Kimbra. This record finds Toth fully blossomed as both a singer and a songwriter with his most potent music yet.&nbsp;

The Antlers

What a better way to celebrate spring flowers than with your buds from Vermont Bud Barn?This year’s edition of our annual 420 Party features our favorite Pink Floyd tribute artists Echoes of Floyd.Show your ticket at Vermont Bud Barn on 4/18 and get 20% off one item to get you ready for the show.

Echoes of Floyd- Bud Barn 420 Party

WEEDEATER are Southern sludge legends—slow, loud, and unapologetically filthy. Born in North Carolina, fueled by distortion, whiskey, and riffs that hit like a cinder block to the chest. No frills. No mercy. Just volume.—Hear the roar of battle. Smell the stench of spilled blood. A thousand heads piled high like a grim mound of suffering. England’s doom metal masters CONAN strike back again!Following their much acclaimed 2018 full-length, Existential Void Guardian, and their Live at Freak Valley record released just last year, the trio is gearing up for the release of their fifth studio album, entitled Evidence of Immortality, due out on August 19, 2022 via Napalm Records. From colossal opening track 'A Cleaved Head No Longer Plots', CONAN’s upcoming magnum opus will overrun you like a steamroller. The British kings of brutally heavy slowness put their down-tuned pedals to the limit, crushing ears and minds when huge, rumbling chords and riff beasts muscle their way in over lances of infinite distortion.On tracks such as 'Levitation Hoax', CONAN showcases their trademark sound combined with uptempo, fierce riffage, and a pounding, impulsive groove in epic Caveman battle doom grandeur, before the song drags you into a safe, deep black hole.Second album single, 'Righteous Alliance', emphasizes that CONAN are the masters of their craft, while Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio of bass, drums and guitar.Evidence of Immortality was recorded and mixed by Chris Fielding, was mastered by James Plotkin, and also sees former band member Dave Perry performing on 'Grief Sequence'. Bow down and hail CONAN, as their sound will live immortal on the battlefield of doom, and their new album will be the ultimate Evidence of Immortality!&nbsp;—Original Grief guitarist Terry Savastano spent 2015 fine-tuning the lineup and setlist for his new version of the “extreme doom metal” band he founded in 1992. Focused on the Grief material he had a heavier hand at creating, but not intent to simply be a live Grief review, the first new song as the re-birthed ‘Come To Grief’ was played at their first show in January 2016. Since then the band has released several records, and toured extensively. After returning to the stage for the first time in 3 years January 2026, Come To Grief are back in full force and are working on the first new material since their 2022 album ‘When the World Dies.’

Weedeater + Conan

Dead Meadow are a band hailing from Washington D.C, United States who formed in 1998. Since debuting, the band have released seven studio albums and become one of the most respected cult acts in the world of stoner rock.Forming from the ashes of two D.C based bands called The Impossible Five and Colour, the first incarnation of Dead Meadow was formed by guitarist and vocalist Jason Simon, bassist Steve Kille and drummer Mark Laughlin. With their seamless combination of prime 70's heavy metal , 60's psychedelia and lyrics cribbed from Tolkien and Lovecraft, the band signed to Fugazi bassist Joe Lally's record label Tolotta Records in 2000, a mere two years after they formed. Their self-titled debut album followed in the same year, which was so acclaimed that BBC Radio One legend John Peel asked them to record a session for his evening radio show. However, as the band couldn't afford to fly to London and record it, Dead Meadow became the first band in the session's 37 year history to record their session outside of the BBC's studios.2001 saw the release of their second album “Howls From The Hills” and after the release of their live album “Got Live If You Want It” in 2002, the band signed to Matador Records in 2003, making them labelmates with the likes of Pavement, Guided By Voices and Belle and Sebastian. Ever since then, the band have remained one of the most consistent acts in stoner rock, with seven acclaimed studio albums to their name and a live show that could knock anyone for six. They've earned the respect of the likes of The Brian Jonestown Massacre's Anton Newcombe (no easy feat) and inspired acts like Wolfmother, who reinterpreted the Dead Meadow track “Everything's Goin' On” as “Pilgrim” on their second album “Cosmic Egg”. They're still going from strength to strength over a decade and a half after forming, and for that, Dead Meadow come highly recommended.

Dead Meadow

Valentine is “a record in pursuit of love,” says Courtney Marie Andrews. But love, it turns out, “is a lot more than I gave it credit for,” she explains. “It’s built over years, it’s built with trust, with changes, it becomes something new and unrecognizable, the deeper you go.” Written at the junction of intense endings and beginnings in her life, Valentine demands more of those we love and reveals a stronger, wiser, and more clear-eyed Courtney Marie Andrews in the process. It is both lush and elemental, precise in its construction but rich with sonic and lyrical layers. In love and on Valentine, there is no quarter for empty gestures.From her very first recordings, to her 2016’s breakthrough Honest Life, to 2020’s Grammy- nominated Old Flowers and her most recent Loose Future, Andrews has been celebrated as an artist who challenges herself, and who finds new interplays of Folk and Americana. “As a songwriter you can make the same record over and over again,” Andrews says, “and I’m notinterested in that. I make records to stand alone and stand apart from each other.” Co-produced with Jerry Bernhardt and recorded almost entirely to tape, Valentine features complete in-studio performances, hinging on performance rather than perfection. “We thought a lot about Lee Hazlewood, about Big Star’s Third and Fleetwood Mac’s Tusk” says Andrews, and that constellation of stars is apparent here. Valentine feels elegant, disciplined and balanced but never cold, always vulnerable and human.“I was in one of the darkest periods of my life, and songs were the only way I could reckon with it,” says Andrews. “I felt cursed, and the only mental cure felt like songwriting and painting.” The near-death of a loved one loomed over everything, and while that person eventually recovered from both sickness and psychosis, Andrews was more sure that death was coming than recovery. Her grief was acute, volatile. The decline coincided with a new romance, but rather than lift her up, the two emotional poles seemed to bleed into each other to sow doubt, trouble, even obsession. “I was grappling with what I felt sure was death, and with the end of that relationship,” Andrews explains, “while I was also grappling with something new but quiteunstable. Here was this new relationship evolving alongside the collapse of another.”The result was what Andrews describes as limerence, but a somehow empowered limerence: consuming and fierce, piled high with insecurity and fantasy, and filling every inch of a space she feared was hollowing out. It was painful, she says, and not far off from the pain of grief. But through her own exploration of music and art, Andrews found a way to grow stronger inside this feeling. “I didn’t want to slink into my pain, I wanted to embrace it, own it.” The songs that emerged are devotional in their lyrics but defiant in their energy; it’s the very sound of a woman standing in her first wisdom.That high-wire balance permeates Valentine, and lead single “Everyone Wants to Feel Like You Do” embodies it fully. A Petty-esque drumbeat marches under an indictment of the all-too- common type of man, the type who feels they can move through the world however they want without consequence. Here, Andrews’s singing is classic honey-and-vinegar; she may soundsweet, but rest assured you’re gonna hear about it. “It’s this funny double-edged thing,” says Andrews, “because you do want to feel like that person, but you’re not sure if you should because it’s a person so disconnected, without a care in the world or a care for other people. I played the guitar solo like I didn’t care in that song,” she continues. “I thought ‘I’m just gonnaplay it like I don’t give a shit what anyone else is doing.’” When Andrews sings “Don’t make yourself small, baby, take up space” on this summer’s “Cons and Clowns”, the softness in her voice lands as both a whisper and a dare. “Little Picture of a Butterfly" is another example, one where the reclamation of power in the lyrics (“Soulmates what a pretty thought / but either you do, or you do not”) mirrors the same in the music. “It’s such a trad song in a lot of ways,” saysAndrews, “but we added flute, we added organ and all these Brian Wilson harmonies.” Those additions set the song alight, building on the insistent tempo and bassline and climbing to an expansive, sky-high final act.Album closer “Hangman” opens with an echo and a note that hits like an arrow. Andrews sings insistently “tell me now, tell me now, tell me now,” but it’s not a plea, it’s a threat: I can love you with defiance, and without sacrificing who I am. It’s not “love me back”, it’s “love me or don’t.” “Keeper” is the only co-write on the record, and its backstory reads like a short film. “I was atdinner with a dear friend,” says Andrews, “and I was really going through it. I asked her if I’m a keeper, and we both just started crying. We wrote the song then and there, line by line over dinner. I went home and put a melody over it after.” There’s a desperation to “Keeper”, even in its lovely, melodic sighs. It’s insistent, worn out from chasing a love that isn’t sure.Valentine is also Andrews’s most sonically explorative record – she plays flute, high strung guitars, myriad synths, and she draws heavy inspiration from her art outside of music. Andrews is a vivid poet and an accomplished painter, and across Valentine you can feel these disciplines interwoven, everything feeding the beauty and clarity of everything else. It’s unexpected, then, that Andrews only recently appreciated the centrality of her power as a singer. “Historically my favorite artists weren’t looked at as singers,” Andrews explains, “they were looked at as writers. And I sort of dissociated myself from singing; I chose to use it when it behooved me, but I wasn’t connected with it.” But the more interdisciplinary her work became, the more that belief seemed to dissolve. “Singing is another stroke,” she says, “the most direct line to your heart. Everything is color, texture. The way you sing can change everything, for both you and the people listening.” Andrews’s voice is gorgeous and acrobatic always, but on Valentine it finds a newdepth, an assertiveness that brings new dimension to its biggest anthems and its softest moment.Andrews is, and has always been, unafraid to say the thing. Her songs are challenging but compassionate, they welcome us in but push us to venture out. And this, in the end, may do the most to explain Valentine as both a theme and title. Andrews rejects the objectification of love, the love filled with gestures and objects instead of trust, mess, and growth. In doing so, shedelivers her most beautiful and loving album to date.From the first moments of Goodbye Long Winter Shadow, layers of strings, woodwinds, acoustic guitar and the warm anchoring voice of Maia Friedman blossom as if to say “you are here.” The lush arrangements and sage lyricism are an enveloping statement of intent. They carry the devotion to nature Friedman fostered growing up in California’s Sierra Nevada with a new mother’s exploration of time and transformation. Friedman spent months developing the language of the album, pursuing the music she envisioned with characteristic patience. Produced with Philip Weinrobe (Adrianne Lenker, Florist) and Oliver Hill (Magdalena Bay, Helado Negro), the result is chamber pop abounding with melodic intimacy, a world whereinstruments bob and weave around the heart-stopping clarity of Friedman’s voice.Though 2022’s acclaimed debut Under the New Light was the first album under her name, the California-born, New York-based singer, songwriter and multi-instrumentalist has honed her sound for years as a member of both Dirty Projectors and Coco, the shared project of Friedman, Hill and Dan Molad. Where her debut was built from collaborative improvisation,Goodbye Long Winter Shadow is a collection of songs in the classic sense. Intimate instrumentals punctuate its running time and emphasize the sonic palette of the orchestral arrangements. Friedman’s lyricism and writing here is timeless, tightly composed and interspersed with surprising harmonic turns. If not for the heightened quality of its recording by Weinrobe, it might have been made decades ago; it’s Nico’s Chelsea Girl for today.Goodbye Long Winter Shadow is full of elegant evolution as Maia Friedman, in the refinement of her craft and her new identity as a mother, finds new depths to explore. At turns it feels both fresh and like a private press record unearthed for cult listening. It marks new heights for a songwriter operating with supreme confidence, and she sings: “Now the curtains hang open / in the window, flowers bloom in their vase / for once in my life I’m in love again / and my love is here to stay.”

Courtney Marie Andrews

Instrumental progressive rock trio Consider the Source has been honing in on their unique sci-fi fusion sound for over a decade, but it is with their 2024 release, “The Stare” that their sonic vision is fully realized. Produced by David Prater (Dream Theater, Firehouse), the 5-song album reveals more of the heavy metal influence the band has always had while also including the improvisational and cultural elements they have become synonymous with. This new collection of material certainly showcases their cutting edge instruments and technical virtuosity but the focus here is on the songs, chock full of catchy riffs and melodies ranging from delicate and heartfelt to full on headbanger’s ball.&nbsp;CTS have performed in a half-dozen countries across three continents. They have shared the stage with a wide variety of artists, including: Victor Wooten, King Crimson Projekt, Wyclef Jean, Ozric Tentacles, Soulive, The Disco Biscuits, Rusted Root, Papadosio, Pigeons Playing Ping Pong, Wayne Krantz, TAUK, Spafford and many others. They have performed at festivals and events including: Electric Forest, Peach Fest, Northlands, Gathering of the Vibes, Mountain Jam, Resonance, Summercamp, Shakori Hills, ProgDay, and Progtober.&nbsp;&nbsp;The Greys are an indie soul art rock band from Western Massachusetts, blending introspective lyrics with rich musical textures. Formed by Caity Simpson and Chris Merritt in 2015, the band expanded to include Tim Zucco and Kevin Mason, creating a powerful and emotive sound that culminated in the band’s debut album SIXTEEN EYES (released in December 2024). The Greys have played festivals such as Green River Festival, Wormtown Music Festival, Strangecreek Music Festival, Rubblebucket’s Dream Picnic, and numerous venues across New England. Follow them at @thegreyssounds

Consider The Source

Lumos offers enchanting concert experiences that pay tribute to world-renowned artists. We’ve teamed up with extraordinary venues and iconic locations globally to create performances that are truly magical ✨.Now, we’re bringing this unforgettable experience to the USA! Get ready for a series of spectacular concerts across the States. 🌍A donation is made to a different charity each month! Key Information : PLEASE READ 🗓️ Saturday, April 25th 📍 Stone Church&nbsp;210 Main St, Brattleboro, VT 05301&nbsp; ⏰ 2 Sittings: 1st&nbsp;Sitting 6-7pm | 2nd Sitting 8-9pm🕰 Entry: 1st Sitting – 1st Sitting – Doors open at 5pm | 2nd Sitting – Doors open at 7:30 🎼 Musical Theme: A Classical ColdplayTribute 🪑 Seating Is First Come First Serve To Your Allocated Tiered Zones (In Platinum, Gold, Silver, Bronze) ❓ Please Read Our <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.lumos-experiences.com/faqs/">FAQ’s </a>📩 For Customer Service enquiries please email: <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:service@lumos-experiences.com">service@lumos-experiences.com</a> 👥 8+ This event is for eight year olds &amp; above ♿ Accessibility: This venue is wheelchair accessible however every venue differs &amp; we can’t guarantee front row.🕯️ Experience Lumos In The Most Intimate Setting &amp; Book Us For Your Very Own Private Concert/Event (Celebrations, Weddings, Or Any Special Occasion) –<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.lumos-experiences.com/private-hire/"> Click Here</a> Type Of Performance The performance at this event will be a String Trio 🎻List Of Songs:Clocks Ever-glow Paradise Yellow Magic My Universe Fix You Sky Full of Stars The Scientist Viva La Vida<a target="_blank" rel="noopener noreferrer nofollow" href="https://uk.trustpilot.com/review/lumoslive.co.uk"> </a>Leave Us A Glowing Review On Trustpilot 👉 <a target="_blank" rel="noopener noreferrer nofollow" href="https://uk.trustpilot.com/review/lumoslive.co.uk">Click Here</a>FOLLOW US ON ALL PLATFORMS 📲 <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/lumosliveconcerts">Facebook</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/lumos.experiences/"> Instagram</a><a target="_blank" rel="noopener noreferrer nofollow" href="https://www.tiktok.com/@lumosexperiences"> Tik Tok</a> <a target="_blank" rel="noopener noreferrer nofollow" href="https://m.me/106027991145946">Newsletter (Be The First To Know Latest News)</a>PRIVATE HIRE 🕯 If you would like to hire our musicians or candles please email <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:service@lumos-experiences.com">service@lumos-experiences.com</a> – Perfect for weddings, engagements, anniversaries, birthdays + any special events 💛

Lumos- A Coldplay Candlelight Experience

Haley Heynderickx and Max García Conover made their second collaborative record in the spirit of Woody Guthrie. From opposite corners of the country, the two songwriters spent a year sharing songs while reading Woody’s words and biographies, slowly exploring a patchwork of Americanism to see where their stories fit. García Conover, half-Puerto Rican, and Heynderickx, half-Filipina, found themselves with this collection of music about the legacy of colonialism, generational identity, commercialism, and the slippery target of addressing social equity in song. Heynderickx’s precise, delicate eloquence met García Conover’s vivid, angular poetics in a barn in Vermont, where this record was recorded directly to tape in five days. With guitars, voices, and some found percussion, they played the record straight through, channeling Woody’s union of spontaneity, sweetness, and defiance.

Haley Heynderickx & Max Garcia Conover

Between their tight grooves, radiant harmonies, heartfelt lyrics, and jaw-dropping solos ,there’s no simple, easy way to summarize New York City five-piece Juice.Pulling from pop and rock, hip-hop and R&amp;amp;B, ‘90s alternative, modern electronic, folk, and more, their complexity is their strength: All six members are multi-instrumentalists from different musical backgrounds and upbringings, each one bringing his own unique flavor to the band. The result is a “multi-dimensional rock” identity that has continuously evolved over the past decade, as the band members themselves – Ben Stevens (vocals, keys), Christian Rose (vocals, violin), Kamau Burton (vocals, guitar), Daniel Moss (guitar), and Rami El-Abidin (bass) –went from students at Boston College to professional touring musicians and seasoned recording artists.Juice’s sound may be ever-evolving, but their bold energy is evergreen: The goal, both on stage and on record, is not just to connect on a human level, but to breathe life into every room.While they pack a punch on record, Juice shine their brightest onstage, bringing their music to life for all to see, hear, and feel. The band have played countless national tours over the past ten years, including four headline tours and support slots opening for bands like flipturn, OceanAlley, and The Dip.Emily Margaret Band creates a cozy R&amp;B groove coupled with soulful storytelling, and intimate, stirring vocals. Their songs wrap you in the comfort of a timeworn hand-me-down sweater that is once again back in style. Their performances include original songs together with classics from artists they love including Amy Winehouse, Joni Mitchell, Stevie Wonder and Bill Withers.&nbsp;Follow them on Instagram @<a target="_blank" rel="noopener noreferrer nofollow" href="http://emily.margaret.music/">emily.margaret.music</a>&nbsp;for news of their latest shows and music releases!

Juice

ULTRA SUNN, THE BRUSSELS DUO MAKING WAVES ACROSS THE USA AND EUROPE. FRONTMAN SAM HUGE AND KEYBOARDIST GAELLE SOUFLET, NOW JOINED ON STAGE BY ALEXIS ANDRIGO, BLEND MODERN EBM/NEW BEAT WITH KILLER COLLABORATIONS (FRONT LINE ASSEMBLY, TWIN TRIBES, KONTRAVOID,…) AND NODS TO LEGENDS LIKE FRONT 242 AND NITZER EBB. THEIR CHART-TOPPING HIT "KEEP YOUR EYES PEELED" PUT THEM ON THE MAP, AND THEY’VE BEEN UNSTOPPABLE EVER SINCE, PERFORMING EVERYWHERE FROM LOS ANGELES TO SÃO PAULO TO BERLIN. NOW, ULTRA SUNN HAVE ANNOUNCED THEIR HIGHLY ANTICIPATED NEW ALBUM, SET FOR RELEASE ON OCTOBER 3, 2025, FOLLOWED IMMEDIATELY BY AN EXTENSIVE EUROPEAN AND NORTH AMERICAN TOUR. THE MOMENTUM IS ALREADY ELECTRIC THANKS TO THEIR LATEST SINGLE, "THE BEAST IN YOU", WHICH IS QUICKLY BECOMING A NEW FAN-FAVORITE AND CLUB ANTHEM. EXPECT A HIGH-ENERGY LIVE SHOW WITH DEEP AND POWERFUL VOCALS ON HARD-HITTING BEATS WHERE EVERYBODY IS CELEBRATED, SEEN AND LOVED. BETWEEN THEIR SOUND OF BELGIUM HERITAGE AND BOLD MODERNITY, ULTRA SUNN IS NOT TO BE MISSED

ULTRA SUNN

As Mr Bungle heads off the road,&nbsp;Secret&nbsp;Chiefs&nbsp;3&nbsp;are starting to emerge again for all new music, their first in years. They just appeared at Big Ears Festival in 2024 and supported Dillinger Escape Plan this past August in Chicago. The&nbsp;Chiefs&nbsp;also just headline <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.subterraneandissonance.com/">Subterranean Dissonance Festival</a>&nbsp;in Philly last month along side Thou. They’ll also coheadline down in Australia with Blood Incantation this November.&nbsp;All of this is leading up to a 2026 focus as there are a series of albums planned for 2026, the band first in years. Including the long waited Holy Vehm album, a UR record, and one with Kronos Quartet.&nbsp;The band just wrapped up a run of shows at John Zorn’s Stone, Philly’s Solar Myth, and Union Pool &amp; Nublu in NYC premiering all new music. The shows featured longtime&nbsp;chiefs&nbsp;members and nyc royalty: Shazad Ismaily, Ches Smith, Adam Minkoff, Matt Hollenberg and of course Trey Spruance.

