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

Dead Set is more than just a cover band; they are an extraordinary ensemble that brings the Grateful Dead's timeless music to life with remarkable precision and passion.Led by the incomparable Zach Nugent, Dead Set's uncanny ability to channel the spirit of Jerry Garcia is nothing short of astounding. Nugent's virtuosic guitar work captures Garcia's essence, enchanting audiences with spellbinding solos and breathtaking improvisations. The band's tight-knit chemistry and unwavering dedication ensure that every note resonates with the same magic that made the Grateful Dead legendary.Experience a musical journey like no other as Dead Set transports you through the ethereal realms of the Dead's extensive catalog. From the cosmic explorations of "Dark Star" to the uplifting anthems of "Sugar Magnolia," every song is delivered with unwavering authenticity and a contagious enthusiasm that will leave you dancing and singing along all night long. Don't miss your chance to be part of this extraordinary celebration of Jerry Garcia's enduring legacy. Get your tickets now and immerse yourself in a one-of-a-kind experience that will ignite your soul and create memories to last a lifetime.

Dead Set

DiTrani Brothers play original songs from and about the dystopic present, and ragtime and jazz tunes.Splendid Torch is not following a trend. With their sensitivity, suppleness, power &amp; pure skill, they’re redefining Americana. Splendid Torch, inspired by classic country and their past experience in traditional music, brings indie sensibility to their heartfelt –and at times unusual– songs. Fronted by vocalist Lily Sexton, they are proudly claiming their place in the lineage of prominent, genre-defying women, calling to mind Emmylou Harris, The Roches, &amp; Sheryl Crow.&nbsp;Splendid Torch reaches out with their music, beckoning one closer, inviting us all to be part of something bigger together, if only for one night.&nbsp;Splendid Torch isn’t following a trend. With sensitivity, power &amp; pure skill, they’re redefining Americana. Fronted by Lily Sexton, they’re claiming their place in a lineage of genre-defying women.&nbsp;

DiTrani Brothers/Splendid Torch

Ruthie Foster's musical journey is as eclectic and vibrant as her soulful voice. Born into a family steeped in gospel tradition, Ruthie's earliest influences were the voices of her mother, grandmother, and the gospel singers she grew up listening to — artists like the Gospel Keynotes and the Blind Boys of Alabama. However, her path to becoming a solo artist wasn't a straightforward one. Despite a deep love for music, Ruthie initially shied away from the spotlight, preferring to play guitar, piano, and write songs for others.&nbsp;Growing up in the rich musical tapestry of Gause, Texas, Ruthie found herself drawn to the diverse sounds and arrangements of local gospel choirs and musicians. Despite her reluctance to take center stage, Ruthie's talent was undeniable, and her mother encouraged her to step up and sing out. She stood out as a young black girl with a guitar in a choir scene dominated by pianos, but with her grandmother’s vocal coaching and encouragement from her mother and the church community, she recognized her own power — as a songwriter, a musician, and as a captivating singer.&nbsp;After studying music at a community college in Waco, Ruthie decided to take a break from music and enlist in the Navy. The stage drew her once more, and she was selected to sing for&nbsp;the Navy band Pride, where she honed her skills as a vocalist and performer. A development deal with Atlantic Records led her to New York City, where she immersed herself in the songwriting community and learned the craft of writing songs that spoke to the soul.&nbsp;However, Ruthie's journey took a turn when her mother fell ill, prompting her to step back from music and return to Texas once again. It was a period of introspection, caregiving, and deep bonding with her mother, and upon her return to writing and performing, it was to shape her voice as a singer-songwriter and storyteller. Drawing on her experiences and her musical roots, she began to craft blues, folk, and gospel-tinged songs that spoke to the universal themes of love, loss, and resilience.&nbsp;Turning down a major record deal in pursuit of authenticity, she has stayed true to herself and her vision as an artist, signing with independent label Blue Corn Music to release Runaway Soul in 2002, followed by The Phenomenal Ruthie Foster in 2007, The Truth According to Ruthie Foster in 2009, Let It Burn in 2012, Promise of a Brand New Day in 2014, Joy Comes Back in 2017, and Healing Time in 2022. She has also released three live albums, Stages in 2004, Live At Antone’s in 2011, and 2020’s Live at the Paramount.&nbsp;Now, with five Grammy nominations to her name, Ruthie Foster has achieved a long-awaited milestone: her very first Grammy win. Her latest album, Mileage, released on the legendary Sun Records, won Best Contemporary Blues Album at the 2025 Grammy Awards — a triumph not only for Foster, but also a historic first-ever Grammy win for Sun Records. The recognition underscores the power of Foster’s artistry and the enduring legacy of a label that continues to champion timeless voices. With soulful melodies, heartfelt lyrics, and unwavering commitment to her craft, Foster continues to carve out a path that is uniquely her own — inspiring audiences and fellow musicians alike.&nbsp;Chambers DesLauriers embodies love, resilience, and the stirring power of blues, soul, and rock ‘n roll. Fronted by the magnetic duo Annika Chambers and Paul DesLauriers, this band unites two celebrated artists whose music and story inspire audiences worldwide.Their love story began in 2018 with a moment straight out of a movie. During a busy music conference in Memphis, TN, in a jam-packed lobby at the Orpheum Theatre, “we immediately locked eyes,” Annika muses simply about their first magical meeting. But fate had other plans—they wouldn’t cross paths again for another year, and their connection was undeniable when they did. A whirlwind romance, quick engagement, and marriage followed, and now, six years later, their love continues to shine—on stage and off.