Secret Chiefs 3

Shakedown Citi is a fresh new force on the jam band scene, born in the heart of a Grateful Dead parking lot at Citi Field in 2023.&nbsp; When the band's members crossed paths on Shakedown Street, something clicked - and the music hasn't stopped since.​Rather than imitating the Dead, Shakedown Citi channels their spirit - creating spontaneous, soulful performances that feel alive, adventurous and totally in the moment. Each set is a journey, full of unexpected twists, deep grooves and musical conversation that pulls even the most skeptical listener into the vibe. Every Shakedown Citi show begins long before the first note. Each setlist is thoughtfully and meticulously crafted from the Dead repertoire, affiliated catalogs and beyond, balancing deep cuts and beloved anthems, rarities and reprises. No two nights are ever the same - each performance stands as a work of art on its own, alive in its moment, while also fitting into the larger patchwork of the repertoire.&nbsp;

Shakedown CITI

Explore the depths of Americana "one trippy tune at a time" with New York’s&nbsp; Slambovian Circus of Dreams. Voted "Best Band" by NY’s Chronogram&nbsp;Magazine for their rootsy, rockin’ psychedelia and fantastic stories and&nbsp; songs, the Slambovians' deep connection with audiences and exciting live&nbsp;shows are legendary. Woodstock-tinged Americana blends a cool mix of&nbsp;southern rock, Celtic and British folk combined with solid songwriting - a&nbsp;slice of Americana pie that is irresistible! Influences of Dylan, Bowie, Syd&nbsp;Barrett, Tom Petty, and The Band are there, yet the Slambovians'&nbsp;musicianship and critically acclaimed songwriting stand on their own.&nbsp;Joziah Longo (resident shaman of Slambovia), leads with vocals described&nbsp;as "soothing and bewitching as a snake oil tonic.” Longtime bandmates&nbsp;Tink Lloyd (accordion, cello, mandolin, flute) and guitarist/ mandolin wizard&nbsp;Sharkey McEwen bring their own magic to the Slambovian brew with “a&nbsp;little help from their friends” - RJ McCarty (keys, bass, sax), Bob Torsello&nbsp;(bass), and Matthew Abourezk (drums).&nbsp;“Longo is an awesome songwriter...” – Garth Hudson, The Band&nbsp;“A breath of fresh air in a sometimes stagnant world - especially as a live act - with varied eclectic influences and great musicianship. Plus moustaches, hats and stage presence gild their Interesting and thought-provoking lyrics for the curious adult mind.” –Ian Anderson, Jethro Tull&nbsp;

Slambovian Circus of Dreams

All Night Boogie Band is a blues, rock &amp; roll, and soul-inspired band hailing from the Green Mountains of Burlington, Vermont. Formed in late 2021, the young yet experienced quintet expresses a unique sound full of originality, vigor, and dedication to the resonance of great American music.All Night Boogie Band won “Best Blues Group” in the 2025 Seven Daysies Awards and “Vermont Rising Stars” in the 2023 New England Music Awards. They were featured as a Relix Magazine “Artist on the Rise” in their July 2022 Edition, won Vermont’s 2023 Blues Challenge, and were Semifinalists at the Blues Foundation’s International Blues Challenge in Memphis, Tennessee in January 2023.Princess Kikou is a New Hampshire based World Beat group which draws heavily from Afro-Caribbean influences as well as modern Pop and Roots Rock. Made up of a core of musicians: Jon Tshibambi on Bass, Simon Gray on Guitar, John Meehan the fifth on Saxophone, and Garth Tichy on Drums, Princess Kikou also features a rotating ensemble of guest players. Blending together the Indie-Rock origins of a separate project, Blue Motel, and the globe-spanning influences of each of its members, Princess Kikou creates a unique, danceable sound, full of multi-lingual harmonies and syncopated rhythms.

All Night Boogie Band

Joshua Quimby // Matt Pless

May Erlewine has dedicated her life to writing songs for the human heart’s existence.These songs have the relentless ability to find the tender places within us. Her body of work stands as a reminder that our greatest strengths come from allowing ourselves to be courageously vulnerable.It’s evident that her career in the music industry has been service-oriented. She uses her platform to fight for positive change. Stressing the important, necessary work of advocacy, justice and empowerment in our world. This community building message has touched people all across the globe.Her new album, What It Takes, culminates decades of hard work and perseverance. Produced by Theo Katzman and recorded in the north woods of Michigan, the record offers a fresh and electric sound supporting May’s soulfully familiar songs.Her calling is to share this music. Her words have held solace for weary hearts. They offer a light in the darkness and leave space for the pain and joy of being alive. When she starts to sing, everyone is invited, come as you are.

May Erlewine

from the pits of heaven&nbsp;

TAGABOW

The Gaslight Tinkers' mix of global rhythms creates a joyous world beat sound around a core of traditional New England old time and Celtic fiddle music, merging boundless positive energy with melody and song. Drawing from their extensive musical backgrounds in traditional folk, Caribbean, old time, Celtic, and rock, I-Shea, Clara, Garrett, Elie, and Peter craft a sound that brings world traditions togetherLuke Concannon has early memories of falling asleep at irish family parties to the sound of guitars, singing, and dancing. he has been making music in community ever since. upon meeting double-bassist john parker in school, the two formed the folk hip-hop duo nizlopi (best known for the ‘jcb song’), selling a million records in their twenties and deeply influencing the young ed sheeran who interned with them. through the strain of recording and touring world-wide with a small family-run label, nizlopi parted ways.invigorated by a hitch-hiking trip to palestine, luke wrote his first solo album, ‘give it all,’ kindling the fire for a solo singer-songwriter career. ‘ecstatic bird in the burning,’ luke's 2022 album, debuted at number 12 in the folk charts on both sides of the atlantic, including a number 7 single, ‘doing nothing,’ and garnered rave reviews:“CONCANNON DAZZLES … FOLK MUSIC WITH A LITTLE EXTRA SOMETHING.” – DANCING ABOUT ARCHITECTUREA pandemic collaboration with multi-instrumentalist composer Darius Christian&nbsp; (Macklemore/Leslie Odom Jr) led to the singles ‘What Would You Change,’ ‘Brother,’ and ‘Dance with You.’ These and more appear on Luke and Darius's new album, ‘Midnight Bloom’ (2025).Luke followed his love, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.stephaniehollenberg.com/">Stephanie Hollenberg</a>, to the United States in 2016. Stephanie is a singer, creator, and spiritual caregiver, and frequently performs alongside Luke. Luke, Stephanie and their wee babe reside on Abenaki land, in a yurt in the Vermont woods with wonderful neighbours and a parliament of bard owls.

The Gaslight Tinkers

Mark William Lewis is an artist that exists between the cracks. He eschews easy genre categorisation, plays with the traditional conventions of a songwriter, and creates music that is poetically sharp, visually vivid, yet texturally opaque. Writing songs that explore the intersection between intimacy and alienation, connection and disconnection, he is a singular and bold voice operating in a distinctly unique yet blurry space. “For me, a song really starts to take shape when it has its own sense of place, and the words and music come naturally,” he says. “Because they need to describe that place and whatever interpersonal situation is going on there.” Words, images and places are crucial to this record, the second LP from the London artist after 2023’s acclaimed Living. Every song on this innovative and genuinely original album is deeply rooted in images of specific places: houses, rooms, beds, parties, or locations across London. “I think of this album as something very thickly layered, like an impasto painting or a collage,” explains Lewis. “It was recorded in various places across London and it links to the idea of the songs having different locations and being quite collaged with different sounds and textures from different studios and rooms.”The result is a record that sounds like very little else from a truly exceptional new voice in contemporary music. While the spirit of The Durutti Column might be felt rippling through Lewis’ liquid guitar work from time to time, what becomes clear on this is just what a unique space he has carved out to operate in. Lewis is able to glide between introspective poignancy and expansive openness with the same grace and agility that he moves from musical moments that are propulsive and full of momentum to those that are slow, atmospheric, and almost ambient-like. His ability to blend meticulous songcraft with carefully layered, and endlessly revealing, textures is ceaselessly stunning. As is Lewis’ ability to play with, and flip, musical norms and conventions. While much of his music is constructed of voice, guitar and harmonica, the typical associations that come with that combination come unmoored here. Inspired by Augustus Pablo’s use of melodica on his pioneering dub records, Lewis puts various effects on his harmonica, which creates a heavily textured, almost gaseous presence that floats around his rich resonant vocals and his deft yet dexterous guitar work on both acoustic and electric.A song like the sublime ‘Tomorrow Is Perfect’ is a beautiful example of how Lewis has harnessed the essence of environment and physical locations and turned them into arrestingly individual pieces of work.&nbsp; “I can visualise every image in those lyrics,” Lewis explains. “It’s like a film, set in various locations near where I live on the river in Deptford, south east London.” The song – a tender yet piercing, sweet yet bruising piece of deeply atmospheric alt-rock that unfurls with hypnotic grace – in many ways embodies Lewis’ unique approach to lyric writing. With references to burning skies, bleeding gums, and storms, these words all bring up stark, striking and lucid images that remain open to interpretation. “In that song, I really felt like I was accessing that point with words where they are less attached to meaning,” he says. “And become like any other material – such as colour or texture or harmony.” As someone who grew up equally exploring music, art, writing and performance, this project is about furthering the erosion of boundaries. “I think my songwriting has gotten better as I’ve stopped thinking about the distinction between poetry and music,” he says. “Writing is just writing whether I’ve got a guitar with me or not.”And so a song like ‘Seventeen’, a melodic, infectious and almost breezy bit of folk-tinged rock that is as sweet as it is quietly devastating, sits as a perfect example. While the irresistibly catchy and hook-heavy song clearly has some dark underlying subject matter rooted in adolescence – it’s a coming-of-age song at heart – it also explores the idea of art as escapism. “He didn’t like the way the world looked / he drew a picture in a sketchbook” opens up the idea of creating an alternative visual reality through art, which is exactly the same purpose as this record.Another potent collision of imagery, music, words and place is on the song ‘Skeletons Coupling’. Named after a Nan Goldin photograph, which depicts a bit of graffiti of two skeletons locked in an embrace, it’s woozy, evocative. immersive, melody-drenched dream pop. “I thought it was a good metaphor for when a relationship is dead,” explains Lewis of the imagery attached to the song, one that also has a sense of place attached to a party on a Thames beach. It’s also an example of a backdrop that allows Lewis to explore themes around his social life.&nbsp; “Social scenes and social entanglements inspired a lot of these songs,” he says. “The sometimes fraught environments provide a lot of charge and inspiration for lyrics and music.”The closing ‘Ecstatic Heads’ is another key example of how Lewis explores this dynamic, as he places you vividly inside the room as the dying embers of a party fizzle out but people push on regardless. It’s a perfect end to a record that depicts the hazy transitional shift between night and day, as engulfing layers of harmonica, piano and drums gently crash into one another via a highly evocative finale.In order to achieve something that is as open and free-flowing, yet also focused, as this record, Lewis on occasion would get into a state where he was almost removing himself from the process entirely at times. “I definitely had that feeling a lot throughout the album,” he says. “Where I would make something and then listen to it the next day and hear details in it and be like, oh shit, I don’t remember doing that! When that happens, it’s like a drug. It’s so addictive.”For this album, Lewis also leaned into the idea of opening himself up musically as possible and trying to harness the same power with sounds as he has done with words. “I really let go of so many inhibitions with the production,” he explains of the co-production with Jamie Neville. “We really got to places with the production I wasn’t expecting to go.” Before he knew it, Lewis and Neville were experimenting with trumpet on ‘Still Above’ to create an almost groove-like pulse to a song that depicts the hazy and unsure feeling of the morning after an argument. “I did not bargain for trumpet at all but I love it,” Lewis says. “I used to go into the studio before and chase a certain kind of sound or style but with this record it was more about just having fun and letting the songs be themselves.”And as a result of that process of opening up and being true to oneself, Lewis has made a record that feels like the purest embodiment of him as a complete artist to date. Which feels fitting in the decision to make this record self-titled. “It felt right but also a little bit playful,” he says. “I think every songwriter has to have a self-titled album at some point and this album is basically saying: here I am.”

Mark William Lewis

I got my Tascam 388 fixed, the same tape machine I had used to record my first album, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years, but I had finally dragged it out to LA. The first song I recorded on it was “Twisted On A Train”, and I was shocked by how instantly I sounded, and felt, like myself again. In fact, I wrote and recorded the whole dang song in the span of a few hours, which was basically the opposite of how I had been working in the computer. Spending hours moving waveforms around like a zombie, comping vocals, second guessing, trying to make things sound not lifeless, trying to make anything sound good at all, took months. But here on the tape it was so much more alive. More like painting or collaging. More like making actual music. Every move I made stuck like super glue. It was effortless. It was pure joy.&nbsp;I stopped caring if there were mistakes.&nbsp;&nbsp;There’s not enough mistakes.&nbsp;&nbsp;I played my old, blue, Gibson SG, Jazijoo, and she spewed mangled electrified gold.&nbsp;&nbsp;&nbsp;For once, I sang and I didn’t hate my voice.&nbsp;&nbsp;I played the drums badly and bounced them in mono to one track and it sounded like glorious shit.&nbsp;&nbsp;I wish it sounded even worse.&nbsp;&nbsp;Rock &amp; Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey, autotuned or on the grid. It is not perfect, which is why it’s perfect. And I don’t care if it’s dead or alive, cool or uncool: when I hear it, and when I play it, as a chubby and balding 43 year old punk weirdo, I FEEL ENERGIZED.&nbsp;Mod Lang is Detroit’s best-kept secret—though not for long. This four-piece outfit blends jangly guitars, hook-laden melodies, and infectious energy that has quickly made them a local favorite. The group consists of Antonio Keka and Alex Belfie trading off on guitar and vocals, backed by the magnetic Ava East on bass and Ben Taber locking down rhythm on drums.Mod Lang has built an impressive reputation through their electric live shows—their chemistry and charisma lighting up every room they play. Their signature track, “TV Star,” has become a word-of-mouth anthem: catchy, cheeky, and impossible not to move to.With irresistible melodies, clever lyricism, and a stage presence that oozes charm, Mod Lang doesn’t just play shows—they throw a party. It’s Big Star with a leather jacket, The Jam with lipstick on the mic. If you’re lucky enough to catch them now, hold on tight.

King Tuff

Four years in the making, ORANSSI PAZUZU spew forth their latest mutational meisterwerk, Muuntautuja&nbsp;(or Shapeshifter in English) set to be released on October 11th,, 2024 via Nuclear Blast Records. A boa constrictor of slithering, warping, interdimensional cosmic horror, Muuntautuja is in a world of its own, seeping through the speakers like irradiated sand. Ever transmuting, unsettling chords that raise the hairs on the back of your head and then pummel it with nauseating rhythms that both transport and destroy you. Muuntautuja&nbsp;is like an encounter with a maleficent being, well and truly unhinged, that’s out to mess with your brain. Where delays distort in a dust cloud, riffs are white noise discharge and time signatures interweave, to create the genre that ORANSSI PAZUZU inhabits alone. A convulsing mass on collision course, the air-borne sonic viral load of Muuntautuja is undeniably infectious, and bound to turn heads. If Nasa discover a new form of metal element under the surface of Mars they would have to call it ORANSSI PAZUZU, a band that’s uncharted and pushing the boundaries of what heavy, extreme music should sound like. From their first spaced out underground Black Metal album&nbsp;Muukalainen Puhuu&nbsp;(2009), to second album Kosmonument&nbsp;(2011), their first album to get wider distribution, to their then-next record Valonielu&nbsp;(2013), which saw them delve deeper and weirder into Psychedelic Black Metal, setting the stage for Värähtelijä&nbsp;(2016), arguably their breakthrough record, ORANSSI PAZUZU have been impossible to pigeon-hole and a feast for those who dig deep, heavy and strange. Not so much a reinvention of form as a creative zenith, where ORANSSI PAZUZU&nbsp;have struck a vein of gold in the wasteland, the irony of it is that Muuntautuja sounds like the album they have been diligently mining all along. Dense, ferocious, glistening, blistering and buzzing, Muuntautuja&nbsp;is like tuning in and dropping out to hostile alien signals. The title of the album, meaning Shapeshifter, is a perfect description of the ORANSSI PAZUZU that emerged from their extraterrestrial cocoon in 2024. A new form of being, but whose flesh is eerily familiar, Muuntautuja&nbsp;sees&nbsp;ORANSSI PAZUZU&nbsp;contort their signature noise&nbsp;into something truly fearsome from their critically acclaimed previous album Mestarin kynsi&nbsp;(2020). Noise has always been a part of the classic Black Metal sound but Muuntautuja&nbsp;takes it to a more shattering and violent culmination. Bass player Ontto elaborates on Muuntautuja’s explosion of experimental and harsh sound when he talks about “noise as a compositional tool”&nbsp;and adds: “The noisier and the more experimental stuff came from a necessity to reinvent the way we were writing songs. The change was already in motion on Mestarin kynsi, but on the new album we really felt we wanted to shed the old skin and find new angles.” Vocalist Jun-His agrees when he states: “We felt that we could express things that we have been only flirting with previously. The noisier experiments started happening during live versions of Taivaan portti from the previous album, and it felt good to not leave it to that, but to expand on it.” When the protagonist of a movie or novel starts to unravel, and the world becomes malevolent, we’d imagine introducing the beginning of the track ‘Ikikäärme’,&nbsp;and let the&nbsp;celestial science fiction of it’s sound-track take us to Ari Aster or Robert Eggers like cinematic terror. Undercurrent layers swell in an alien language,&nbsp;inescapable and&nbsp;claustrophobic. Gestating a new form of metal in their host bodies, humid,&nbsp;equatorial and febrile, on Muuntautuja, ORANSSI PAZUZU&nbsp;constantly transpose and shift key, leaving us high and dry, exposed in space with no umbilical for air. If we delve into the centre of Muuntautuja, there is pure darkness. As the lyrics of ‘Hautatuuli’ (or “Grave Wind” in English) repeat in whispered, mantra-like succession, “gate behind a &nbsp;. . .gate behind a”, behind the gate there is a gate and we have to keep entering the many levels of the album’s sonic symbolism. The layers of initiation ORANSSI PAZUZU are discussing are present in their music. A resonant ritual of layers upon layers, rhythms upon rhythms. If you pass through all the gates on Muuntautuja, you find the center and that is a darkness that’s impossible to illuminate. From the depiction of the mayhem of war in the tracks ‘Voitelu’ or themes of mass manipulation in ‘Bioalkemisti’, Muuntautuja’s concepts are colossal. The themes reach an almost mythical and religious element where Ontto explains: “In the more atmospheric tracks the subjects are introspective and mystical - &nbsp;Muuntautuja deals with the idea of death as a transformation into a different state of being, and ‘Ikikäärme’ is a fantasy about pursuing immortality, by becoming united with a god snake after being devoured by it.” Drawing inspiration from eclectic sources ranging from Boredoms, Death Grips to Portishead’s&nbsp;Third&nbsp;album, ORANSSI PAZUZU mold their psychedelic alchemy into a potent brew where a tripped out Godflesh&nbsp;creates an alien being with&nbsp;Nine Inch Nails&nbsp;(Downward Spiral era),&nbsp;Beherit&nbsp;and&nbsp;My Bloody Valentine.&nbsp;The result is that&nbsp;Muuntautuja&nbsp;is electronically charged, both organic and inorganic in origin. Guitarist Ikon reflects: “Our experimentation with samplers and electronics made us step towards the weird concept of making nightmarish Rave music. We tried to find common ground between danceable rhythms and oppressive waves of noise and distortion.” Muuntautuja transcends genre, embodying a transcendent experience that slimes listeners in its nightmare of space and metamorphosis. Jun-His muses, "For us, this album is like a sculpture made of black electric ooze." Await the release of Muuntautuja, ORANSSI PAZUZU’s fire in the sky, where reality bends and shapes shift with each and every haunting note, and you will be visited by higher beings, though not with your best intentions entirely at heart.—Steeped as deeply in the wells of gothic country and Americana as they are in black metal, WAYFARER have given a sound and a face to the American West in the world of heavy music.Hailing from Denver, Colorado, and having carved out their identity for over a decade with five full length albums and tours around the world - the band are putting the final notes on the chapter that started with the heralded release of AMERICAN GOTHIC.&nbsp;Released in late 2023 to acclaim for music publications worldwide, the album placed at or near the top in many year-end accolades from sources like Rolling Stone, Metal Hammer, Decibel Magazine and more - and saw the band make their mark at festival and club stages around the world.They ride across the United States one final time for the AMERICAN GOTHIC era, alongside Finland's mind melting ORANSSI PAZUZU in their first proper US tour in nearly a decade. WAYFARER will take stages across the country with riff soaked elegies of blood and gunpowder in tow.

Oranssi Pazuzu

Hudson Freeman is a brooklyn-based Lofi-folk artist, inspired and forged by the DIY midwest. The 27-year-old Freeman continues to record and perform songs equal-parts resonant, reflective, and poignant. He has quickly emerged as one of indie's most enthralling new voices. His recent full-length, is a Folk Artist, helped solidify his presence as the kind of songwriter unafraid to tackle life's most draining contradictions: modern identity, digital disconnection, and faith.&nbsp;Born to Evangelical missionaries, Hudson started writing songs upon a radical break at the age of thirteen when his family suddenly moved from the suburbs of Dallas to The Kingdom of Eswatini. The profound influence of indie big-hitters like Sufjan Stevens and Bon Iver as well as college years spent in Springfield, Missouri made a do-it-yourself midwesterner out of Hudson. Now, his new song "If You Know Me" has recently started drawing in attention from the masses, catapulting Freeman into a wider spotlight than ever. It's a moody blend of bedroom pop, folk, slowcore, and post-emo, stitched together by a singular guitar riff and mantra-style lyrics, confirming Hudson's undeniable knack for melody&nbsp;into a pretty room — lots of hands’ debut on Fire Talk Records — exists in the tear-stained early mornings of adolescence, just as the sun makes its first appearance over the horizon and thoughts of the night before begin to subside. A collage of reworked demos, freewheeling session standouts, and swatches of instrumental electronics, into a pretty room emerges as lots of hands’ most thoughtful work to-date. Solemn yet hopeful, into a pretty room occupies the space between moments of tragedy and triumph, offering a touching rumination on grief and loss, growing up and letting go.Billy Woodhouse and Elliot Dryden, the core duo behind lots of hands, first connected in a Newcastle school music program at age 16. At that point, Woodhouse had been tinkering with lots of hands as a solo musical outlet, self-releasing music on Soundcloud and quietly beginning work on 2020’s mistake. Shortly before that record’s release, Dryden properly joined lots of hands, an effort which was quickly thwarted by global circumstances outside of anyone’s purview. Separated by geography and global chaos, Woodhouse and Dryden began work on lots of hands remotely, exchanging demos online to craft what would become 2021’s largely instrumental there’s someone in this room just like you, and 2023’s cult favorite fantasy. into a pretty room marks the duo’s first truly collaborative effort, with Dryden often trekking the vast northern English countryside to write and record in Woodhouse’s bedroom studio.Between pints of beer and rounds of Fortnite, the two slowly chipped away at into a pretty room, whose name is lifted from a pair of demos recorded and released in a short span across November of 2023. The earnest tenderness of these tracks — “into a pretty room” and “the rain”, which appear newly re-recorded for the album — served as guiding light while the duo self-engineered the remainder of into a pretty room. Alongside these newly recorded songs appear Dryden’s unearthed demos, mined and reworked by Woodhouse. Lead single “game of zeroes” puts Dryden front and center on a Hank Williams-inspired ode to coming up short. "I play a game of zeroes," he sings atop acoustic guitar, piano and digital frills, "Everyone but me will always win." Elsewhere, “masquerade” interrogates defense mechanisms through electronic-speckled indie folk that is both jaded and joyful.Dryden’s tracks appear alongside Woodhouse’s own songs, which span from touching instrumentals written for family, meant to help usher them through a chapter of monumental loss, to whispered ballads sung with loved ones. “All of my friends agree, you’re in my head,” Woodhouse intones alongside close collaborator and former roommate Mage Tears, “in my head with me.” On the understated late album stunner, “run your mouth,” he imagines a lost one as “a bunch of stars,” and ends the song fixated on “thoughts and memories of us.” Woodhouse’s contributions across into a pretty room ache with loss, but settle gracefully into sparkling ambient sonics that propel the record on its trajectory of self-discovery and acceptance. “Death is just a word, the feelings a reminder of past nights in the cold,” he filters through pitch corrected vocals on “the rain,” before sighing a resigned “oh well.”These individually conceived tracks passed back and forth between the duo, as they ventured into their first moments of writing in the same place at the same time. “backseat 30” is the duo’s first joint venture, and the most immediate song in their discography, transforming youthful anxieties into an explosive anthem. "I don't wanna waste my life up," Woodhouse manifests atop layers of twangy and kinetic instrumentation, "hitting the backseat 30, talking with the dogs and the birdies, getting my nails all dirty." Early album centerpiece, “barnyard,” marks another proper collaboration on the record, with Woodhouse and Dryden’s vocals intertwining and reflecting a quiet sadness as looped guitars swirl in a pool of sparkling instrumentation: “I’ll brush your hair through a nightmare, breathing in the country air.”Newly relocated from Leeds to their current base of Newcastle-upon-Tyne, lots of hands is anchored by the duo’s friendship, which emanates across the album’s 14 tracks. While conceived across painful moments of growth and grief, into a pretty room is a decidedly hopeful effort, crafted between two friends who have spent the better part of the last decade supporting each other through life’s challenges.

Hudson Freeman/ lots of hands/ youbet

Sister Wife Sex Strike is a Seattle-based anarchist folk band composed of Sister Pigeon and Sister Moth. The band's name is inspired by real life events: in 2021, Pigeon &amp; Moth were sharing a lover and found themselves mutually dissatisfied by his efforts so they went on a sex strike to have their demands met. The band name was derived from this event and an ensuing psilocybin-guided camping trip between the two friends produced their eponymous title track. The two have been playing music and writing songs together ever since.

Sister Wife Sex Strike + Dusty The Kid

A gleaner of the forgotten, Buck Meek tips over the familiar and turns the unknown into a companion. On The Mirror, the artist’s fourth solo record and second album released by 4AD, there’s a tender power, countered by immutable vulnerability. With an uncanny curiosity, Meek conjures twin worlds to reveal the uniqueness in the mundane. Inviting in reflection as collaborator and demon as friend, The Mirror doesn’t seek to know but to ask, looking to the shape of a question rather than the illusion of its answer. “The more I get to know you, the less I know of love /&nbsp;Is it science? Is it art? / Can I learn to give away my heart?”&nbsp;Meek grew up in Wimberley, Texas. The grandson of a Shakespearean scholar grandmother and Faulkner scholar grandfather; the son of a child psychologist mother and glass sculptor father; and teenage protege to an old guard of mystic Texas songwriters and musicians, outlaw poets, acid hillbilly jazzers, and gutbucket guitarists. Meek’s first gig was at thirteen, playing rhythm for the Memphis bluesman Brandon Gist, kicking Gist's old amp when it would short out on stage. The artist went on to cut his teeth playing Manouche, Romanian waltzes, ragtime, western swing, rock and roll, and his own songs in bars, icehouses, square dances, pie socials, cowgirl kabuki theaters, fire dances, and acrobat squats in high desert mission churches. He moved to Boston to study jazz, and quickly found community in other young “jazz musicians” who really just wanted to write songs and play rock and roll at house shows. Later, he moved to New York where he met Adrianne Lenker. The two lived in a van while singing their songs across the country before forming Big Thief.&nbsp; Peeking into the corners of The Mirror’s Wunderkammer, angels fly above the bed, and demons learn to read. The lens shapeshifts––out of curiosity and out of yearn. For Meek, language is something shared, passed in cupped hands, outstretched, and spilled again––back into the river, and to the source. In “Demon,” Meek reflects this inheritance, “The more I learn the less I know / Stole that last line from my friend / Tucker Zimer-zim-zim-zimmerman / The line between us all is thin.” The record moves as an artifact of friendship, both in process and lyric. The Mirror dances loose-limbed into an unknown where shared listening is the language.&nbsp; Emerging from a decade of work together in Big Thief, the partnership of Meek and producer James Krivchenia on The Mirror arrived from the idea to combine the band’s live, kinetic energy with an oblique electronic world. The pair share a school of thought that holds foundational trust in a song, to let performance be the guide. Krivchenia brought technique and philosophy from his own experimental music practice. From production projects like Big Thief’s Dragon New Warm Mountain I Believe In You, and Westerman’s An Inbuilt Fault, to his recent solo record, Performing Belief––Krivchenia’s work enlivens through electronic elements, always seeking to deepen sound. The concept for The Mirror welcomed a collective atmosphere in which simultaneous experiment could occurr––the musicians responded to each other in real time, while their instruments triggered modular synthesizers and electronic magic boxes. The warmth and textures of the live band are emphasized by the electronic edge, revealing subtle parallel realities inside the recording. In merging the two worlds, Krivchenia and Meek found a shared telepathy through the process, an unspoken creative sync.&nbsp; The pair looked towards the experiment, welcoming in friends, family, and longtime collaborators from ranging musical eras of life as vital co-creators. Adrianne Lenker, who contributed vocals, is Meek’s creative collaborator of fifteen years while Adam Brisbin on guitar and Ken Woodward on bass have been strongholds in Meek’s solo project for a decade. New creative partners and longtime friends like composer and ambient musician Alex Somers joined in on synthesizer, toy microphone, and piano, and Mary Lattimore brought in the sounds of her prismatic harp. A rotating cast of four drummers: Jesse Quebbeman-Turley, Jonathan Wilson, Kyle Crane, and James Krivchenia provide a wide dynamic arc of grooves. Germaine Dunes, Staci Foster, Jolie Holland, and Lenker sing as a choir on many songs. Meek’s brother, Dylan Meek contributed piano, keys, and vocals. Adrian Olsen created a wide range of sounds and melodies with modular synths.&nbsp; Meek’s songwriting became compass to the recording process, instead of limiting the tracks to something controllable, he invited interaction, pulse. The album was recorded in Meek and Germaine Dunes' log cabin studio, Ringo Bingo. While Meek recorded vocals outdoors on the front porch, looking through the living room window where the band played inside, Krivchenia and engineer Adrian Olsen were building a mirror dimension of slurm that breathed alongside the songs. With the live band emerged a kinetic immediacy that when layered with Krivchenia’s buoyant and textural electronic atmospheres, a new habitable world was formed.&nbsp; Viva voce, hallowed or an afterthought, Meek captures essential human feeling with humor and sweet reverence. The Mirror searches for new meaning and the familiar is reframed through Meek’s singular voice. Love, as an idea, is always close––but in its reflection comes an afterimage of the way things could be and how they’ve been before. “In Heart In the Mirror,” the reflection takes on a literal form––“Backwards love is easier to read / When it’s tattooed on my heart in the mirror.” The Mirror steps through phases of love, from freshly formed to union, and the songs seek an infinite curiosity rather than resolution. The feedback loop takes hold in “Can I Mend it,” as self-reflection is magnified in partnership: “Can I mend it? Can I make it whole? / Now that you’ve seen into the dark side of my soul.” The answers may come eventually, but the record treats love less as confession than as study—a map of not-knowing and a reverence for those shadows of intimacy. In “Gasoline,” Meek signals linguistic play again, this time irreverently in shared company, “Making words up while we made love / one month and she’s in my blood / Ooheeah lalo, faroosee mneykro.” The record holds the absurdity of devotion, the choice to love—with equal parts ache and grin.&nbsp;&nbsp;Lexical mirrors are handheld, tactile, and kept close throughout The Mirror––each one holding up a new truth. Language continues to spill over itself in “Demon’s” aural doubling, “I try to write a broken wing.” Meaning flickers. At once, the line appears like a healing call through the homophone of write and right, while containing within it the idea of the descriptive, the evocation of injury. Can’t it be both? On “Pretty Flowers,” Meek writes: “Show me how to come into my power without being mean / the garden weeds are making it look easy.” Meek looks for duality, finding it in the overgrowth.&nbsp; These images echo thematically through the record as a lighthouse beacon, positioning the self as both subject and collaborator in a transformation where the reflection is infinite. On “Gasoline,” language arrives unformed with tender ease, layering past with new love. “We lay in silence through the morning / Until language slowly started forming / She hummed a lullaby / I recognized from when I was a newborn.” Memory gets a slippery incarnation, making doubles and threading timespaces. On “Soul Feeling,” memory becomes a site for loss and the emergence of new meaning. “Memories are disappearing / But he’s still got his soul feeling.” The song becomes a vessel to expand and contract time, moving through story and experience.&nbsp; “My demon is my darkness and my darkness is my angel /&nbsp;I taught him how to read, now I’m teaching him to write.” The Mirror keeps on holding multiplicity and the line stays thin: “My demon is my darkness and my darkness is my angel / I taught him how to read, now I’m teaching him to write.” On “Demon,” mirror and demon become twin symbols for the self-encounter. Fear, darkness, and reflection are collaborators rather than enemies––versions of the self with hands waiting to be held. How can you protect the spontaneity of reflection before it hardens into self-analysis? Before it calcifies as criticism? Before it argues for perfection? The questions keep arriving, playing with expectation, when on the other side there could be anything. The creek films with leaves, jimson trumpets, wild roses, tarmac, worms and blue jeans, love and hot air. Nearby, in one million years, a lightbeam, a warm rock and a cool breeze. When memory returns it arrives in a new body, it asks an old question. As an artist, Meek continues to reveal his singular aptitude as translator of human feeling and its endless portals. Through The Mirror, Meek aptly embraces this unknown with an abiding desire to find the right questions to ask, rather than their answers. “I don’t know the meaning of your dreams,” Meek writes on Deja Vu, “Though tell me everything.” “I don’t know the meaning of your dreams / Though tell me everything”&nbsp;

Buck Meek

Winslow, An Evening of the Eagles.celebrate the iconic American Band The Eagles. This powerhouse ensemble from Central NJ recreates the live performance of The Eagles and the signature sound that made them one of the most successful artists in the 70's.Winslow's multi-lead vocalists authentically capture the soaring 5-part harmonies, precise instrumentation, and stage showmanship as they perform The Eagles music catalog of greatest hits, deep cuts, as well as some of the solo work of Don Henley and Joe Walsh.From their outstanding emulation of the acappella harmonies of ·seven Bridges Road" to the precision of dueling guitars in "Hotel California". Winslow delivers a true ·eagles" concert experience you will not forget.. ...

Winslow, An Evening of the Eagles Tribute

C.O.L.A. is sort of a self-titled album. It’s an acronym for Cost of Living Adjustment, a fitting conceptual framework for the band’s third record. Why? Because C.O.L.A. considers, among other things, socialism vs. hell. It considers: rolling the dice of life. The eerie and sweet pangs&nbsp; that nostalgia can provoke. This is not new territory for band members Tim Darcy, Evan Cartwright, and Ben Stidworthy. It is, in Cartwright’s words “a deepening of what we’ve been doing.” C.O.L.A. is an intricate, beautiful, and sometimes strange record. It is the band’s most refined offering. A perfection of carefully honed aesthetic impulses.&nbsp;Cola, as a band, says Darcy is defined by its “tasteful minimalism.” A deep appreciation for making music that is romantic, subtle, and deceptively intense. C.O.L.A., however, is the band’s most maximalist work to date. This is a little tongue and cheek (“We were so worried,” says Cartwright, “About all the songs on this record being too different”). In practice, this maximalism means that a song like “Hedgesitting,” has both live drums and a sample drum loop. “Hedgesitting,” is a gorgeous, lush song. It’s like a deconstructed, chopped &amp; screwed b-side from the Cure’s Disintegration. It’s also a little indebted to Sarah Records. “When you were young,” Darcy sings at the song’s start, “you came to make it.”&nbsp;C.O.L.A., like everything written by the band, is inherently collaborative. The band writes everything separately, then comes together and works in the studio. Look again to “Hedgesetting,” to see this in action, which started out with chords that Darcy had sent, then the band expanded it together, with Stidworthy remixing it right before heading to the studio. This division of labor works intuitively. It is a part of the band’s DNA to say, take an arrangement Stidworthy wrote, and then have Darcy and Cartwright build upon it. Take “Favoured Over the Ride,” as an example. “I wanted to create a dusky, melancholy palette for Tim to write lyrics for,” says Stidworthy. The song starts with a lonely, dreamy guitar riff. Then there’s a crisp line of bass and it all comes into focus: “What’s on the ceiling that’s caught your gaze?” sings Darcy. It’s a moment of clarity on a record that is interested abstraction. C.O.L.A. is full of these clarifying moments: where a whole swirl of feelings become so clear that it almost hurts a little bit.&nbsp;One of the goals with C.O.L.A. was to have the melody guide the lyrics. This is a distinct shift from the sprechgesang that has been an anchor for many of Darcy’s earlier records. Here, the vocal melodies are on the same level as all of the other melodies on the record. But the lyrics are no less poetic, no less precise than anything Darcy has written before (“It’s not,” he jokes, “like we’re making a Cocteau Twins song.”) The result is a record&nbsp; that is ruthlessly aware of all of its parts, and treats them all as equally important. C.O.L.A. is a record that speaks to itself:&nbsp; where all of its parts are in direct conversation with each other. Sounds do not blur, even when they are expansive. It is abstract, oblique, sometimes strange, whatever you want to call it. But it is also beautiful, in the classic sense. Beautiful like a painting can be beautiful. Really, really gorgeous. Almost chiseled in the way it plays so deliberately with experimentation. On “Skywriter’s Sigh,” for example, things sizzle and flicker. It touches on the sublime. It is Cola, the band, at their very best. Cola - Cost of Living Adjustment - BioC.O.L.A. is sort of a self-titled album. It’s an acronym for Cost of Living Adjustment, a fitting conceptual framework for the band’s third record. Why? Because C.O.L.A. considers, among other things, socialism vs. hell. It considers: rolling the dice of life. The eerie and sweet pangs&nbsp; that nostalgia can provoke. This is not new territory for band members Tim Darcy, Evan Cartwright, and Ben Stidworthy. It is, in Cartwright’s words “a deepening of what we’ve been doing.” C.O.L.A. is an intricate, beautiful, and sometimes strange record. It is the band’s most refined offering. A perfection of carefully honed aesthetic impulses.&nbsp;Cola, as a band, says Darcy is defined by its “tasteful minimalism.” A deep appreciation for making music that is romantic, subtle, and deceptively intense. C.O.L.A., however, is the band’s most maximalist work to date. This is a little tongue and cheek (“We were so worried,” says Cartwright, “About all the songs on this record being too different”). In practice, this maximalism means that a song like “Hedgesitting,” has both live drums and a sample drum loop. “Hedgesitting,” is a gorgeous, lush song. It’s like a deconstructed, chopped &amp; screwed b-side from the Cure’s Disintegration. It’s also a little indebted to Sarah Records. “When you were young,” Darcy sings at the song’s start, “you came to make it.”&nbsp;C.O.L.A., like everything written by the band, is inherently collaborative. The band writes everything separately, then comes together and works in the studio. Look again to “Hedgesetting,” to see this in action, which started out with chords that Darcy had sent, then the band expanded it together, with Stidworthy remixing it right before heading to the studio. This division of labor works intuitively. It is a part of the band’s DNA to say, take an arrangement Stidworthy wrote, and then have Darcy and Cartwright build upon it. Take “Favoured Over the Ride,” as an example. “I wanted to create a dusky, melancholy palette for Tim to write lyrics for,” says Stidworthy. The song starts with a lonely, dreamy guitar riff. Then there’s a crisp line of bass and it all comes into focus: “What’s on the ceiling that’s caught your gaze?” sings Darcy. It’s a moment of clarity on a record that is interested abstraction. C.O.L.A. is full of these clarifying moments: where a whole swirl of feelings become so clear that it almost hurts a little bit.&nbsp;One of the goals with C.O.L.A. was to have the melody guide the lyrics. This is a distinct shift from the sprechgesang that has been an anchor for many of Darcy’s earlier records. Here, the vocal melodies are on the same level as all of the other melodies on the record. But the lyrics are no less poetic, no less precise than anything Darcy has written before (“It’s not,” he jokes, “like we’re making a Cocteau Twins song.”) The result is a record&nbsp; that is ruthlessly aware of all of its parts, and treats them all as equally important. C.O.L.A. is a record that speaks to itself:&nbsp; where all of its parts are in direct conversation with each other. Sounds do not blur, even when they are expansive. It is abstract, oblique, sometimes strange, whatever you want to call it. But it is also beautiful, in the classic sense. Beautiful like a painting can be beautiful. Really, really gorgeous. Almost chiseled in the way it plays so deliberately with experimentation. On “Skywriter’s Sigh,” for example, things sizzle and flicker. It touches on the sublime. It is Cola, the band, at their very best.&nbsp;

Cola

Carsie Blanton is a songwriter with hooks, chutzpah, and revolutionary optimism. A radical folk artist in the tradition of Woody Guthrie, her infectious melodies and lyrical wit keep listeners rapt while she conjures spirits of vaudeville, campfire singalongs, and punk rock. Blanton and her road-tested band deploy humor, camaraderie, and considerable musical muscle to enroll each audience in a rare vision of hope and solidarity.In addition to writing and performing music, Carsie works as a political organizer and activist. In fall of 2025, she participated in the <a target="_blank" rel="noopener noreferrer nofollow" href="https://globalsumudflotilla.org/">Global Sumud Flotilla</a>, a direct action to bring humanitarian aid to Gaza by sailboat. In early October, after a month at sea, she was imprisoned in Israel for five days along with hundreds of her comrades.Soon after, Blanton released <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.youtube.com/watch?v=BH38VSfZbnU">The Little Flame,</a> a song of solidarity covered widely on social media during her detention. The Little Flame features background vocals from Irish band <a target="_blank" rel="noopener noreferrer nofollow" href="https://yevagabonds.com/">Ye Vagabonds</a> and Carsie’s Palestinian/New Zealander prison-mate <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.instagram.com/ranafreesoul/">Rana Hamida</a>, and appears on her latest album, <a target="_blank" rel="noopener noreferrer nofollow" href="https://carsieblanton.bandcamp.com/album/the-red-album-vol-ii">The Red Album Vol II</a>.After two decades spent on the road, Blanton has amassed a dedicated fan base and a small menagerie of viral hits, and regularly sells out mid-size venues across the U.S. and Europe. 2026 will find her touring heavily with her own band and in collaboration with Canadian folk-punk rabblerousers <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.theburninghell.com/">The Burning Hell</a>, as well as continuing her organizing work with Artists Against Apartheid, Party for Socialism and Liberation and others.“Beautiful, militant anthems.” - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.npr.org/2024/12/16/g-s1-38107/women-hit-makers-brought-aggression-and-vulnerability-to-pop-music-in-2024">Ken Tucker, NPR’s Fresh Air</a>“Carsie Blanton is fighting fascism with big hooks andan even bigger heart.”<a target="_blank" rel="noopener noreferrer nofollow" href="https://americansongwriter.com/carsie-blanton-is-fighting-facism-with-big-hooks-and-an-even-bigger-heart/"> -American Songwriter</a>

Carsie Blanton

Not a Show

Explosive Thing! Performing with No Inclination w/ Got Mintsch? DJ Set

EXPLOSIVE THING!

Other-Worldly, Party Music of the Past, Present, and Future, New Planets features an ever-changing lineup of singers and musicians. By combining diverse sonic stories and viewpoints, the group has gained fame for producing dance music that transcends borders and genres.Coyote Reverie blends neo-soul/funk with hip-hop and folk elements into a reflective soundscape that invites listeners into deeper questions about connection, creativity, and existence. Known for their genre-bending style, the duo delivers lyrics that unfold like mosaics—intimate, imaginative, and rooted in a sense of cosmic awareness. Praised for operating on their “own bandwidth and frequency,” Coyote Reverie brings their music to life on stage with live drums and horns, creating an immersive experience that’s both soulful and otherworldly.

New Planets

&nbsp;In under 5 years, independent Brooklyn-based indie rocker, Moon Walker, has amassed over 100 million streams, sold out shows across America, and developed a loyal and enthusiastic fanbase. He has performed and toured with such artists as Tool, Primus, Coheed and Cambria, Fishbone and Will Wood. His next album “WASTELAND COUNTRY” is due out in the spring, less than a year after the release of his breakthrough fourth album “Is This The World You Wanted?”&nbsp;Demi the Daredevil writes dark theatrical alt-pop for the underdog: music for the weird kids, the overthinkers, and anyone trying to stay human in a world that loves numbness. In addition to influences spanning rock/emo legends like Queen, Green Day, The Used, and My Chemical Romance, Demi also draws upon the imaginative story-telling whimsy of greats like Tim Burton and Edgar Allan Poe to build a fantasy-tinged universe that’s equal parts catharsis and refuge.&nbsp;Demi has toured across the U.S., shared stages with SkyDxddy, TX2, Capstan, Jhariah, Confetti, Van Full of Nuns, WesGhost, Hotel Mira, and RudyWade. He's grown an impressive community resulting in over 20 Million Spotify streams, and 1,000+ fan art pieces, with features including Emo Nite, BuzzFeed, Relix, and The Punk Rock Museum&nbsp;&nbsp;Sarah and the Safe Word is a cabaret rock band born in Atlanta.&nbsp;Fronted by vocalist Sarah Rose and co-founded with guitarist Kienan Dietrich, the band has built a storytelling world filled with undead pirates, demon racecar drivers, and vampire rodeo sweethearts. With Beth Ballinger on keys and Maddox Reksten on bass, the group delivers their signature blend of energy and theatrical flair across a sonic tapestry of strings, horns, and cinematic soundscapes.&nbsp;Their early work quickly drew industry attention, with Alternative Press hailing their first label release as “a contender for Debut of the Year” and Warped Tour founder Kevin Lyman personally inviting them to join the legendary tour’s 2017 run. Their flair for spectacle later earned them a cameo in the universe of The CW’s The Vampire Diaries, bringing their dark theatricality to the screen.&nbsp;Over the last ten years, Sarah and the Safe Word have cultivated a fiercely loyal community by doing what they do best: crafting big tales, holding space for queer joy, and turning every show into a celebratory ritual for the strange and spectacular.&nbsp;In 2026 and beyond, the band continues to evolve. Come along, the show is about to begin&nbsp;

Moon Walker | Demi the Daredevil |  Sarah and the Safe Word 

Leftöver Crack is an American punk rock band formed in 1998 following the breakup of its predecessor Choking Victim, sharing band members Stza Crack &amp; Alec Baillie until Alec’s tragic death in November of 2021. The band has created the new record label RECIDIVIST BIBLE CAMP &amp; Is co-releasing a 7” single with Austria’s SBAM records featuring the new song “White Guilt Atrocity Quilt” accompanied by a major motion music video. The song is also slated to be included on the as yet untitled 4th full length album from this New York City based Punk Band. The B side to this new single is an unreleased track from the 2014 “Constructs of the State” record titled “Brad Sabbath”, featuring the classic Leftöver Crack line-up of Stza, Baillie, Brad Logan, Donny Morris &amp; Chris Mann with the more recent addition of singer Tibbie X, formerly of the NYC bands X-Possibles &amp; Kissy Kamikaze as well as the Philly based band GASH. Along with this new single, Leftöver Crack are also in the works of reissuing all of their previous albums, with the exception of “Mediocre Generica” (which remains on Hellcat/Epitaph Records) through the partnership of RECIDIVIST &amp; SBAM.&nbsp;Leftöver Crack’s current line-up consists of Scott Sturgeon aka Stza Crack (vocals, guitar, synth), Tibbie X (vocals, synth), Jon Yi (guitar, vocals) Skunk Chellovek of the LA band Informal Society (guitar, vocals), Marc Cody (bass, vocals) &amp; Ethan Nickles (drums). Leftöver Crack has both defied genre pigeon-holing while creating the “Crack Rock Steady” musical genre (along with LöC predecessors Choking Victim &amp; No Commercial Value) which mixes anarcho-punk with ska, hardcore, garage, crust-punk &amp; the gloriously unholy metal trifecta of thrash, doom &amp; death. All of this &amp; many other styles are combined with grating crust-punk vocals delivered with a snotty snarling attitude by a multitude of genders &amp; an endless list of vocal &amp; musical inspirations including vastly contrasting musics from top 40 pop from the last 50 Years, to 90’s hip hop, early 80’s goth, late 80’s “alternative”, indie rock &amp; most styles in between &amp; outside of every box. The lyrical content is mostly political &amp; of a radical leftist nature, opposing religion, capitalism, authority &amp; prejudice. Members of Leftöver Crack’s band &amp; crew traditionally reside at the infamous C-Squat near Tompkins square park in the Lower East Side of New York City. Band members have had a well-known history of back-and-forth conflict with the NYPD which precedes the band's formation. The name "Leftöver Crack" is explained by Stza as being "an oxymoron", based on the idea that crack cocaine addicts are known for vigorous use, and are unlikely to have any "leftover"(s). Leftover Crack’s band members &amp; Collaborators have been in a plethora of other bands both punk &amp; otherwise with recognizable names such as: Suicidal Tendencies, The Coup, Dead Milkmen, Nausea, The Beastie Boys, Reagan Youth, Dwarves, Skarp, F-Minus, D.R.I., Bouncing Souls, Dead Kennedy’s, Crass, NOFX, Riverboat Gamblers, Big Black, Street-Sweeper Social Club, The Adolescents, Star Fucking Hipsters, DayCare Swindlers, the Distillers, Phobia, The Hold Steady, Lard, X-Possibles, Operation Ivy, Band of Horses, MDC,No Commercial Value,John Cougar Mellencamp, World/Inferno Friendship Society, Classics of Love, Scoflaws, Total Chaos, Henry Thugsworth &amp; the Severinator, Hepcat, Lagwagon,&amp; many many others…After a long hiatus the Crack Rock Steady Beat Drums on with Leftöver Crack back for their first real new release since 2015 as well as their 4th full length album to be released this fall. Look for Leftöver Crack on tour all over the states, at several of the Punk in the Park festivals this year along with the 25th year of Punk Rock Bowling &amp; then in Europe &amp; fir their first time in Istanbul, South America &amp; hopefully Asia.<hr>Pilfers, the iconic band hailing from the heart of New York City, is making waves in the music industry as their legendary album "Chawalaleng" sees the light of day once again after a quarter of a century. Sony Music, recognizing the timeless appeal of Pilfers' music, has officially re-released "Chawalaleng" on all major streaming platforms.This monumental event marks a rare occurrence for a small band, putting Pilfers in the esteemed company of musical legends like Bob Marley, Michael Jackson, and Elvis Presley. The re-release is a testament to the enduring quality and cultural significance of Pilfers' music, which continues to resonate with fans across generations.In celebration of this historic moment, Pilfers has announced a series of live shows scheduled for September, featuring the original members of the band. Fans can expect a nostalgic journey through the band's illustrious career, with performances that capture the energy and spirit of their early days.Adding to the excitement, there are strong rumors circulating within the music community that Pilfers is gearing up to return to the studio. The prospect of new material has sparked anticipation among fans, as the band is known for their genre-blending sound and socially conscious lyrics. If these rumors hold true, it would mark a significant chapter in Pilfers' musical journey.&nbsp;&nbsp;Formed in 1997 with members of several bands in NYC. Lead Singer Coolie Ranx is known for his role in GTA IV as little Jacob and the former lead singer of New York City’s legendary band The Toaster. Vinny Nobile known for his Trombone and vocal style hails from Boston legendary band Bim Skala Bim. The Rhythm section ,James Blanck on the drums and Anna Milat Meyer on bass also hails from NYC band Skinnerbox. Guitar of Thunder Nicholas Bacon&nbsp;Together they seamlessly combine Hardcore, Punk, SKA, Dancehall, Reggae and dub to create a genre they&nbsp; dubbed “Raggacore”<hr>Robbery formed in 2022, with John Elwert (Chalice, Separate Society) and Knayte Lander (Vicious Gift, Champagne Dynasty) running a handful of punk songs Lander had written alongside one of John’s blistering punk epics “Animal” which was released as a demo for their first shows in Winter 2022-2023. Oscar Young and Jeremy Pearson (WratChit, Puke) came on board on guitar. The band released its first EP “No More Lonely World” in February of 2024 and following the departure of Young, its second EP “Endless Crisis” in December that year. The band added Sean Scurlock on guitar in early 2025 and has been recording their debut album in 2026 as well as the upcoming Misery House EP on Besitz Records.&nbsp;insta: @robberypunks<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.bandcamp.com/robberypunks">www.bandcamp.com/robberypunks</a>RIYL : Rancid, GBH, Menzingers, Jawbreaker, early Replacements, Hüsker Dü, BlitzSuggested Tracks : “Back to Basics” “Johnny”

LEFTöVER CRACK/PILFERS

Pat Travers was born and raised in Toronto, Ontario. Soon after picking up the guitar at age 12, he saw Jimi Hendrix perform in Ottawa. Travers began playing in bands early in his teens; his first bands were the Music Machine (not to be confused with the Californian psychedelic/garage band of the same name), Red Hot, and Merge, which played in clubs in the Quebec area.While performing with Merge, he was noticed by rock artist Ronnie Hawkins, who invited Travers to perform with him. In his early twenties Travers moved to London and signed a recording contract with the Polydor label.[2] His self-titled debut album was released in 1976, and featured bassist Peter “Mars” Cowling, who would become a mainstay in Travers’ band for several years.[2] An appearance on the German TV show Rockpalast in November 1976 was later released on DVD under the title Hooked on Music. This performance showcases an early version of Travers’ band featuring Cowling and drummer.During 1977, Travers added a second guitarist to his band, changed drummers twice including using Clive Edwards, and by the time Heat in the Street was released in 1978 had put together the Pat Travers Band.[2] This grouping featured Travers on vocals and guitar, Pat Thrall on guitar, Cowling on bass, and Tommy Aldridge on drums and percussion.[2] The band toured heavily, also supporting Rush on their Drive til You Die tour in support of A Farewell to Kings.The guitar Travers most often appeared with on stage and on album covers in the band’s early years was a 1964/65 model double cutaway, double [humbucker] pickup Gibson Melody Maker.The band’s next release was a live album entitled Live! Go for What You Know, which charted in the Top 40 in the United States and included the tune “Boom Boom (Out Go The Lights)” (originally recorded by Little Walter, credited to Stan Lewis), which climbed even higher on the charts, entering the Top 20. “Snortin’ Whiskey” was a major American radio hit from 1980’s Crash and Burn.After an appearance before 35,000 people at the Reading Music Festival in England, both Thrall and Aldridge announced they were leaving the band to pursue other projects.[2] Travers and Cowling teamed up with drummer Sandy Gennaro and released Radio Active[2] that same year. A co-headlining tour with Rainbow followed, and the two bands performed in major arenas across North America. Although the tour was Travers’ most successful road outing, the Radio Active album barely made it into the Top 40, reaching only number 37.It was much different than Travers’ previous work, with more emphasis on keyboards than heavy guitars. Disappointed with the lack of sales, Polydor dropped Travers from their roster, and he in turn sued the record company on grounds that he was under contract with them to record more material. He won the lawsuit, and was able to release Black Pearl in 1982.This release also featured more mainstream music rather than the hard-driving rock Travers had recorded earlier, and included the hit single “I La La La Love You”, featured prominently on mainstream Top 40 and album oriented rock stations, and in the 1983 movie Valley Girl. Hot Shot was Travers’ last major label release of original music, and was a return to a harder-edge style of rock than his previous two albums had been. One of Travers’ best-recorded projects, it went basically unnoticed and is best remembered for the single “Killer”. It was during this time that Travers also released Just Another Killer Day, a 30-minute home video featuring music from Hot Shot that was a sci-fi type short story about sexy alien women searching for information on music here on earth. In 1984, Travers was again supporting Rush. Alex Lifeson is one of Travers’ many admirers.After Hot Shot’s release in 1984, Polydor made plans to issue a greatest hits package, and then ended their relationship with Travers. By 1990, he had gained a deal with a small European label and released School of Hard Knocks.The project was completely ignored by radio. A full-length concert video Boom Boom – Live at the Diamond Club 1990 was shot in Toronto to be released in audio version as CD Boom Boom next year, but Travers was still not able to return to the success he had ten years earlier, working only on indie labels, as with Lemon Recordings.Shortly after, Travers signed a deal with American-based Blues Bureau International Records, a company formed by noted producer Mike Varney. Travers’ first recording for the label was Blues Tracks released in 1992. It earned positive reviews from critics. Several more releases on the BBI label followed during the 1990s. In 1993, Travers parted company with both Jerry Riggs and Peter “Mars” Cowling, and Riggs was briefly replaced by former Foghat guitarist Erik Cartwright. The relationship was brief, and Travers has worked with a variety of musicians since that time.Travers has not been able to regain the level of commercial success he once had, despite a large and loyal fan base who call themselves “Hammer Heads”. He tours regularly in the U.S. and has made several trips to Europe in the last decade as well. In 2001 he was part of the “Voices of Classic Rock” tour, and had a minor hit with Leslie West from the band Mountain called “Rock Forever”. In 2004 he started a project with the veteran drummer Carmine Appice and started touring the U.S.; as of now there are 3 albums released. Travers recorded cover tunes from bands such as Led Zeppelin, Montrose, Queen, and Trapeze under the album name P.T. Power Trio 2, and they toured Europe in November 2006.Travers has lived in central Florida for several years, and is now married with two children. Travers is also a Black Belt in the style of Isshin Ryu Karate, and currently trains with 10 time World Champion, Mike Reeves Sensei in Apopka, Florida.From 2008-2016, was one of the longest/most consistent line ups for Pat Travers Band. Joining Pat was Kirk McKim (2006-2015)(Guitar/Vocals), Sean Shannon (2008-2010)(Drums), followed by Sandy Gennaro (2010-2016), and Rodney O’Quinn (2007-2016)(Bass/Vocals) Viewed as the “Must See Line up” for all die hard PTB fans, they never disappointed! From the smoking appearance on Bob Coburn’s Rockline Radio show, to the Moondance Jam show that aired on Direct TV’s “Audience” channel. The Pat Travers Band put out the album “Fidelis” in late 2009.In July 2013, The Pat Travers Band put out new album “CAN DO” released by Frontiers Records, a major label based in Italy for numerous artists in the field of classic rock. The CAN DO album was supported by PTB tours of the U.S., the U.K., and Europe during the later half of 2013. In January 2015, Frontiers Records released Pat Travers Band Live at the Iridium NYC, recorded in February 2012, which showed how deadly this line up was. Also featured Jon Paris playing blues harp on “If I Had Possession Over Judgment Day” and “Spoonful”.Travers sang on Boston metal band Extreme’s “Get the Funk Out” on their 1990 album Pornograffitti. Paul Gilbert has referred to Travers as a “guitar god”[6], and Kirk Hammett of Metallica has cited him as one of his favorite guitar players. Vito Bratta White Lion has stated Pat Travers is an influence to his soloing.The Pat Travers Band (PTB) currently consists of Pat Travers (guitars, vocals, keyboards), drummer Alex Petrosky and David Pastorius (bass/vocals) who have been together for the last several years, and recorded two studio albums together.

Pat Travers

Twenty years of touring. Twenty years on the road. "My own weariness amazes me," as Bob Dylan sings to his Tambourine Man. I feel ya, Bob. But the depth of my gratitude amazes me too. I'm humbled by the countless gifts of fanship and friendship throughout the past two decades. I would say it's been a dream, except I never could have dreamt up most of it. I've shared stages and drinks in hotel rooms with my heroes, met children named after me, made friendships rooted in music from Auckland to the Arctic Circle, performed on trains, on boats, for Wall Street men in tuxes and for the muddy denizens of a musk ox farm... Not bad for a lonely rambler girl from Idaho. It was always a nebulous gut feeling that got the show on the road, and so it is now but in reverse. A gut feeling is telling me to get off the road, at least for now. After 2026, touring and I will part ways for a year, maybe two, maybe fifty...it's hard to say at this point. I do hope to keep performing in some capacity. Maybe come see me on a weeknight in some Boise dive, playing for potatoes? Or strumming the guitar for a handful of fellow meditators as we contemplate the Dharma and the temporary nature of all things. I need some time for a new exploration, to try to be the kind of mother I want to be, and to stop moving long enough "to let my soul catch up with me," as my grandma Jeanne used to say. Who knows what will come of that? Maybe on some jingle-jangle morning I'll come following the next great dream, rested and ready to go anywhere. But until then, suffice it to say...thank you. Thank you, thank you to everyone who carried me forward all this way and in all your different ways.With love, gratitude, and solidarity in music always, -Eilen

Eilen Jewell

The Slackers have been called “the sound of New York” by the New York Times. They were described by Brooklyn Vegan as a “clean mix of ska, reggae, and soul that gets dirtied up by Vic Ruggiero’s tough New York accent.” Decades into their run, The Washington Post noted that the Slackers “remain at the top of their game.” Since forming in 1991, the Slackers have released 16 albums, 5 EPs, and countless singles. They have performed thousands of energetic concerts for their global fanbase and remain unstoppably prolific. In their 2025 releases on Pirates Press Records, the EP “Money is King,” an indictment of the powerful as only the Slackers can do, went straight to the top 25 of the Submodern Reports album list. Their single “My Last Star” was a tribute to Hepcat's Greg Lee, fulfilling the final creative vision of the late singer. The 11-track compilation “Lost and Found Vol.2” had a surprise boogaloo breakout streaming hit with “Diskambobulated.” Their April 2022 album, “Don’t Let the Sunlight Fool Ya,” was the Slackers’ first charting record and qualified the sextet as a Billboard “new artist” – 30-plus years into their career! The power of the Slackers is nothing new to their fans, which number over 150K on social and thousands more via their direct-to-fan newsletter. The Slackers regularly perform at clubs and festivals around the world. They’ve sold out multiple curated "slackfests" in London, Chicago, Austin, and Anaheim, as well as "5 days in LA" and their "5 boro tour" of New York CityBrooklyn’s Attractors bring Early Jamaican &amp; American Jazz-influenced music smooshed together &amp; delivered in a bite size package

The Slackers

2026 Grrrls to the Front Graduation Show!Join us as our new GTTF sound production class graduates run the show!FeaturingSepsissAwaiting AbigailUnder The HorizonPulsifier

Sepsiss, Awaiting Abigail, Under The Horizon, Pulsifier 

Nathan Evans made serious waves in 2021 with his debut single, “Wellerman”, a reimagining of a traditional sea shanty. The track became a global viral phenomenon, amassing just shy of 1 billion streams on Spotify alone and topping the UK Singles Chart. Since that breakout moment, Nathan has carved out a sonic of his own, blending Scottish folk with pop. His debut album, 1994, showcased his growth as an artist and established Nathan as one of Scotland’s most exciting new voices. The album reached #1 on the Scottish Albums Chart and #2 on the UK Folk Albums Chart. Lead single, “Heather On The Hill” became a fan favourite, achieving over 75 million streams.2025 has been a standout year for Nathan’s live career. He performed to 25,000 fans on a sold out UK &amp; EU tour, and in October he will be stepping onto the biggest stage of his career yet: his first headline arena show at Glasgow’s OVO Hydro Arena, with all 14,000 tickets selling out in minutes. Nathan has been collaborating with Glaswegian duo SAINT PHNX, co-writing, performing live, and now making and releasing records together.Opener Jason Scaggs's music began in heart of Appalachia, his home state of Virginia, and that mountain sensibility shines through his music to this day. The twang of his guitar, much more assertive in his Jatoba days, has since been tempered with the addition of effects, looping, an indie flavor if you will. The pleasing result is a modern, full sound which belies it coming from one person.

Nathan Evans & The Saint PHNX Band

A Band of Brothers return for another blistering night of Allman Brothers classics!

A Band of Brothers

BQDP presents Every Body Dance Friday, February 27th 2026 At The Stone Church 210 Main St, Brattleboro, VT 9p-1a Brattleboro Queer Dance Party is returning to our roots with Every Body Dance, a performance-free dance party to bring our community together through the joys of moving our bodies together while also raising funds to support the Root Social Justice Center. Featuring the beats of DJ Cartier, we invite you to bring your besties to the most supportive dance floor around and get your groove thang on! Sliding Scale $10-20 notaflof This party is for Queers and Allies ages 18+ We kindly request that you wear a mask to protect yourself and others in these times of indoor entertainment

Bratt QDP- Every Body Dance

Earthbound. Interstellar overdriving or rooted in terra firma? Both, both. On their 11th album, 30 years down the line, Columbus, Ohio collective Moviola step on with a world-weary stride, holding two thoughts at the same time, containing multitudes, making the most personal, direct, and urgent music of their lives. In between the cracks of the musical Rust Belt, Columbus, Ohio’s Moviola has quietly—FOR 30 YEARS—produced an expansive catalog, with (now) 11 records and countless 7” inch singles, a radio show, and a concert film to their name, spanning everything from 4-track fuzz-pop to hi-fi country soul. With five equal singers and songwriters—the whole is greater than the parts, democratic ideals, fucking Gestalt theory in action. Recording themselves, in studios that they built themselves. Writing and performing fully fleshed concert films. As much prankster art collective as…band. Some parallel universe Midwestern EGOT stuff, right there. A small cadre of supportive labels, writers and fans have followed along for the ride. This August, they return with record #11, Earthbound, their first on Kingston, New York-based Dromedary Records. Started by Jake Housh in 1993 in a duplex near Ohio State, the band, on early 45s and 1994’s Frantic sounded less like their Columbus punk contemporaries, and more like “Neil Young’s noisy nephews” (LA Weekly). Throughout their early career, the group played live shows with kindred bands like Fruitbats, Flaming Lips, Calexico, Califone, Guided By Voices, and many others, yet it was the pursuit of collective learning-by-doing, happy accidents, experimentation and recording in various basement, warehouse, and attic studios that became their primary raison d'être. In quick succession, The Year You Were Born (1997), Glen Echo Autoharp (1998), and The Durable Dream (1999) saw the group cover wide sonic turf, traversing buzzing lo-fi rock, Space Echo® folk, pure pop arrangements, and nooks in between. Split singles were fast and frequent as well, sharing sides with like-minded friends like the Handsome Family, Cobra Verde, Tobin Sprout, Hiss Golden Messenger and Eric’s Trip. Rumors of the Faithful (2001), East of Eager (2004) and Dead Knowledge (2007) came next, and found the band growing in sound and scope. A singles compilation Broken Horses (2008), Scrape and Cuss (2019), Broken Rainbows (2022) bring us up to the release of Earthbound.&nbsp; As has been the unique blueprint for how they approach music-making, Earthbound contains multitudes: shared songwriting from each member of the group, at times lush, at others coarse, yet the result has a singular “Moviola-ness” about it all, occupying its own headspace. Recorded in Columbus, Brooklyn, and Brattleboro, it’s the most realized, succinct and least ambiguous effort of their career. Five separate voices, coming off as one, a band of brothers, no time for mincing words. Can a group be hitting its stride 30 years in? It seems so. Listen in.

Moviola/Wet Tuna/Animal Piss It's Everywhere

Skeleton Crewe invites audiences into an intimate, high-vibe musical journey led by masterful artistry and fearless exploration. Each performance blends original compositions, including many written by Robert Hunter in collaboration with Rob Barraco and with reimagined Grateful Dead favorites and expansive improvisations. Their sound moves effortlessly across genres, weaving traditional Hawaiian influences with psychedelic Americana to create a transportive, one-of-a-kind experience. Skeleton Crewe doesn’t just play a show, they create a musical conversation that feels both timeless and brand new.FEATURING:Rob Barraco - Keyboards &amp; vocals (Dark Star Orchestra, Phil Lesh &amp; Friends, The Dead)Barry Sless - Pedal Steel, electric guitar &amp; vocals (Bobby Weir and Wolf Bros, David Nelson Band, Phil Lesh and Friends, MoonAlice)Stephen Inglis - Slack Key Guitar, electric guitar &amp; vocals (Billy Kreutzmann, Dennis Kamakahi)Pete Sears - Bass (Jefferson Starship, Hot Tuna, Phil Lesh &amp; Friends, David Nelson Band, MoonAlice)Jay Lane - Drums &amp; vocals (Dead &amp; Company, Bobby Weir &amp; Wolf Bros, Ratdog)The worlds of Hawaiian slack key guitar, psychedelic pedal steel, masterful, keyboard, bass &amp; drum work converge as five virtuosos of the jam band scene announce the formation of Skeleton Krewe. Born from a serendipitous collaboration in early 2024, this unique musical collective features Rob Barraco (Dark Star Orchestra, Phil Lesh &amp; Friends, The Dead), Barry Sless (Bobby Weir and Wolf Bros, David Nelson Band, Phil Lesh and Friends), Grammy-nominated Hawaiian slack key guitarist Stephen Inglis (Billy Kreutzmann), Pete Sears (Jefferson Starship, Hot Tuna, Phil Lesh &amp; Friends, David Nelson Band) &amp; Jay Lane (Dead &amp; Company, Bobby Weir &amp; Wolf Bros, Ratdog). The group's formation traces back to January 2024, when Sless and Inglis first joined forces for what was meant to be a one-off performance. The chemistry was immediate and undeniable. The duo's successful California shows caught the attention of keyboard virtuoso Rob Barraco, who joined forces with Inglis during a Dark Star Orchestra show at the Hawaii Theatre in April 2024. The natural musical connection between all three players led to the formation of Skeleton Crewe Trio which in turn led to adding Barry’s longtime musical partners Pete Sears &amp; Jay Lane on bass &amp; drums. This collaboration brings together many musical traditions: Inglis's mastery of Hawaiian slack key guitar (he's a recipient of the prestigious Ki Hōʻalu Legacy Award), Sless's pioneering pedal steel work that has graced stages with Bob Weir and Phil Lesh, Barraco's sophisticated keyboard artistry that earned him a place in The Dead's lineup (an experience that preceded nearly two decades holding the keyboardist chameleon role within Dark Star Orchestra), the dynamic improvisational work of Pete Sears on bass, and the solid improvisational drumming of Jay Lane. Each performance, Skeleton Crewe promises to offer high level artistry hosting an intimate evening of original compositions (many of which were written by Robert Hunter in collaboration with Barraco), Grateful Dead interpretations, and dynamic improvisations that span genres from traditional Hawaiian to psychedelic Americana. FEATURING:Rob Barraco - Keyboards &amp; vocals (Dark Star Orchestra, Phil Lesh &amp; Friends, The Dead)Barry Sless - Pedal Steel, electric guitar &amp; vocals (Bobby Weir and Wolf Bros, David Nelson Band, Phil Lesh and Friends, MoonAlice)Stephen Inglis - Slack Key Guitar, electric guitar &amp; vocals (Billy Kreutzmann, Dennis Kamakahi)Pete Sears - Bass (Jefferson Starship, Hot Tuna, Phil Lesh &amp; Friends, David Nelson Band, MoonAlice)Jay Lane - Drums &amp; vocals (Dead &amp; Company, Bobby Weir &amp; Wolf Bros, Ratdog)

SKELETON CREWE 

Join us for a special evening of Dueling Duets featuring Coleman Williams IV &amp; Lightnin’ Luke of The Bridge City Sinners!Coleman WilliamsAs the great-grandson of Hank Williams Sr., grandson of Hank Williams Jr., and only son of Hank 3, Coleman spent years waging an internal battle with the expectations thrust upon him by others about his own lineage.Determined to blaze his own trail, Coleman left town after high school and traveled across America. Trying to create a unique sound that would fill his songs with his stories while still trying to show love to his country roots and his Nashville home.Coleman finally channeled his love of the weird into his first album Southern Circus with former band mate Jason Dietz. After the release in 2022, he was able to continue extensive touring and refine his sound with new bandmates. Now leading to the upcoming follow up record Hang Dog. Produced by Shooter Jennings and being released November 17th, 2023. He hopes to show people a journey of love for his old dog and the strange moments in life that can define us. Finding a balance between spectacle and spirit, melodies and muscle. Making the music of a man honoring his family tree while planting his own garden.Lightnin' LukeLightnin' Luke's powerful vocals, heartfelt lyrics, and wild fiddle playing have made him a versatile musical force, and a towering presence in the underground folk music scene. His resume includes a dizzying list of collaborations as a member of The Bridge City Sinners, Yes Ma'am, Tejon Street Corner Thieves, Clyde and the Milltailers and King Strang along with on-stage appearances with The Goddamn Gallows, Pete Bernhard (of The Devil Makes Three), Amigo the Devil, IV and The Strange Band, and many many more. Appearing on a majority of the catalogue from Portland indie label Flail Records, Luke has become a defining pilar of the label's unique sound.Slow Pony At the intersection of traditional and contemporary music, Slow Pony is the accordion-centered, organ-adjacent collective led by Eli Dworkin. Drawing from Balkan, blues, tango, klezmer, cumbia, jazz manouche, punk, and Americana, their music is unpredictable, hypnotic, and unmistakably their own. For over two decades, Eli has defied genre as a multi-instrumentalist, vocalist, songwriter, storyteller, and performer, bringing together an ever-changing cast of accompanists to navigate intricate, fiercely composed-yet-improvised material.Known for dark humor, collective awkwardness, and hypnotic instrumental shredding, Slow Pony captivates audiences from weddings, to festivals, to burlesque shows, to mosh pits. Cutting his teeth on the street, Eli is practiced at stopping the passerby in their tracks, and offering song where it's unexpected. With the combined powers of technical mastery and a relentless drive to create, connect, and revolt, every show is a singular experience, impossible to predict and impossible to forget.

Dueling Duets- Coleman Williams + Lightnin' Luke

NMA started by brother Luther and Cody Dickinson in 1996 as a loose collective of musicians from their North Mississippi home inspired by their father Jim Dickinson as well as neighbors and musical elders of their community; RL Burnside, Junior Kimbrough, Otha Turner and Fred McDowell.Luther’s first national tour was the RL Burnside Ass Pocket of Whiskey tour in 1997, selling out shows in the US and Canada. “Kenny Brown hired me to tour with RL and Cedric and showed me the ropes. That experience blew my mind. Cody and I have been on the road ever since.”NMA began touring in 1998 and over the years the touring lineup has included, Cedric, Duwayne and Garry Burnside, Chris Chew, Berry Oakley Jr, Oteil Burbruidgem&nbsp; and currently Joey Williams of the Blind Boys of Alabama and Ray Ray Hollowman, guitar player for Eminem and Nee-O.&nbsp;Since their debut album in 2000 and hitting the never ending road, they have shared the stage with countless legends; Phil Lesh, Mavis Staples, Robert Plant, John Hiatt, the Allman Brothers, The Black Crowes, Buddy Guy, Snoop Dogg, and Jon Spencer to name a few, while earning multiple grammy nominations for their experimental albums of they like to call Modern Mississippi Music.&nbsp;

North Mississippi All Stars

&nbsp;Pulsing with the energy of their hometown, New York City, ‘If There’s a &nbsp;Heaven’ (2024) is the debut album from indie band Melt. Hear the band &nbsp;simultaneously at their most airtight and freewheeling—evoking the raw, &nbsp;communal spirit of Fleetwood Mac as well as the modern, danceable &nbsp;hooks of MUNA. Recorded live to tape with producer Sam Evian (Big Thief), the eleven tracks span existential, feel-good pop (“Plant the Garden”), classic love ballads (“Your Name”) and lush, soulful rockers &nbsp;(“Heaven”). Melt’s debut is a joyous, timeless soundtrack for coming of &nbsp;age and finding oneself and one’s community.&nbsp;Melt formed in 2017 and cut their teeth touring on the heels of their viral &nbsp;single “Sour Candy.” Called “one groovy superorganism” by NPR, the &nbsp;band’s ecstatic live set has led them to supporting slots with a wide &nbsp;array of artists from Grouplove, Lawrence, My Morning Jacket, and &nbsp;Grace Potter.&nbsp;Back with their first release since ‘If There’s a Heaven,’ the band’s new &nbsp;single “Stay for the High” is 2025’s “Yellow”—an early aughts heartbreaker with the edge of a queer rock band.

Melt

𝕨𝕚𝕔𝕜𝕖𝕕 𝕘𝕒𝕞𝕖 - 𝔞 𝔤𝔬𝔱𝔥𝔦𝔠 𝔭𝔯𝔬𝔪𝔢𝔫𝔞𝔡𝔢:: what a wicked game to play ::// slip into something darker this valentine’s day //Join us for an evening of sinister delights as we transform Stone Church into a gothic dreamland of beauty, intrigue, heartbreak, and darknessFeaturing music on the darker side of sound from Academy Order, Night Protocol, Dutch Experts, The Goat, Clock Serum and Vetica.Waltz with shadows and promenade between pole and burlesque dancers, dark decor, immersive visuals, dramatic lighting, a free photo booth, and a complete rejection of normality.Misfits Encouraged &amp; A Dark Dress Code ExpectedPresented by Green Mountains of Madness

Wicked Game: A Gothic Promenade

We’re partnering with The Mermaid Collective to make this a Sunday to remember!Doors open at 5:30 but you can pre-order your doughnuts before Friday at noon right here-&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="http://themermaidcollective.org">themermaidcollective.org</a>They’ve got a killer football inspired options to choose from with Blueberry Lime vs Boston Cream, Black &amp; White, &amp; Classic Glazed (last two are even vegan!)We’ll transform for the night from rock anthems to Sportsball central, so your welcome to devour your pastries and stay for the night and whatever Maye transpire….

Doughnut Bowl!

Dead Ahead exploded onto the New England music scene in the fall of 2024, turning their weekly residency at The Sanctuary in Maynard, MA, into a must-see event. Rooted in the Grateful Dead, they deliver high-energy, feel-good performances packed with deep jams, soaring harmonies, and nonstop grooves. Drawing inspiration from Little Feat and The Allman Brothers Band, they stand out with an ever-expanding repertoire that blends Dead classics, deep cuts, and originals for a fresh, dynamic show every night.At the core is the powerhouse husband-and-wife guitar duo, Ryan and Sonya Rae Taylor. Ryan, a virtuosic guitarist known for his masterful slide playing, brings grit and soul, while Sonya Rae—a true triple threat as a singer, guitarist, and former Nashville staffsongwriter—adds raw power and finesse.On drums, Alex MacDougall delivers gutsy, soulful vocals, a rare force in the jam scene. The lineup is rounded out by Justin Lopes (formerly of Bearly Dead) on keyboards, Matt Caporale on bass, Joe Peck on guitar and vocals, and Brendan Tommaney on percussion, adding infectious energy and deep rhythmic texture.What sets Dead Ahead apart is their ability to seamlessly meld medleys, unexpected turns, and deep improvisation, creating unforgettable moments filled with surprises. No two shows are the same, keeping&nbsp;audiences on their toes as the band weaves songs together in ways that feel both fresh and deeply rooted in tradition.With top-tier musicianship, unpredictable setlists, and a sound that goes beyond the typical tribute, Dead Ahead isn’t just keeping the music alive—they’re pushing it forward, one epic show at a time

Dead Ahead

Pink Talking Fish is a Hybrid Tribute Fusion Act that takes the music from three of the world's most beloved bands and creates a special treat for fans of the music. Pink Floyd, Talking Heads and Phish are all more than just bands... they are Phenomenons.&nbsp; Their creations have artistically inspired people and their mind-blowing live performances have brought people together to form a sense of community around the love for their favorite bands. Although the music from each act is different, Pink Talking Fish has discovered that fusing the material together writes an amazing new story. The epic emotion of Pink Floyd... The funky, danceable layerings of Talking Heads... The multitude of styles, unique compositional structures and pure fun of​ Phish... to merge these three acts into one gives music lovers an experience like no other. Pink Talking Fish features Eric Gould on bass, Richard James/Stephen Learson on keyboards, Zack Burwick on drums and Cal Kehoe on guitar. This is a band created by musicians who love the music of these iconic bands.&nbsp; Its purpose is to heighten people's passion for this music by creating something fresh and exciting for fans.&nbsp;&nbsp; Discovering connections is part of the fun:&nbsp; Pink Floyd's "On The Run" seamlessly fitting in the middle of the composition of Phish's "You Enjoy Myself".&nbsp; Perfectly placing Phish's "Sand" into the groove of Talking Head's "Slippery People".&nbsp; Segued collections from all three acts such as Run Like Hell &gt; Making Flippy Floppy &gt; Piper &gt; Run Like Hell or Mike's Song &gt; Have A Cigar &gt; Once In A Lifetime &gt; Weekapaug Groove. These ideas are the spirit behind Pink Talking Fish. The story is ever evolving.&nbsp; The experience is always thrilling.&nbsp; No two shows are ever the same.Come join Pink Talking Fish for the ultimate fusion tribute and celebrate the love of this music in unmatched fashion.

Pink Talking Fish

The Suitcase Junket developed in the tension between the grand and the solitary. Grand in imagery, sound, and staging. Solitary in thrift and self-reliance. NPR calls&nbsp;Matt&nbsp;Lorenz a "master of musical imagination."&nbsp;What instruments he requires, Lorenz builds from scratch and salvage. What parts five players would perform, he performs alone. The spectacle of his one-man set bears comparison to legends of showmanship, brilliance, madness, and invention. While audiences are captivated by that solitary form and the show itself, Lorenz, who homesteads in Western Massachusetts, is most serious about the songs. Over the course of six full-length releases, including the latest The End is New from&nbsp;Renew Records at BMG, he has written a world into existence, crowded with characters, narratives, voices, imagery, sounds as wide and varied as mountain throat singers and roadhouse juke boxes, plus newsreels of the planet's destruction and salvage.&nbsp; “A living, breathing, throat-singing, road-tested, avant-garde, one-man-band who is in a state of perpetual motion… gutsy, fuzzed-out, groove-laden psych rock.” – National Public Radio&nbsp; "Now this is the shit I'm talking about, Jack.&nbsp;The Suitcase Junket&nbsp;is a lo-fi, low-tuned, low-down blast of end-times folk blues. It's crude; it's magnificent. With a stage set-up that resembles a junkyard foley stage or Fred Sanford's living room,&nbsp;The Suitcase Junket&nbsp;— one man band leader&nbsp;Matt&nbsp;Lorenz — incants and intones like a cross between Hound Dog Taylor and a Tuvan throat singer who has swallowed a bird. Take the singer-songwriter idiom, give it a low grade fever and a guitar and this is what you get. Captivating, mesmerizing, and gone ... real gone." –&nbsp;Rochester City Newspaper&nbsp; “Jaw-dropping... It’s the biggest sound I’ve ever heard come from a solo performer.&nbsp;Matt&nbsp;is definitely his own thing and it is something. The live experience is pretty, darn unforgettable.” — Beale Street Caravan "Bluesy guitar riffs, tenacious melodies and a singing voice both weathered and nimble. You don’t need to witness his physics-defying performance to be captivated; the music stands on its own... astonishing." &nbsp;– WBUR BostonSongwriter and guitarist Louisa Stancioff has quickly&nbsp;established herself as one of the premier musical artists in Maine. Her intelligent and soulful writing pairs with a confident and catchy indie sound drawing on folk, rock, pop, and her own Balkan heritage. Born and raised in the foothills of Western Maine, Stancioff learned to entertain herself by singing songs with her sister and playing the piano, violin, guitar and any other instrument lying around the house. She moved through life nomadically in her early adulthood living in upstate New York, Western North Carolina, Montana and California, and gathering her songwriting material along the way. Currently settled in Midcoast Maine, she has toured this iteration of her indie folk n' roll project all across the country, headlining and opening up for bands such as Blitzen Trapper, Pokey Lafarge, Micaela Davis, Darlingside and more. You can listen to her debut album “When We Were Looking” everywhere, released under Yep Roc Records last year.&nbsp;

The Suitcase Junket

There is no rock and roll enthusiast who has not been touched in some way by the epic catalogue of the mighty Led Zeppelin. From the initial crushing chords of "Good Times, Bad Times" on Led Zeppelin I (1969) to the slick, piano heavy "Fool In The Rain" (1980) that featured one of John Bonham's most iconic drum grooves. If you are looking for a Led Zeppelin act that brings the energy and spirit of Led Zeppelin in their prime, then look no further than FOUR STICKS, the most accurate tribute to the iconic Led Zeppelin.Led Zeppelin, led by guitar virtuoso, Jimmy Page and vocal icon, Robert Plant, never failed to push their songwriting to the limit of astounding creativity, with live performances that were second to none, with each member putting on a clinic and delivering their songs with fresh energy at each and every performance. The songs maintained their album quality while simultaneously being given new life and energy by the live improvisation abilities or these four powerhouses. FOUR STICKS is comprised of NYC session and touring musicians who have graced the stages with some of the biggest names in the business, as well as being on numerous smash hits with musicians in multiple genres.&nbsp;FOUR STICKS plays through all the hits that a casual fan would want to hear, as well as delivering some of the best gems for the Led Zep enthusiast that other Zep acts don't touch. And FOUR STICKS do it the way Led Zeppelin did it, which is utilizing only four members playing multiple instruments. New and old fans that have seen many of the Zep tributes claim FOUR STICKS comes the closest to a live Led Zeppelin show. The vocal range and power of Robert Plant? Got that. The power and finesse of John Bonham? Got that. The virtuosity of Jimmy Page? Got that. A multi-instrumentalist on bass/vox/keys/mandolin? Got that too.There is no rock and roll enthusiast who has not been touched in some way by the epic catalogue of the mighty Led Zeppelin. From the initial crushing chords of "Good Times, Bad Times" on Led Zeppelin I (1969) to the slick, piano heavy "Fool In The Rain" (1980) that featured one of John Bonham's most iconic drum grooves. If you are looking for a Led Zeppelin act that brings the energy and spirit of Led Zeppelin in their prime, then look no further than FOUR STICKS, the most accurate tribute to the iconic Led Zeppelin.Led Zeppelin, led by guitar virtuoso, Jimmy Page and vocal icon, Robert Plant, never failed to push their songwriting to the limit of astounding creativity, with live performances that were second to none, with each member putting on a clinic and delivering their songs with fresh energy at each and every performance. The songs maintained their album quality while simultaneously being given new life and energy by the live improvisation abilities or these four powerhouses. FOUR STICKS is comprised of NYC session and touring musicians who have graced the stages with some of the biggest names in the business, as well as being on numerous smash hits with musicians in multiple genres.&nbsp;FOUR STICKS plays through all the hits that a casual fan would want to hear, as well as delivering some of the best gems for the Led Zep enthusiast that other Zep acts don't touch. And FOUR STICKS do it the way Led Zeppelin did it, which is utilizing only four members playing multiple instruments. New and old fans that have seen many of the Zep tributes claim FOUR STICKS comes the closest to a live Led Zeppelin show. The vocal range and power of Robert Plant? Got that. The power and finesse of John Bonham? Got that. The virtuosity of Jimmy Page? Got that. A multi-instrumentalist on bass/vox/keys/mandolin? Got that too. *FOUR STICKS will be celebrating the 50th Anniversary of the release of Led Zeppelin’s “Presence”album with a special performance of the entire album, along with various Zeppelin hits from their catalog.&nbsp; *Opening the show will be Shaman, (Four Sticks offshoot project) performing the best of 1969’s iconic super groups, Jimi Hendrix, The Cream and The Who.&nbsp;

Four Sticks

Hayley pulls inspiration from a variety of styles, including 60s + 70s rock + pop, musical theater, folk, blues, soul, psychedelic, funk + bluegrass.&nbsp; Just as varied, are the many ways she can captivate an audience.&nbsp; Whether the concentrated potency of her solo acoustic performance, the explosive energy + movement of her full band shows, or one of her theatrical performances, she always brings the charisma, humor + passion to move an audience. &nbsp;Her music has been praised by a&nbsp; wide range of musicians, producers + music lovers alike, for successfully combining a diverse sound with clever, over-the-top lyrics + Vaudevillian-style storytelling. &nbsp; Hayley reawakens her audiences to the wild parts of themselves, great medicine for these modern times.Emily Margaret Band creates a cozy R&amp;B groove coupled with soulful storytelling, and intimate, stirring vocals. Their songs wrap you in the comfort of a timeworn hand-me-down sweater that is once again back in style. Their performances include original songs together with classics from artists they love including Amy Winehouse, Joni Mitchell, Stevie Wonder and Bill Withers. Follow them on Instagram @<a target="_blank" rel="noopener noreferrer nofollow" href="http://emily.margaret.music">emily.margaret.music</a> for news of their latest shows and music releases!

Hayley Jane

MADAILA - /mə deɪ lə/, [muh DEY luh] - proper noun - a psych pop band from Burlington, VT.Psych pop juggernaut Madaila is upbeat, synth­-heavy, and catchy. Vocal skill and range are immediately apparent. But in the tradition of Prince and The Talking Heads, an ornateness and heaviness expose Madaila's complexity and depth. Tight arrangements and multi-­instrumental performances showcase musical minds at work.When Madaila is on stage, spontaneous expression and contagious melody coexist. The freakier elements of the band come to the surface as the five-­piece explores the deeper possibilities lying within their concise-recorded material. The band’s improvisational power gives each song the capacity to have its form pushed to the edges of comfort, or uplifting peaks.Madaila released its debut, “The Dance”, in 2015. The band generated buzz with large hometown shows held on a ferry, in Burlington’s City Hall, in an aquarium, and on a downtown city block for their festival, Madaila on Main; as well as with festival plays at Mountain Jam, Clusterfest, Summer Camp, Frendly Gathering, Grand Point North, Waking Windows, Otis Mountain &amp;amp; Burlington Discover Jazz. Madaila has shared the stage with artists such as The Flaming Lips, Nathaniel Rateliff, Mac DeMarco, BØRNS, Grace Potter, Twiddle, Deer Tick, and Matisyahu. Madaila is part of Future Fields, an artist­-run label and management group based in Burlington, Vermont.Well Suited is a 6-piece Americana band blending rock and soul into high-energy performances and feel-good grooves. Formed in 2010, the band has grown into a genre-bending force—complete with sax, strings, keys, and vocal hooks you’ll be humming for days.

Madaila

Wolfman Sunday Residency

Noise Pollution is the most authentic tribute to AC/DC currently touring the Nation. Relive the glory days of the “The Thunder from down under” Experience a tribute to one of the world’s most iconic, bigger than life, rock &amp; roll bands in music history. Noise Pollution recreates the powerhouse sights, sounds, and attitude of a AC/DC show that even the most raved fan will find unbelievably true to life. Each member of Noise Pollution has an extensive and versatile musical background in regional and national bands and has been wowing crowds together for years. They cover their respective roles with the utmost attention to detail in looks, equipment and chops.FOR THOSE ABOUT TO ROCK…. WE SALUTE YOU!

Noise Pollution

CLAP YOUR HANDS SAY YEAH Piano &amp; VoiceWhile best known for his contributions to independent rock music with Clap Your Hands Say Yeah over the last two decades, few are aware that the piano is the first, and primary compositional, instrument of Alec Ounsworth.&nbsp;Piano versions of his songs have occasionally made appearances on albums, on bonus tracks, and in live shows. Most recently, an intimate tour across Europe has been sold out, complemented by a 10” and select tracks available on digital platforms. With more Piano &amp; Voice shows to come,&nbsp;a very limited bootleg recording from the three-night residency at London’s Servant Jazz Quarters will be available on vinyl exclusively during the tour.&nbsp;These piano and voice versions showcase the depth and resolute character of CYHSY’s repertoire in its purest form.

Clap Your Hands Say Yeah- Piano & Voice

Minibeast is a three-piece band comprised of Peter Prescott (formerly of Mission of Burma, Volcano Suns, Kustomized) playing guitar, keys, noises (mouth &amp; other) &amp; the mind bending rhythm section of Keith Seidel on drums n' percussion and Pete Weiss on bass. We gratefully accept influences from Fela Kuti, Can, and the Stooges.Most recent release: The Maze of Now - was released January 2025.Grizzled and stewed veterans of punk rock's inglorious past, this trio from Southeastern Vermont have one last job.

Minibeast + The Vermen

Embodying the vibrant Chicago music culture, LowDown Brass Band is a one-of-a-kind horn ensemble weaving the rhythm of the streets with conscious hip hop, reggae, and soul.&nbsp; Rigorously touring, LowDown has performed on the most unique stages, from the Montreal Jazz Fest to the Cotai Jazz Fest.&nbsp;Despite the last four years, LowDown has stayed busy, releasing Three albums, "The Reel Sessions, LowDown Nights and $itizens of the World”, which showcase their unique sound and further push the boundaries of their genre.&nbsp;&nbsp;Leaning on their talent and unconventional style, LowDown Brass Band continues to carve out a path, defying convention and charting their own course in the ever-evolving landscape of music.Coyote Reverie blends neo-soul/funk with hip-hop and folk elements into a reflective soundscape that invites listeners into deeper questions about connection, creativity, and existence. Known for their genre-bending style, the duo delivers lyrics that unfold like mosaics—intimate, imaginative, and rooted in a sense of cosmic awareness. Praised for operating on their “own bandwidth and frequency,” Coyote Reverie brings their music to life on stage with live drums and horns, creating an immersive experience that’s both soulful and otherworldly.

LowDown Brass Band

Wolfman Jack Sunday Residency

Planning for Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy, his fourth album, arrives on May 30th via The Flenser. Rooted in a staunch DIY ethos, Wasluck handles every aspect of the Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever an independent creative. This hands-on approach has led Planning for Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Planning For Burial

Lumos offers enchanting concert experiences that pay tribute to world-renowned artists. We’ve teamed up with extraordinary venues and iconic locations globally to create performances that are truly magical ✨.Now, we’re bringing this unforgettable experience to the USA! Get ready for a series of spectacular concerts across the States. 🌍A donation is made to a different charity each month! Key Information : PLEASE READ 🗓️ Friday 2nd January 📍 Stone Church 210 Main St, Brattleboro, VT 05301 ⏰ 2 Sittings: 1st Sitting 6-7pm | 2nd Sitting 8-9pm🕰 Entry: 1st Sitting – 1st Sitting – Doors open at 5:30pm | 2nd Sitting – Doors open at 7:30 🎼 Musical Theme: A Classical Vivaldi &amp; Mozart Tribute 🪑 Seating Is First Come First Serve To Your Allocated Tiered Zones (In Platinum, Gold, Silver, Bronze) ❓ Please Read Our <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.lumos-experiences.com/faqs/">FAQ’s </a>📩 For Customer Service enquiries please email: <a target="_blank" rel="noopener noreferrer nofollow" href="mailto:service@lumos-experiences.com">service@lumos-experiences.com</a> 👥 8+ This event is for eight year olds &amp; above ♿ Accessibility: This venue is wheelchair accessible however every venue differs &amp; we can’t guarantee front row.🕯️ Experience Lumos In The Most Intimate Setting &amp; Book Us For Your Very Own Private Concert/Event (Celebrations, Weddings, Or Any Special Occasion) –<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.lumos-experiences.com/private-hire/"> Click Here </a>Type Of Performance The performance at this event will be a String Trio 🎻List Of Songs:Featuring Mozart’s, Eine Kleine Nachtmusik mov. 1 Divertimento in D mov. 1And Vivaldi’s, Concerto in A Minor mov. 1 Four Seasons Spring Four Seasons Summer Four Seasons Autumn Four Seasons Winter

Lumos Live

It’s our favorite time of the year as we welcome back Bella’s Bartok for another epic Strange Ones Ball!This year they are joined by local post-apocalyptic gypsy punk shredders The DiTrani Brothers &amp; Western Mass powerhouse garage punk duo Film and GenderLive your fantasy and embrace the stranger side of life with Bella’s Bartok. A Glam Rock band known for raucous theatrical performances and an outspoken political message of finding hope in a world beset by cruel uncertainty. With utter joy, they seamlessly blend a rich cacophony of sound and soul into their music with influences ranging from Queen to System of a Down.&nbsp; Let your freak flag fly high, fiercely and free, throw your societal inhibitions to the wayside and seek comfort in the warm sonic embrace of Bella’s Bartok. We are the night and you are bound toboogie. Floors may be broken but hearts will be mended.The DiTrani Brothers, with their bent melodies and driving rhythms, play “perilous tunes for the hopeful,” blending elements of Balkan music and early American jazz/swing. They deliver both wistful and raucous performances at venues ranging from The House of Blues in New Orleans to DIY backyard stages.film &amp; gender is a two-piece (bass and drum) queer punk act"inspired by the defiant spirit of '90s and early-2000s hip-hop, film &amp; gender unleashes a raw and unruly strain of garage punk driven by bombastic rhythm and unapologetic social fury" - ben delozier

Bella's Bartok Strange Ones Ball

Interweaving the classic songs and jams of The Grateful Dead, The Allman Brothers&nbsp;Band and The Band, Dead Man's Waltz (formerly Steal Your Peach) is an all-star&nbsp;collective from the Northeast festival scene. Dead Man's Waltz features top-notch&nbsp;musicianship and offers a refreshing twist to the music of three legendary and iconic&nbsp;bands. While staying true to the spirit of the music, the band members put their own&nbsp;dynamic spin on a vast catalog of beloved songs that are now part the new American&nbsp;song book.&nbsp;At its core, DMW is a celebration of the long standing tradition of crossover between The&nbsp;Dead, The Allmans and The Band, culminating with the legendary 1973 Summer Jam&nbsp;Music Festival in Watkin's Glenn, NY where the three bands performed together. DMW's&nbsp;arrangements are experiments, as they easily flow from the familiar to the obscure,&nbsp;moving from standards like "Jessica" into Going Down The Road Felling Bad" into "Don't&nbsp;Do It" or "Up On Cripple Creek" into "They Love Each Other" into "Midnight Rider". The&nbsp;band always keeps it fresh with new and unexpected arrangements and improvisations,&nbsp;while engaging fans in the free-spirited party and colorful, close-knit community&nbsp;surrounding their shows.&nbsp;With 2 drummers, DMW's line-up mirrors those of both The Dead and The Allmans as&nbsp;well as later line-ups of The Band. Dead Man's Waltz features the all-star lineup of "Rev"&nbsp;Tor Krautter on guitar and vocals, Tom Major on drums, Parker McQueeney on keys and vocals, Wesley Childers on guitar and vocals, Jeff Prescott on drums and vocals, and Brian O'Connell on bass and vocals. Each hail from a unique musical background and ads their own personal style, influence and charictor to the mix (which is exactly what the music calls for).&nbsp;

Dead Man's Waltz

We are shaking things up for our December show! We get to be featured at Bratt QDP!!! Get ready for a late night in Brattleboro at Stone Church with <a target="_blank" rel="noopener noreferrer nofollow" class="x1i10hfl xjbqb8w x1ejq31n x18oe1m7 x1sy0etr xstzfhl x972fbf x10w94by x1qhh985 x14e42zd x9f619 x1ypdohk xt0psk2 x3ct3a4 xdj266r x14z9mp xat24cr x1lziwak xexx8yu xyri2b x18d9i69 x1c1uobl x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz notranslate _a6hd" href="https://www.instagram.com/dragmacncheese/">@dragmacncheese</a> and <a target="_blank" rel="noopener noreferrer nofollow" class="x1i10hfl xjbqb8w x1ejq31n x18oe1m7 x1sy0etr xstzfhl x972fbf x10w94by x1qhh985 x14e42zd x9f619 x1ypdohk xt0psk2 x3ct3a4 xdj266r x14z9mp xat24cr x1lziwak xexx8yu xyri2b x18d9i69 x1c1uobl x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz notranslate _a6hd" href="https://www.instagram.com/ladol_saucyflambe/">@ladol_saucyflambe</a> . Get some holiday shopping in at our queer night market before the show begins!

Bah Humbug! Twisted Christmas & Night Market

We’re teaming up with our friends across the river at The Colonial Performing Arts Center in Keene, NH to bring back one of our favorite tribute acts in the land, Start Making Sense!The music of Talking Heads has excited, inspired, and healed folks worldwide since their first show at CBGB’s in 1975. If David Byrne is one of the geniuses of modern times, then Start Making Sense is a tribute to genius. Start Making Sense celebrates the entire Talking Heads’ catalog with a seven-piece band meticulously executing the sounds and iconic live visual elements in every performance. Together these skilled and dedicated musicians enjoy bringing the unique, infectious energy of a Talking Heads live show that you know and love to the stage. In addition to an amazing tribute show they have created specialty shows including tours with horns for which they scored the Heads’ catalog themselves, international group trips with fans, and other special nights that have kept audiences energized and returning year after year.

Start Making Sense

<h2 style="text-align: start">Cursive</h2>Very few bands manage to last decades, and for the ones that do, it’s often easy to settle down and get a little too comfortable. But there’s nothing comfortable about Devourer, the explosive new album from Cursive. The iconic Omaha group is known for their intensity, ambition, and execution, and has spent 30 years creating a bold discography that’s defined as much by its cathartic sound as its weighty, challenging lyrical themes. And Devourer is as daring as ever. Full of intense and incisive songs, the album proves exactly why Cursive have been so influential and enduring–and why they remain so vital today<h2 style="text-align: start">AJJ</h2>Ever since Sean Bonnette and Ben Gallaty formed AJJ back in 2004, it’s felt like the world has been playing catch-up. That’s because the band—completed these days by guitarist/keyboard player Preston Bryant, cellist Mark Glick and (relatively) new drummer Kevin Higuchi—has always woven apocalyptic themes and imagery into many of its songs and lyrics. They even self-released a record called Good Luck Everybody in January 2020, as if they knew what was coming. Now though, in 2023, with their eighth studio record and debut on Hopeless Records, Disposable Everything, it feels like the world is finally aligned with AJJ’s doom-laden prophecies – albeit one that still shimmers with hope.

Cursive

Jeopardy - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/jeopardyvt￼(Beer">https://www.facebook.com/jeopardyvt (Beer</a> Thrash) Sucks, but has riffs.Goblet - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/gobletband￼(Bastard">https://www.facebook.com/gobletband (Bastard</a> Thrash) Rules, has better riffs.SLOB DROP - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/slobdropband￼(Razor">https://www.facebook.com/slobdropband (Razor</a> Scooter Punk) Sucks, but has conga lines.Woundlicker - <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.facebook.com/profile.php?id=61557766359545￼(Experimental">https://www.facebook.com/profile.php?id=61557766359545 (Experimental</a> Hardcore, or something) Rules, smiles questionably too much.Everyone welcome. ALL AGES! ID required to drink $10-$20 sliding scale Doors @ 7pm Tunes @ 8pm

Boozer's Birthday Thrash

The Besnard Lakes - The Besnard Lakes are the Ghost Nation “They are always different; they are always the same.” As John Peel once famously said about the Fall, perhaps the same can apply to the Besnard Lakes? Peerlessly consistent, familiar and with a purity of vision and level of quality that is hard to rival in modern music. Except, they are not always the same. Not at all. New album The Besnard Lakes are the Ghost Nation illustrates this perfectly. Yes, the same sound world is present; the keening, lilting vocals of Jace Lasek and Olga Goreas foregrounded, but there is a lightness and optimism at play. Perhaps a somewhat disingenuous sense of hope, in a world where it is currently often in short supply. “I feel like it's a very formidable title, symbolic of the times,” says Jace. “It's talking about the death of nations, the threat of Canada being the 51st state. There is the desire to be left alone, to let community be community, all of those things that feel like they might be under siege; that's what the ghost nation is.” The band confirm this was partly in response to their last album, 2021’s The Besnard Lakes are the Last of the Great Thunderstorm Warnings. “The last record was so heavy,” reflects Jace. “There was so much weight and heavy themes, like my dad dying. It was just death everywhere on that record. This album doesn't really seem to be that. To me, it seems very playful.” The opening track ‘Calling Ghostly Nations’ has everything you would want from the band: the opening drone, a slow build with a warped girl group Phil Spector feel, initial vocals from Olga before Jace’s falsetto arrives. The song takes its time starting and leaving, the outro dissolving into chatter. Lyrically, it considers the history of human progress: “It's always been something in my mind; are we evolving, or are we devolving as a society ? As much as we move forward, have we forgotten the things that are important because we've moved forward so fast?”. This idea has come up before, going all the way back to ‘And This Is What We Call Progress’ on 2010’s …are the Roaring Night. Although there is a sense and acknowledgement of the wider world, the band do not look at it as a ‘political’ album: “We definitely try to keep our politics out of our music, and although this is probably slightly more present, it's still obscure in that we try to keep our lyrics fairly ambiguous”. A good example of this is the dazed, soothing ‘Chemin de la Baie’. Underpinned by a wonky arpeggio, the surging chorus is perhaps the most ‘pop’ they have ever been, again channeling that inbuilt confidence, imploring us to “Hold those thoughts and run away”.&nbsp; This is followed by ‘Carried It All Around’, whose clanging, chiming guitars combine with stabs of Mellotron cello. Ideas and images come in and out of focus - “We were ragged and incomplete” - leading to a chorus that is reminiscent of Low, the voices combining as one. The final line, “We’ve been lazy for centuries, carried it all around”, harks back to the overarching themes of the album, whilst bringing in online activism and the perception of progress. “We see people thinking that they're actually doing a lot of good,” adds Jace “but they are just commenting on things, progressing towards laziness. The footwork is what needs to happen to make things better”. During the writing and recording process, the band returned to their “vault” of ideas captured from the hard drive constantly recording in their studio (two song skeletons, for ‘In Hollywood’ and ‘Battle Lines’ even dating back to sessions from …are the Roaring Night). “Things that for whatever reason, we couldn't figure out how to finish or didn't think were appropriate for the records. So we went through it, to focus and put these things together, because we know they're good, and a lot of the songs came together really fast.” The rest of the band (drummer Kevin Laing, keyboardist Sheenah Ko and guitarist Gabriel Lambert) were more involved in shaping the recordings: “We put the arrangements together, but we left things pretty open ended, and then the band went up to Lost River Studio (run by Rebecca Foon, of Esmerine and ex-A Silver Mt. Zion) where we spent five days just fucking around and partying, hanging out with everyone’s family members there.” On how they decide who sings which song, or part, Jace admits that “it is usually determined by me and my failure to be inspired”, crediting Oggy (Olga) with “such a great ear for melody and this incredible way with arrangements if I’m stumped”. Oggy agrees that “it works for us in that sense, that we're able to kind of seesaw off each other when we're putting together the songs”. The gradual build of ‘Pontiac Spirits’ is a masterclass of patience and release. Piano flutters for the first two minutes, stuttering like typewriter keys awash with Mellotron flute and brass, a slow climb before the drums finally kick in after five minutes. “I had an idea of it being like a Spiritualized ‘Shine A Light’ kind of thing, because Lazer Guided Melodies is one of my all time favorite records,” says Jace “and I've always been trying to get there with Besnard Lakes. And so this record, I said, let's try to make it Spiritualized / Spacemen 3 simple.” It also includes the best way to introduce a guitar solo; what sounds like tweeting (or screaming?!) birds, notes strangled from the fretboard. This striving for simplicity is also inherent in ‘Battle Lines’, which has a Spoon-like groove about it, the piano setting the pace, providing a rigidity in addition to their usual fluidity, woozy Mellotron whispers dipping in and out. “Sometimes there isn't a lot left for anybody else to do,” admits Jace “because I get my grubby hands on it and I just fill it up with crap because I'm a maximalist at heart.” On this song they tried to keep the track count down, to realise that “when we think we're in a good spot, let's stop”. The yearning closing refrain - “Don’t want to be left without it, don't want to be left without your love” - sounds like a stadium singalong that should be echoed by thousands. In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most. Ben JonesMay 2025<hr>Gold Dust are more than a band. They’re a family. In a time of greater isolation and existential anxiety, they form a vital community. It wasn’t always this way. Gold Dust started four years ago as a solitary solo endeavor – a way for Western Massachusetts musician Stephen Pierce to branch out from his roots in DIY punk and explore a longtime fascination with traditional folk and psychedelia. After releasing two records, 2021’s self-titled and 2022’s The Late Great Gold Dust, Pierce welcomed new voices into the fold. Their collective effort, In the Shade of the Living Light, is the story of four people at a crossroads in their lives. They may never find the answers, but they have found solace and unconditional support in one another. Joining Pierce are Ally Einbinder (guitar, formerly of Potty Mouth), Adam Reid (drums, of Nanny), and Sean Greene (bass, of The Van Pelt). As a four-piece, Gold Dust springs out of the cloistered interior and transforms into a dynamic force. In the Shade of the Living Light embraces you with captivating guitar squalls and warm vocal harmonies, steady rhythms, and an innovative blend of influences, from traditional folk to West Coast psych, alternative punk, jangle-rock, and ‘90s college rock. “I look at this as a band starting to figure out who they are by leaning into regionalism,” Pierce says. “That's something that I miss, when different parts of the country and world would have distinct sounds and musical movements coming out of the communities, usually having something to do with their surroundings, be it geographical or cultural. Our rural part of the state is so culturally different from the more metropolitan part of MA; I've been pretty intentional pulling together from all the various music from around the world that influences me and tie it to something specifically evocative of rural New England.” Just as much as Pierce has given Einbinder, Reid, and Greene a creative platform and emotional sanctuary, the rest of the band have likewise encouraged the guitarist to push himself to release this collection. Initially, Pierce never thought he’d want to record the deeply personal tracks that make up In the Shade of the Living Light, a title with regeneration in mind and inspired by the writings of 11th century philosopher Hildegard of Bingen. “‘In the Shade of the Living Light’ means a lot of things to me, independent of what it might have meant to Hildegard.” Pierce says. “For me, making peace with these songs and turning them into something else – there's light in the shade, and there's shade in the light.” “It's a complicated record for me… I opened doors that I hadn't before, confronted darkness and came to terms with what's possible to come to terms with,” Pierce continues. “That's why I initially wanted to move past these songs quickly—they were tethered to the circumstances of the time. But, you know, strange things are born of chaos. Sometimes illuminating things. Things that, though difficult, are worth engaging.” Building out his vision for In the Shade of the Living Light, Gold Dust brought in an extended family of contributors, with production by Justin Pizzoferrato, with whom the band recorded at Sonelab in Easthampton, backing vocals from Gretchen Williams (Kindling), Meghan Minior (Ampere), and Josh Robbins (Late Bloomer), Fred Thomas on vocals and synth, Anthony Saffery (Cornershop) on sitar, Drew Gardner (Elkhorn) on vibraphone, and J Mascis, who plays electric sitar on “An Early Translation of a Later Work.” Finally, Sean Yeaton of Parquet Courts provided the liner notes, which come enveloped in an accompanying album zine. Mascis’ winding sitar solo closes out “An Early Translation of a Later Work,” a kaleidoscopic rocker Pierce reveals acts as a sonic bridge to a future Gold Dust record. “As far as my guitar playing goes, I'm prouder of that song than I think I am of anything else that we've released so far,” he adds. “For me, that's the song that heralds where we are as a band, and what the path ahead might look like.” Meanwhile, opener “Whatever’s Left” kicks in with stunning guitar-work that brims with urgency and feeling before cascading into Pierce’s even-toned vocal. As they anticipate the release of In the Shade of the Living Light, Pierce’s gratitude to his bandmates is palpable, both for their urging to record these songs and for encircling him with their unconditional love and support. “If left to my own devices, these songs would stay on the shelf. I wouldn't have reevaluated them,” he says. “Ally, Adam, and Sean encouraged me to revisit these songs, and I'm super grateful for that… Fundamentally, however, I think that the story of this record isn't so much about an individual. For me, it's the story of a band.”&nbsp;<hr>

The Besnard Lakes

Get ready for a winter night of Jamgrass to warm your soul. Local Groovegrass legends Jatoba are joined with some of the hottest up &amp; coming pickers on the Jam scene Armchair Boogie!Jatoba is a high-energy groovegrass bluegrass trio that has been captivating audiences since their formation in 2008. Hailing from Brattleboro, Vermont, the band consists of John Jamison (guitar, mandolin, vocals), Jason Scaggs (guitar, banjo, vocals), and Jeff Richardson (upright bass, vocals). Known for their unique musical chemistry, the members of Jatoba bring uniqueness to their songwriting and compositions and seamlessly communicate through spontaneous composition and improvisation, bringing an unpredictable and dynamic element to their performances.Influenced by their roots in the Blue Ridge Mountains of Virginia and the mountains of Vermont and New Hampshire, Jatoba has shared their music up and down the East Coast. They have provided direct support for celebrated acts like the Jeff Austin Band, Greensky Bluegrass, Trampled By Turtles, Rusted Root, The Kitchen Dwellers, The Infamous Stringdusters, and Leftover Salmon, and have been featured at festivals such as Northlands Music Festival and Frendly Gathering, with recent recognition from Rolling Stone.The band’s versatility is evident in the multi-instrumental talents of each member, enabling them to craft rich, layered soundscapes infused with dynamic bluegrass rhythms that distinguish them within the genre. Their signature style merges intricate, original songwriting with tight three-part harmonies, driving tempos, and even the occasional touch of beatboxing, delivering a fresh and innovative approach to bluegrass music. With over a decade and a half of performing in theaters and festivals across the Northeast, Jatoba continues to evolve and excite with their distinctive groovegrass bluegrass sound and spontaneous improvisation, winning over new fans at every turn.&nbsp;Jamgrass, newgrass, funkgrass, whatever you want to call it— Armchair Boogie is rapidly becoming one of the country’s hottest acts. With an unbounded sound, this Wisconsin-based quartet is known for their powerful harmonies, timeless originals, and choice covers, along with unforgettable live performances. Listed as a “Must-See Roots Artists at Bourbon &amp; Beyond'' by The Bluegrass Situation who wrote, “We recently caught this jammy Wisconsin outfit at Earl Scruggs Music Festival, where they burnt down their late-night set.”&nbsp;Armchair Boogie is Augie Dougherty on banjo with Ben Majeska acoustic &amp; electric guitars backed by tight, driving rhythms of Eli Frieders on electric bass and Denzel Connor on drums. This unconventional lineup enhances their lightning-fast bluegrass, allowing them to freely venture into the realms of funk or country. A band on the verge, Armchair Boogie is excited to independently release their 4th studio recording, Hard Times &amp; Deadlines, on March 15.&nbsp;&nbsp;

Jatoba/Armchair Boogie

Moon Hollow- High energy Western Mass AmericanaMorrissey Blvd.- Soul Pop TrioClay Pigeons-&nbsp;Folk/Country/Bluegrass from Belfast

Moon Hollow/Morrissey Blvd./Clay Pigeons

&nbsp;It’s been 20 years since Vic, Tommy, &amp; E-Ball started The&nbsp;Koffin&nbsp;Kats in their parent’s basements and played for beer in local Detroit bars.&nbsp;A psychobilly/punk band with influences ranging from The Damned to The Stray Cats, The&nbsp;Koffin&nbsp;Kats have covered a lot of ground,10 records, a few member changes, and close to 3,000 live shows from international touring.The band has been continuously touring and releasing music. 2023 will see new music releases from the band while they celebrate 20 years of somehow keeping it all together for Rock and Roll.You can keep up with&nbsp;Koffin&nbsp;Kats on all of the social media outlets. The band likes to keep it “old school” and suggests you check out their website at&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.koffinkatsrock.com/">www.koffinkatsrock.com</a>&nbsp;for all official information on news and tours.&nbsp;&nbsp;American rock and garage rock musician Playboy Manbaby is well-known and hails from Phoenix. Playboy Manbaby has carved itself an own identity in the rock world with a sound that is gritty, primal, and unrepentant. Their energetic live shows, melodic riffs, and thought-provoking lyrics that address topics of societal injustice and personal suffering are what define their music. Playboy Manbaby, who drew inspiration from a variety of musical genres and influences, has solidified their position in the rock genre with their own sound. Their devotion to pushing the limits of what is possible in rock music is reflected in their music, which is a reflection of their constant passion for the genre. Playboy Manbaby never ceases to enthrall audiences with their contagious enthusiasm and unmatched talent. Overall, Playboy Manbaby is a major player in the rock and garage rock music genres. They have a devoted fan base and have received favorable reviews thanks to their commitment to their art and distinctive sound. Playboy Manbaby is certain to make waves in the music industry for years to come thanks to their talent and dedication.The Rumours are a rock band based out of Waterloo, IA. The once, straight-up Rock N Roll band finally made-out with Punk -- leaving you beggin' for more with their Kick-In-The-Face look &amp; sound. The baddest GOILZ you’ll ever see.

Koffin Kats

Shakedown CITI returns for another night of deep Dead cuts and spot on harmonies!

Big Yellow Taxi is a one of a kind musical experience. There is no other ensemble playing the music of Joni Mitchell with the dedication and imagination that BYT brings to every show. Created to explore Joni's amazing music from its early folk roots to her pop masterpieces to her jazz influenced compositions, Big Yellow Taxi brings Joni's music alive.​The band features the expressive and soaring voice of Teresa Lorenço. Teresa's vocals pay homage to Joni's sweet, husky, and bell-like voice delivering an emotional journey through Joni's expansive catalog.​The mission of the band is to present a show that immerses the audience in an intimate journey through many of Joni's best loved and most powerful songs: a performance beyond mere imitation, to delve into Joni’s musical intensity and genius, to leave audiences entertained, moved, and elated.Big Yellow Taxi began performing together in 2021 and is based in the Northampton, MA area. The band is led by vocalist Teresa Lorenço and features John Cabán on Guitars, Robert Sherwood on Keyboards and bass, Candy Green on Vocals and Percussion, Joe Fitzpatrick on drums and Rich Cahillane on Bass and Guitar.&nbsp;

Big Yellow Taxi

We’re back again for another installment of our annual Thanksgiving Eve Hip-Hop Blowout featuring JARV! With Coyote ReverieNahte RenmusSubtexRobscure

3rd Annual Thanksgiving Eve Hip-Hop Blowout JARV 

Echoes of Floyd is a professional Pink Floyd tribute act that specializes in the accurate reproduction of the band’s legendary sound. Meticulous in detail, EoF faithfully reproduces the iconic songs and albums from Floyd’s vast catalog.

Echoes of Floyd

JD Pinkus is an American bassist best known for his work with American punk band Butthole Surfers from1985 to 1994 and since the 2009 reunion.In 1990, he and Butthole Surfers' lead vocalist Gibby Haynes released Digital Dump, the only album from their psychedelic house music side project The Jackofficers.​Upon leaving Butthole Surfers, Pinkus worked full-time with the Austin trio Daddy Longhead, which he had assembled during his waning months in the band, and which included longtime Atlanta associate Jimbo Young on guitar and Rey Washam on drums. Daddy Longhead retired after 10 years, leaving Pinkus free to explore other projects including Skinny Leonard and Areola 51. Pinkus played with Helios Creed on his albums NUGG: The Transport [1996] and Activated Condition [1998], and has also collaborated with Bad Livers frontman Danny Barnes several times in a live setting.&nbsp;JD Pinkus then co-founded the band Honky who went on to record five albums and are still currently active.​Pinkus also performs with Pure Luck,who released a self-titled release in 2017 on Heavy Feather Records. He leaves his bass to play Banjo and Guitar in this project. On their 30th anniversary tour in 2013, Pinkus joined the Melvins in place of Jared Warren (on paternity leave) as well as performing with the opening Honky. He subsequently joined the Melvins full-time, touring with them in 2014 in support of the album Hold It In, which also featured Butthole Surfers founder Paul Leary, and again in 2015. He also plays on the song Captain Come Down which was first released in 2015 on Chaos as Usual, a split release with Le Butcherettes, and later included on the 2016 album Basses Loaded.​In 2018, JD Pinkus released a solo album, Keep on the Grass on cassette tape on Danny Barnes Minner Bucket Records and later Vinyl and Compact Disc through Heavy Feather Records. It was recorded entirely on banjo and features a rendition of the song Bride of Crankenstein from the Melvins album Hold It In.The Keep on the Grass album release show was with Sleep in San Pedro on September 15th 2018.​&nbsp;On February 12, 2018, the Melvins announced that Pinkus would be joining them, alongside current bassist Steven McDonald (Redd Kross), on their next album and subsequent tour. Released on April 20, 2018, the aptly titled "Pinkus Abortion Technician" features both bass players and four songs written or co-written by Pinkus. In May of 2021 JD Pinkus and Daddy Longhead released another album titled ‘Twinkle” which was originally recorded but not distributed in 1998.&nbsp;JD Pinkus second solo “Space Grass” banjo album was released on August 20th 2021 titled “Fungus Shui.” The album was written, recorded, and mixed by Pinkus himself at Plastic Cannon Studio in Asheville, North Carolina. The album was mastered by Kramer. Fungus Shui LP's were released on Shimmy Disc and CD's available through Heavy Feather Records.​JD Pinkus teamed up with the artist Tall Tall Trees&nbsp;to release the collaborative psychedelic banjo album "Ponder Machine" on June 30th 2023 through Shimmy Disc Records.​JD Pinkus's newest release, five years in the making, "Grow A Pair" will arrive worldwide June 7th 2024 via Shimmy Disc with guest artists forming The JD Pinkus Bludnerbuss.​Born from the swamps and underpasses of the American South, Yes Ma’am merges Depression Era blues, Jazz and Bluegrass with instrumental virtuosity and the raw, emotional storytelling of early punk rock. Matt’s soulful voice and authentic stage presence have made him a muse for the traveling community and solidified his legendary status as street-corner royalty. His sound has shaped a generation of musicians, whether he’s performing solo or with a rotating ensemble of folk punk’s finest. Yes Ma’am is a force that demands attention.

JD Pinkus 

After introductions from our Board Chair and Executive Director, we will award SEVEN local producers with BCTV awards for the hard work they’ve done with and for our community media center. This event is free and open to the public – all are welcome.

BCTV turns 50!

Richard Thompson’s musical influence cannot be overstated. Having co-founded the groundbreaking group Fairport Convention as a teenager in the ‘60s, he and his bandmates invented the distinctive strain of British Folk Rock. He left the group by the age of 21 which was followed by a decade long musical partnership with his then-wife Linda, to over 30 years as a highly successful solo artist. In 2011, Thompson received an OBE (Order of the British Empire) personally bestowed upon him by Queen Elizabeth II at Buckingham Palace. The Los Angeles Times called him “the finest rock songwriter after Dylan and the best electric guitarist since Hendrix” and Rolling Stone has named him one of the Top 100 Guitarists of All Time. He has received lifetime achievement awards for songwriting from the BBC Radio 2 Awards, the Americana MusicAssociation, and was awarded the prestigious Ivor Novello Award. His song “1952 Vincent Black Lightning” was named one of TIME Magazine’s “100 Greatest Songs Since 1923.” A wide range of musicians have recorded Thompson’s songs includingRobert Plant, Elvis Costello, R.E.M., Sleater-Kinney, Del McCoury, Bonnie Raitt, Tom Jones, David Byrne, Don Henley, Los Lobos, and many more. His massive body of work includes many Grammy nominated albums as well as numerous soundtracks, including Werner Herzog’s Grizzly Man and 2019’s The Cold Blue. His genre defying mastery of both acoustic and electric guitar along with engaging energy and onstage wit continue to earn him new fans and a place as one of the most distinctive virtuosos and writers in Folk Rock history. On May 31, 2024 Richard Thompson will release the anticipated ShipTo Shore, his first studio album in six years.

Richard Thompson

Richard Thompson’s musical influence cannot be overstated. Having co-founded the groundbreaking group Fairport Convention as a teenager in the ‘60s, he and his bandmates invented the distinctive strain of British Folk Rock. He left the group by the age of 21 which was followed by a decade long musical partnership with his then-wife Linda, to over 30 years as a highly successful solo artist. In 2011, Thompson received an OBE (Order of the British Empire) personally bestowed upon him by Queen Elizabeth II at Buckingham Palace. The Los Angeles Times called him “the finest rock songwriter after Dylan and the best electric guitarist since Hendrix” and Rolling Stone has named him one of the Top 100 Guitarists of All Time. He has received lifetime achievement awards for songwriting from the BBC Radio 2 Awards, the Americana MusicAssociation, and was awarded the prestigious Ivor Novello Award. His song “1952 Vincent Black Lightning” was named one of TIME Magazine’s “100 Greatest Songs Since 1923.” A wide range of musicians have recorded Thompson’s songs includingRobert Plant, Elvis Costello, R.E.M., Sleater-Kinney, Del McCoury, Bonnie Raitt, Tom Jones, David Byrne, Don Henley, Los Lobos, and many more. His massive body of work includes many Grammy nominated albums as well as numerous soundtracks, including Werner Herzog’s Grizzly Man and 2019’s The Cold Blue. His genre defying mastery of both acoustic and electric guitar along with engaging energy and onstage wit continue to earn him new fans and a place as one of the most distinctive virtuosos and writers in Folk Rock history. On May 31, 2024 Richard Thompson will release the anticipated ShipTo Shore, his first studio album in six years.Need Tickets? Check out our partners at Cash or Trade- <a target="_blank" rel="noopener noreferrer nofollow" href="https://cashortrade.org/richard-thompson-at-the-stone-church-tickets/event/44b76097-3f1c-49e1-8108-ea935d754cb6">https://cashortrade.org/richard-thompson-at-the-stone-church-tickets/event/44b76097-3f1c-49e1-8108-ea935d754cb6</a>

@ (pronounced “At”) is the folk-pop project of vocalist/guitarist Victoria Rose and multi-instrumentalist Stone Filipczak, who owe their musical bond to the power of text messages. Although the pair initially met years ago, it wasn’t until spring 2020 when they began sending each other music between their respective cities — Rose based in Philadelphia and Filipczak in Baltimore. A few exchanges down the line, Rose sent Filipczak an early recording of a song she’d written called “Star Game” asking him to contribute drums. She didn’t anticipate what he returned to her: “I didn’t like it at first. It felt jarring to hear my music so arranged,” she says. “I almost plotted to end the collaboration.” But it wasn’t long before she came around to the potential of what she and Filipczak could create together.Filipczak’s version of “Star Game” wound up being the second track on @’s debut album Mind Palace Music, initially released in April 2021. Rose admits that she didn’t even think her bandmate would ever want to work with her in a formal capacity, given Filipczak’s niche background sharing bills with artists like Black Pus (Lightning Bolt drummer Brian Chippendale) and Guerrilla Toss. But with his keen, inventive ear for musicianship and Rose’s penchant for confessional lyrics and vibrant melodies, @ grew as an amalgam of their unique musical backgrounds and complementary strengths. In their review of the album, Pitchfork would go on to say “Mind Palace Music is an example of what happens when you take a poignant songwriter who’s careful about her chord progressions and introduce a fellow songwriter who knows the magic of no-frills arrangements.”After the album’s release, @ received well-deserved recognition from Pitchfork, Stereogum, The Fader and many more and became an in-demand live act. Fortunately for fans, @ didn’t wait too long before working on new music. On January 12th, 2024, they released their new EP Are You There God? It’s Me, @. Diverting from their usual acoustic instrumentation, @ go soul-searching on a sonic side quest into more electronic music.

Advance Base is the melancholic soft rock recording project of Chicago, IL singer/songwriter Owen&nbsp; Ashworth (formerly of Casiotone for the Painfully Alone). Using a two-handed arsenal of electric piano,&nbsp; Omnichord, samplers, effect pedals &amp; drum machines, Ashworth builds minimalist, heavy-hearted, &amp;&nbsp; nostalgia-obsessed ballads around his conversational baritone. The warm, electronic sound of Advance&nbsp; Base has been described as "lo-fi," "depressed" &amp; "weirdly uplifting."&nbsp;Animal Companionship, the third &amp; most recent "studio" album by Advance Base, was released September&nbsp; 21, 2018 by Run For Cover Records / Orindal Records. GoldFlakePaint &amp; Various Small Flames both listed&nbsp; Animal Companionship among their favorite albums of 2018. Since then, Advance Base has released Wall&nbsp; of Tears &amp; Other-Songs I Didn't Write, a home-recorded collection of (mostly) country/Americana covers&nbsp; arranged for electronic instruments &amp; Live at Home, a collection of mid-quarantine livestream concert&nbsp; performances &amp; the closest representation of an Advance Base live set commercially available. A new&nbsp; single titled ”Little Sable Point Lighthouse” was released on March 31, 2022.&nbsp;“It’s with no exaggeration we describe Owen Ashworth as one of the most consistent and important&nbsp; songwriters in contemporary indie music. From the earliest Casiotone For the Painfully Alone demos to&nbsp; most recent Advance Base single ‘Little Sable Point Lighthouse‘, Owen has crafted a catalogue of&nbsp; characters and circumstances with few rivals in the modern era. His is an ever evolving body of work which&nbsp; stands out in its deftness and humility and empathy and care, bringing to life individuals from across the&nbsp; spectrum of human experience while remaining unerringly attuned to the tender, fallible heart at the centre&nbsp; of each.” - Various Small Flames&nbsp;"A Raymond Carver short story collection set to music by a Joan of Arc-era OMD" - MOJO Magazine&nbsp;So much of Moontype’s life-affirming magic is from the evolving confidence and relentless creative playfulness of its lead singer and bassist Margaret McCarthy. As the leader of the Chicago indie rock outfit, her music tackles soft and vulnerable emotions with striking clarity and immersive, unorthodox melodies. Their second album, I Let The Wind Push Down On Me, serves as a reinvention for the band—not just for their new and expanded lineup—but for how McCarthy navigates the changes in her own life and the messy feelings she sings about. Out May 23 via Orindal Records, the LP is a patient document of feeling things out, being easy on yourself, and finding the beauty in small moments.bobbie is ambient lo-fi dream pop music from Western Massachusetts. bobbie uses omnichord, electric guitar, vox + loops to create layers / spirals / songs about harmony, lessons, grief, friendship, and trusting the process.&nbsp;

Advance Base/Moontype

🦇 DARK COMMUNION: a dance party for the goths 🦇 Saturday, November 1st at Stone Church w/ DJ sets by DJ DAGON &amp; BURROWSspinning the best in goth, darkwave, EBM, dark techno music and beyond ✨

DARK COMMUNION: a Goth Dance Party

This Halloween get ready for the return of Bearly Dead!Grab your tickets in advance because we expect this extra special Halloween Spooktacular to sell out quickly!Not just another Grateful Dead cover band. A cosmic exploration of the Grateful Dead catalog! Bearly Dead, Boston-based quintet, performs a concert-style show that celebrates the journey of the Grateful Dead from their earliest records until their final tours. The band delivers a full-spectrum concert experience filled with danceable energy and world-class musicianship. Each and every Grateful Dead member is honored through a collection of classics, b-sides, deep cuts, and exploratory jams. Holding true to the spirit of the music, Bearly Dead frequently adds to their 250+ song catalog and continues to showcase authentic, spontaneous improvisation – live and in-person – making each show a wildly unique Grateful Dead experience you do not want to miss.Boojum&nbsp;(noun) - a highly dangerous sub-species of snark. - an art band from Brooklyn specializing in dramato-funkology, the intersectional study of improvisational performance, musical composition and stagecraft, chiefly remembered for a series of controversial theatre performances in the mid-2030’s.Boojum features Chris Mackin (guitar, vocals), Josh Santiago (guitar, vocals), Sarah Elaz (bass, vocals), and Mike Coiro (drums, vocals), with lyrics crafted by Chris's brother, Thomas Mackin, a poet and translator.

<h3 style="text-align: start">Stone Church &amp; Epsilon Spires Present</h3>Claudio Simonetti's Goblin<h3 style="text-align: start">Performing the live score to Dario Argento's "Deep Red"</h3>Composer Claudio Simonetti has written, recorded and performed some of the most influential scores and soundtracks in horror, including Suspiria, Dawn of the Dead, Demons, Tenebre and many others, with his seminal work still informing the genre to this day. This year, Simonetti's Goblin celebrates the 50th anniversary of Dario Argento's 1975 classic, Deep Red / Profondo Rosso by performing Goblin's iconic score to a special screening of the film followed by a short set of quintessential Goblin songs/scores set to clips of their cinematic counterparts. 50 years after its release, Deep Red / Profondo Rosso and Goblin's masterpiece of a score are both the stuff of legend that laid the framework for a myriad of horror scores to come. Get your tickets now before they are gone.

Claudio Simonetti’s GOBLIN

It's almost every queer's favorite time of year! Halloween Season! Whether you're a ghost-with-the-most or a to-cool-for-school-ghoul, come out to this wicked dance party and cabaret at the Stone Church to do the Monster Mash with your nearest and dearest. Dress in your most elaborate costume to compete for some exciting prizes.with DJ Tishhh!!! With an unwavering love for the dance floor, DJ Tishhh takes you through a historical journey of dance music. From the soulful melodies of disco and funk to the hypnotic punchy beats of house and techno, every song is carefully selected to curate a space that welcomes you to release yourself from trepidation and surrender through movement and connection.Your MC, Patty Cake, the 1950s housewife you dream aboutand bring your $$$$ to shower these fabulous performers:Jaime V Anita Cocktail Kira Kandy Jasmine D'Luxat The Stone Church Sliding Scale $10-20 notaflofThis party is for queers and allies ages 18+

Bratt QDP- Villain's Ball

Circus Trees makes music that is rooted in the wastelands of suburbia, reflective of their own personal pains and tragedies, but relatable to humans of every age, culture, and lifestyle. Their music is equal parts inspiring and heartbreaking, with an alchemic style combining the best and most brutal elements of grunge, emo, shoegaze, pop, and indie resulting in a breath taking, tear making, ear shattering sound of sadness that will echo in your heart for days on end.The early rumblings of the band Match began during the lockdown of 2020 in Brattleboro, Vermont, with composer and multi-instrumentalist Aaron Chesley asking his friend and fellow musician Gabe MacFarland to write some lyrics about kids wanting to go out and ride bikes against the backdrop of the horrendous predicament society was experiencing. Subsequently, songwriters Jenny Crowell and Aaron began a long period of composing and recording, culminating in an album of material to be released in early 2024. Gabe and Marcel LeClaire were soon added on bass and drums to complete the live band. We appreciate your help in sharing our “space age relationship songs to help you navigate the void” with the rest of the world.Dearest is the solo project of Dharma Ramirez.&nbsp;

Circus Trees/Match/Deerest

Join us in a celebration of the music of Ozzy Osborne as Pioneer Valley rockers Outer Stylie bring the music of Black Sabbath to Stone Church!But that’s not all, you also get The Whoremoans tribute to The Ramones!

In OZ We Trust- Outer Stylie's Tribute To Black Sabbath

Michael Roberts has been writing songs for decades. He's studied folk music in America, Mongolia, and Uganda, settling down wherever in the world he is and making every place he goes the better for it. His longest running project is a truly unique honkytonk ensemble called The Rear Defrosters; I'll save you some time: they're the best goddamn country band in New England, and maybe anywhere. Mike's a wily and wiry amalgam of Michael Hurley, Link Wray, and Roger Miller. With both his voice and guitar he is playful, deft, and inspired. Roberts' affable nature, experience, and reputation has afforded him the uncanny ability to attract the best players around, creating a veritable force of reliable, energetic, and ripping bandmates. At this point in their storied career, the band are a cohesive unit, and they realize these songs both like technicians and mind readers, each holding their end of the songs with soft and sure hands, allowing for the confident creativity that one finds in the great combos throughout time. The Way Down is their first LP of original songs and it goes a long way to delivering the full breadth of their capabilities as a crucial unit. You get heartfelt accompaniment and intricate solos ranging from subtle to fiery, though always within the container of the song. Generally I've always felt that it is pretty impossible to ask for this caliber of songwriting, and even if you get it, how could you expect such a deep outfit to themselves become equitable conduits? The source is real, and Roberts has tapped it by way of Texarkana, stoner pill-popping truck drivers, the real old-time country, bluegrass, rockabilly, and the outlaw set, all filtered through his worldly adventures and the brains and hands of this wonderful band. --Eric GagnePointe Noir&nbsp;finds its rhythm deeply rooted in Southwest Louisiana.&nbsp;Cannon Labrie&nbsp;(accordion) is a long-time Cajun and Zydeco player who also plays with Yankee Chank and Planet Zydeco.&nbsp;Katie Trautz&nbsp;(fiddle) and&nbsp;Chris Hollis&nbsp;(guitar) are seasoned old-time players who eventually drifted south to the bayou to learn the musical traditions there.&nbsp;&nbsp;Jay Ekis&nbsp;(guitar) plays everything from indie folk to heavy metal, always with his amp turned way up!&nbsp;&nbsp;Helen Doyle&nbsp;(bass) has never been anywhere near Louisiana and is pleasantly surprised to be in a Cajun band.&nbsp; Michael Bradshaw&nbsp;(drums) can also be heard behind the Zydeco soul of Mango Jam, Vermont surf rockers Barbacoa and many more.

The Rear Defrosters- Album Release

Fiery Balkan brass, irresistible beats, Roma (Gypsy) accordion wizardry, and virtuoso jazz chops make Slavic Soul Party! NYC’s official #1 brass band for BalkanSoul GypsyFunk.&nbsp; These nine musicians pump the sounds of New York life through a Balkan brass filter, making new music out of immigration, integration, and ingenuity.&nbsp; The band's Tuesday night residency at Barbès in Brooklyn, going for over 22 years, has become a destination for music fans from around the world, and is famous for "delivering a great time." (New York Times)&nbsp; In November 2024 SSP! released their seventh album, a collection of original material titled “Extended Play” on the Diskonife label."Anytime musicians study traditions deeply, and then free themselves to follow their own whims, it's a beautiful thing. But when it comes to the brass band fusion of Slavic Soul Party! that's just the beginning.&nbsp; With razor-sharp precision, juggernaut force, and a healthy dose of playfulness, these guys start out in overdrive and never let up... Slavic Soul Party! offers a gutpunch to preconceptions about traditional music, world music, pop music, dance music, but I'll tell you, this is one gutpunch you'll enjoy." (Banning Eyre, NPR's All Things Considered)

Slavic Soul Party!

Kalbells is a supergroup merging the talents of Kalmia Traver (Rubblebucket), Angelica Bess (Body Language), and Sarah K Pedinotti (LIP TALK).Sprouted as Kalmia’s solo debut “Ten Flowers" (2017) the act quickly evolved into an all-star groove collective, touring extensively in the US, Canada &amp; the UK, taping a Tiny Desk concert and winning over fans with their cheeky lyrics, warm &amp; dreamy bedroom pop moods, deeply funky bass lines and powerfully tight vocal harmonies. The second album, “Max Heart” (2021), harnesses this magnetic power for a collection of songs that are packed with inspired tension and daring surreality. Whether live or in the studio, Kalbells is a testament to the magic of creative synergy.“Crackly and tactile, it feels like a dazzling celebration” - FADER“The joie de vivre is palpable.” - NPRErica Eso is a Brooklyn and Kingston, NY-based project led by composer / vocalist / producer Weston Minissali. Minissali has participated in New York’s music scene for more than decade as a member of projects like avant-rock post-pop band Cloud Becomes Your Hand (Northern Spy, Feeding Tube) and chimeric musique concrète experimentalists VaVatican (NNA Tapes), while his work at the head of Erica Eso has manifested with varied ensembles on albums including 2019 (Ramp Local, 2015) and 129 Dreamless GMG (NNA Tapes, 2018). Minissali’s music under the Erica Eso banner fuses compositional strategies of the avant garde, including the use of microtonal note voicings and advanced synthesis, with songwriting in the vein of art pop. His lush, tightly structured songs teem with melismatic topline melodies, layered vocal harmonies, and fast-shifting narrative arcs, all built over a sturdy instrumental foundation. 192, the first Erica Eso release with Hausu Mountain, captures the project in the quintet formation that solidified in 2017 and rigorously rehearsed in the years that followed. Their recordings and the live shows from this period, which culminated in their final performance in this configuration in October of 2019, document the music of Erica Eso at a peak of live band complexity and near telepathic collaborative energy, giving life to Minissali’s music with a more solidified ensemble of hands and voices than ever before.

Kalbells/Erica Eso

After a series of indie releases and growing buzz in the Atlanta music scene, Shawn Mullins’ critical and commercial breakthrough came when 1998 Soul’s Core shot him to fame on the strength of Grammy-nominated No. 1 hit, “Lullaby” followed by AAA/Americana No. 1 hit “Beautiful Wreck” from 2006’s 9th Ward Pickin’ Parlor. His song, “Shimmer” was used in promotion of the 2000 Summer Olympics in Sydney and was included on the Dawson’s Creek soundtrack. His co-write “All in My Head” from 2008’s Honeydew was featured in episode one of the hit TV sitcom “Scrubs.” Mullins also co-wrote the Zac Brown Band’s No. 1 country tune “Toes.” In early 2002, he formed supergroup The Thorns with Matthew Sweet and Pete Droge. “No Blue Sky” from the resulting album, is a modern day classic. For the 20th anniversary of his breakthrough album, Shawn revisited the music of Soul’s Core by recording two new versions of the album. He calls this Soul’s Core Revival. This is not a remix or a remaster of the original, but rather brand new recordings with new arrangements of the songs – one album is stripped down solo performances, some on guitar, some on piano and maybe one a cappella and the second is a new studio recording with his full band, Soul Carnival.&nbsp;Jennifer Lynn Simpson is a Los Angeles based singer/songwriter who first sang on stage with Julio Iglesias at the age of 9 and has been writing music since then. A Native southern Californian who has lived all over the United States, Jennifer combines traditional singer/songwriter style with old country and Americana sounds. Jennifer has co-written songs with many amazing artists, including Alyssa Suede And Miles Zuniga of Fastball. Jennifer and Miles recorded their 30A songwriter festival award-winning song together, South Walton Paradise. Jennifer is also currently working with legendary strings arranger and composer, David Campbell on a song she co-wrote for a major motion picture. Recently, she’s toured opening for 80’s icon Rick Springfield and recorded her debut album, produced by herself, Grammy-Award winner, Matty Spindel, and his partner Jeff Gross.

Shawn Mullins

The B-52.0's ("the bee fifty two point oh's")Get ready to dance your way through a technicolor time warp with The B-52.0s, a high-energy tribute band celebrating the quirky charm and irresistible grooves of the original B-52's! This Western Massachusetts seven person supergroup (including members from <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.instagram.com/home__Body">Home Body</a> and Fleetwood Whack) cover classics and deep cuts from the iconic queer "trash culture" rock group The B-52's, whose quirky sound straddles punk, new wave, surf rock, and dance floor kitch. From “Rock Lobster” to “Love Shack,” this fun-loving group faithfully recreates the band’s iconic sound while rocking the outrageous outfits, sky-high wigs, and retro flair that made The B-52s a new wave legend. With infectious beats, campy vocals, and a stage presence as bold as their beehives, The B-52.0s deliver a party-ready performance that’s part concert, part time machine, and all-out fun. Come for the classics, stay for the wild ride!+ <a target="_blank" rel="noopener noreferrer nofollow" href="http://www.instagram.com/home__Body">www.instagram.com/theb52.0s</a>— Zepptunes are a valley based Led Zeppelin tribute band fronted by lead vocalist Ursula Elmes. This four-piece rock outfit uses minimal arrangement to pull off Zeppelin's iconic classics, allowing the essence and energy of the music to shine through. The resulting performance is one of sonic power, musical virtuosity, and full flavored fun that guarantees audience connection!

B-52.0s + Zepptunes

“This album was truly a risk and a chance encounter. It played out like a spring storm in Eau Claire, Wisconsin.”About half-way through the recording of Sean Rowe’s excellent new album, The Darkness Dressed in Colored Lights (Fluff &amp; Gravy Records), he and producer Troy Pohl were taking a break. They were holed-up in Eau Claire, Wisconsin, working at Brian Joseph’s studio, Hive, which is situated on a remote acreage of rolling green hills. While catching their breath, they noticed a minivan that had turned off of the rarely traveled road adjacent to the property and onto the grass, driving straight towards them. It pulled so close that it almost touched the picnic table. A stout and somewhat menacing man emerged, who did little to calm suspicions when he spoke.“You ever been on TV?” he asked.Rowe, thinking that’s exactly the kind of thing someone might say before murdering you, replied, “I actually have. Have you?”“Yep, back in the early 90’s, I was on David Letterman twice.”“Oh yeah, for what?”“Stupid Human Tricks — I could pour two beers at once without using any of my appendages.”Troy and Sean nodded in recognition and without another word, the man climbed back into his minivan and drove off. As he was pulling away, Brian Joseph came sprinting across the yard to see what was happening. They recounted the head-scratching tale of their brush with a minor celebrity and after some failed attempts to make sense of it, went back to the business of making a record.A blessing and curse of a curious mind paired with a sense of adventure is that one becomes a collector of stories. Some, like this, play out over the course of a few minutes while others, more profound and complex, take years to untangle. Rowe, an artist and nomad at heart, has made himself into the perfect repository for spun yarns of every variety — hysterical, terrifying, heartbreaking, mystifying, and ridiculous — and on this record, he makes it clear that at some point it’s hard not to feel them all at once.The album’s title is taken from its first single, “To Make It Real.” “All this darkness, dressed in colored lights. Everything is wrong but you look so damn beautiful tonight.” It’s a relatable couplet that illustrates the paradox between what once was and what now is, while the chorus howls in response to being lost in the inbetween. “When you lose your way, when you lose your face, when you’re paid in full for what you used to steal. When you lose that love, when you lose your mind, well then oh my God, you make it real.”While “To Make It Real” was forged from the despair that comes from losing yourself to heartache, “Little Death” recognizes that both in spite of and because of such events, it’s possible to find yourself again. Here, Rowe brushes off the dirt and looks ahead to the freedom of only being accountable to oneself. “A little death, it won’t kill us after all and that’s fine. When you ain’t there, you ain’t there to feel all that pain.” In the chorus, he lists some of what he’s looking forward to. “I’m gonna write a song, gonna phone a friend. I’m gonna fall in love with the road again. I’m gonna wrap my arms around her waist. Work me Lord and wash my sins. I’m gonna fall in love with the woods again. Fix that sorry shape I’m in.”Rowe opened up about some of the work he’s been doing to build a fitter, happier version of himself. “The heaven and hell that swirls around in our head — to a large extent, we make both. So, in realizing that, you begin to realize that you have the ability to decide which one you’re gonna make.” Rowe credits therapy and a guided ayahuasca retreat with helping him to reach this understanding.“Over the course of an intense weekend, I had three profound experiences that stripped away all of my defenses and rationalization, along with the guilt and anger that built up over the course of being a human. Two of those experiences brought me to a place of such intense beauty and peace, while the third showed me the exact opposite. I think that the lessons learned over that weekend are still being revealed but in those moments, I seemed to experience real heaven and hell. Now it’s up to me to choose which one I want to exist in.”The Darkness Dressed in Colored Lights is ripe with both dimensions. It was produced by Rowe’s friend and longtime collaborator Troy Pohl, whom he has known since he was in his early twenties while Pohl was still a teen. The two grew into their professionalism together and here, they make the most of their combined ambition and experience.The studio Hive in Eau Claire, Wisconsin was chosen so that they could work with the Grammy-winning engineer, Brian Joseph (Bon Iver) and for its proximity to a group of musicians that Sean came to admire while listening to Anna Tivel’s remarkable album, The Question, in his manager’s basement studio. That group includes drummer/percussionist, and producer Shane Leonard, along with Jeremy Boetcher on bass, and Ben Lester on keys and pedal steel. Courtney Hartman was flown from Colorado to provide background vocals and guitar. Chris Carey provided additional bass, while John DeHaven, Jeff Nania, and Joel Yannuzzi made up the album’s brass section.Rowe’s admiration for Tivel’s album was not limited to its sonics. The Portland, Oregon label Fluff &amp; Gravy Records, which has released all of Anna Tivel’s albums, is home to The Darkness Dressed in Colored Lights, which will be released on CD and double-vinyl, as well as available on all streaming services on October 8.Derek Sensale is a Vermont-based singer-songwriter blending folk, Americana, and indie rock into warm, introspective songs rooted in place and memory. A &nbsp;smooth, expressive voice and thoughtful lyrics explore personal transformation, the natural world, and the quiet complexity of being human. &nbsp;His performances are intimate and engaging, inviting listeners into a shared space of contemplation and emotional resonance. This year, he took first place in the New England Songwriting Competition’s singer-songwriter category, also earning placements in several other categories as well.

Sean Rowe

For over 50 years Black Uhuru has remained one of the most popular recognized prolific reggae band from Jamaica. The living legends have earned several achievements in the music industry including winning the first ever Grammy Award for reggae music. They’re long success along with having the highest reggae record sales after Bob Marley &amp; the most songs sampled by other artist&nbsp;over the years has allowed them to become Ambassadors of reggae.&nbsp;The roots of Black Uhuru formed in Kingston’s “Waterhouse” District in the late 60’s. It is the home of founder &amp; leader Derrick “Duckie” Simpson along with all the rest of the singers from the group. The original Uhuru’s Swahili for “freedom” were Duckie, Don Carlos &amp; Garth Dennis. The first song was a Curtis Mayfield cover of “Folk Song”. They made only a couple more songs before Don left to pursue a solo career &amp; Garth joined Wailing Souls. The two were replaced by Michael Rose &amp; Errol Nelson both from Waterhouse. They recorded the debut album “Love Crises” in 1977 for Prince Jammy later re-released as “Black Sounds of Freedom”. Errol later left the group to join the Jays &amp; was replaced by female singer Puma Jones.&nbsp;This new line-up is when the band began to collaborate with Sly &amp; Robbie &amp; developed the “classic Uhuru” sound of the 80’s. A unique style full of heavy drum &amp; bass, sharp keys, loud guitar riffs &amp; long instrumentals filled with whirly background effects &amp; the signature “wow&nbsp;oh-oh oh’s” echo. It was during this period they signed with Island Records. They began touring internationally &amp; started receiving worldwide attention. They recorded some of their most popular albums like “Guess Who’s Coming To Dinner” “Sensimelia” &amp; “Chill Out”. The album “Red” was voted #23 for Rolling Stone Magazine list of 100 greatest albums of the 80’s. And history was made when they won reggae’s first grammy award in 1984 for the album “Anthem”. Shortly after the grammy Michael left the group to go solo.&nbsp;Another Waterhouse resident named Junior Reid became the new lead singer. Two albums were released&nbsp;“Brutal” nominated for grammy &amp; “Positive” with Ras Records. These albums included popular hits like “Dreadlocks on the Mountain” “Fit You Haffi Fit” &amp; one of the groups first music videos “Great Train Robbery”. Sadly due to ill health Puma passed away in 1990. Around this time Jr. Reid was having visa issues unable to tour.&nbsp;During the mid 90’s the original members reunited. Four albums were released “Now”,&nbsp;“Iron”, Storm”, “Mystical Truth” &amp; “Strongg” all nominated for grammy. They made an award-winning music video for “Tip of the Iceberg” that featured rap star Ice-T &amp; another video for “One Love” featuring Louie Rankin. They performed live on television for VH1 a cover version of Jimmy Hendrix “Hey Joe”. In 1994 they won the Diamonds Awards for Excellence. Unfortunately, the group began to dispute over band legal rights &amp; went to court in the late 90’s. Duckie won the rights to the name.&nbsp;As the new millennium approached Duckie found Andrew Bee’s once again from Waterhouse. Bee’s first tour with the band was in 1996 in Brazil. They released two albums “Unification” in 1998 &amp; “Dynasty” in 2001. In 2002 they reunited with Sly &amp; Robbie for an international world tour &amp; released a live album/dvd “Dubbin it Live”. The group resurfaced in 2010 &amp; has been touring extensively throughout Europe, South America &amp; the United States. In 2012 they performed in a Broadway musical in Los Angeles called “Loving the Silent Tears”. In 2013 Duckie was awarded a lifetime achievement award from the IRWMA. In 2017 they released a new single &amp; music video “Jah Guide” a Peter Tosh tribute that featured Bugle.In 2018 Black Uhuru released&nbsp;“As The World Turns” the newest album after 15 years. It was nominated for “Best Reggae Album” at the 61st Grammy Awards. For the first time it featured Duckie on lead for the entire&nbsp;album.&nbsp;To support the album the band headed on a major&nbsp;US Tour &amp; Hawaii.&nbsp;During the&nbsp;East Coast&nbsp;leg of the tour&nbsp;they&nbsp;appeared live on NPR’s Tiny Desk Concert series where they&nbsp;performed a new single “I See You” taken from the “Tropical House Cruises to Jamaica Reloaded” album produced by Sean Edwards of Contractor Music. Two music videos "Chalice" &amp; "War Crime"&nbsp;were filmed by Benji Cooper for the album both featured on Reggaeville.&nbsp;Right before the pandemic Black Uhuru&nbsp;went on a small West Coast Tour with Dylan's Dharma &amp;&nbsp;Etana where they performed at the&nbsp;One Love Festival in Long Beach. During&nbsp;the "lock-down" the band was idle all of 2020.&nbsp;Duckie did one&nbsp;live stream performance for Kumar's Kulture Walk St. Bess live video stream&nbsp;series&nbsp;during reggae month.&nbsp;In 2021 Black Uhuru released a new single "Jamaica to Here" mixed by&nbsp;Shaquille "Skunga" Kong, "Med Dread" &amp; Mark "Jah Servant" Giles.&nbsp;Early this&nbsp;year in 2022 Black Uhuru just&nbsp;released a&nbsp;new full length album titled&nbsp;"New Day" &amp; music video for "Brand New Day"&nbsp;that features the members of Dylan's Dharma band. Partnering with Law Records the album was produced by King Hopeton&nbsp;at his Double Lion Studio in Helltown California &amp;&nbsp;mixed by&nbsp;Jermaine "Ajang" Forde with Dylan's Dharma band as the&nbsp;Executive Producers.Three&nbsp;music videos were made for the album&nbsp;"Top Ranking",&nbsp;"Gal Next Door" &amp; the title track "New Day" all filmed by&nbsp;King Hopeton.&nbsp;After the Pandemic Black Uhuru got back on the road in 2022. Starting with a small West Coast US Tour with Dlyan's Dharma in the Spring. Then in the Summer they&nbsp;headlined the&nbsp;Puerto Rico Reggae Festival at the Tito Puente Amphitheater. And finished a major US Tour in the Fall.&nbsp;In 2023 Duckie&nbsp;released a new track titled "Teaching of his Majesty" that features Jah Mason from Boxy Records. Black Uhuru went on one small US West Coast Tour &amp; headlined the Truckee Reggae Fest.&nbsp;Award-winning slide guitarist, Joel Veena, and singer of the reggae band Rhythm Inc, Simon White, ride the riddims with DJ Selector D in an unprecedented fusion of reggae, hip-hop and Indian slide guitar.Listen to Joel Veena: <a target="_blank" rel="noopener noreferrer nofollow" href="https://vibe.to/joelveena">https://vibe.to/joelveena</a> and <a target="_blank" rel="noopener noreferrer nofollow" href="https://vibe.to/joelveena">JoelVeena.com</a>Listen to Simon White &amp; Rhythm Inc:&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://vibe.to/joelveena">https://rhythminc.bandcamp.com/</a>Listen to Selector D:&nbsp;<a target="_blank" rel="noopener noreferrer nofollow" href="https://vibe.to/joelveena">https://archive.org/details/@selector_d</a>

Black Uhuru

Composer and performer Zoë Keating has spent the last 20 years exploring the landscape of sounds a string instrument can make. She coaxes sounds out of the very edges of her cello, adeptly layering them into “swoon inducing” (San Francisco Weekly) music that is unclassifiable yet “a distinctive mix of old and new” (National Public Radio). She is known for her use of technology - which she uses to record and sample her cello onstage and in the studio - and for her DIY approach - composing, recording and producing her works without the help of a record label.Born in Canada, Keating started playing the cello when she was eight and went on to pursue electronic music and contemporary composition as part of her Liberal Arts studies at Sarah Lawrence College. After graduation she moved to San Francisco and built a career as an information architect and data analyst while moonlighting as a cellist in rock bands. Keating eventually combined her love of music and technology, using a computer to live-layer her cello and performing for late-night parties in the San Francisco warehouse in which she lived.Keating’s recorded works have achieved a surprising degree of popular ubiquity for a DIY artist. Her self-produced albums have several times reached #1 on the iTunes classical charts and spent many months on the Billboard classical charts. Her recordings are used as bumper music for NPR’s Morning Edition, as the theme music to OnBeing, as the thinking- music of the Sherlock Holmes character on CBS Elementary, in HBO's hit drama White Lotus, in countless documentaries and in tens of thousands of online videos of everything from professional and amateur dance performances to rock climbing and gaming videos.Keating also composes for TV, theater, film and dance. She co-composed, along with Jeff Russo, the score for the HBO movie “Oslo”, which earned them an Emmy Nomination in 2021 for Outstanding Music for a Television Movie. Her latest projects include scores for PBS's 2022 series "Searching: Our Quest for Meaning in the Age of Science" and the drama "For The Love of a Woman", by Italian director Guido Chiesa, scheduled for release in 2024.In addition to her recordings, Keating performs to rapt audiences around the world. Each performance is unique as she spontaneously improvises around her pieces, demonstrates how she makes them and tells the stories behind them.A vocal advocate for the rights of artists and creators, Keating writes and speaks often about copyright and the mechanics of the music industry economy. She was elected a governor of the San Francisco chapter of the Recording Academy, named a Young Global Leader by the World Economic Forum and served as a boardmember of CASH Music, a nonprofit organization that built open source digital tools for musicians and labels.As a cellist Zoë has played with a wide range of artists, including Imogen Heap, Amanda Palmer, Guy Sigsworth, Tears for Fears, DJ Shadow, Dan Hicks, Thomas Dolby, Sean Ono Lennon, John Vanderslice, Rasputina, Pomplamoose and Paolo Nutini.Zoë currently lives in Burlington, VT and is working on another album for release in 2024."...a distinctive mix of old and new -- layers of sound, that feel more like orchestrations than a solo instrument. " - National Public Radio"Swoon-inducing. Like taking a triple-shot of Absinthe before stepping outside of the bar just in time to see the sun exploding." -SF Weekly"... uses live looping to transform solo performances into multipart masterpieces." - Electronic Musician"...sublime minimalist music with a pop sensibility" - San Francisco WeeklyAwards:Creative Capital Foundation, 2009. Performing Arts grant San Francisco Artsfest, 2005. Emerging artist award Belle Foundation, 2005. Artistic development grant World Economic Forum, 2011. Young Global Leader Television Academy, 2021, Emmy Nomination for Outstanding Composition for a Movie (Original Dramatic Score)

Stone Church

@stonechurch