Ruthie Foster

Improvement Movement, the social betterment campaign/prog-rock quartet/non-denominational cult from Atlanta, GA, have made a new record just for you and your modern-day malaise. It’s called Your Perfect Real Life, because, well, there’s a lot going right these days, right? Arriving August 21, 2026 via ATO Records, Your Perfect Real Life is prismatic, angular, jumpy, and eccentric. It’s sure to inundate your ears, corporeal form, and spiritual body with equal parts unadulterated bliss and realist catharsis—or, in other words, as much good as you can reasonably feel these days.Set in a world of chaos where the news seems to be perpetually recounting stories of planes falling out of the sky, urban wildfires, the uncanny nature of a southern snowfall, and schlepping ads that feel plucked from a sci-fi movie, Your Perfect Real Life makes an earnest case for embracing life’s relentless unpredictability.Animated by the band’s baroque take on the angular harmonies of grunge, the record’s eleven tracks sprawl and simmer, enlivened by the Improvement Movement’s novel employment of dynamics, sticky melodies, four-part harmony, and a treasure trove of experimental instruments. If you’ve ever found yourself enraptured by the lush harmonies of Fleet Foxes, the theatrics of early Genesis tracks, or the candid intimacy of Art Garfunkel, Improvement Movement may be for you.Improvement Movement is a democracy, and so they say, “things move slow.” That may be true for the internal machinations of the band, but their output has been quite regular. Each member of the band, who have largely been eschewing definition, are songwriters and instrumentalists who have spent the better part of a decade in the fertile DIY scene in Atlanta, GA. In that time they’ve been swirling, relatively undisrupted, in their own primordial ooze and rubbing elbows with folks from the no wave, punk, improv, and free jazz scenes.“Atlanta is about as DIY as it gets,” they say. “We’ve got some of the most killing musicians in the world all spread out on these kinds of islands of urbanization. There’s always something new.”That said, the band hasn’t been in Atlanta much lately; they were on the road relentlessly over the last two years, supporting Unknown Mortal Orchestra, Iron &amp; Wine, Houndmouth, and Khruangbin. When it came to making a new record, the slog of touring had to be reckoned with.“It was a gauntlet, trying to live day by day. There was no room for anything with too much premeditation.”Playing live that intensely meant inhabiting the music in a new way, with each venue and room animating and amplifying different energies and dynamics. When it came to making a new record, the band—composed of Tony Aparo, Clark Hamilton, Marshall Ruffin, and Zach Pyles—began considering how to expand their sound and process to reflect those experiences, culminating in a record that’s higher-octane than their previous offerings, but slightly darker and more frenetic.“We all have a disposition where we’d like to be positive,” they say, noting how their 2024 sophomore pursuit Slump focused on the minutiae of personal friendships, relationships, and the noble pursuit of right relation. Your Perfect Real Life takes a wider view, reflecting on timely yet universal themes of mundanity, futility, fear, and acceptance.The band took a uniquely holistic approach to composing its songs, describing how they sought to write from their instruments in a way that could reflect the synergy they found playing live night after night.“All of us are songwriters before instrumentalists, so we wanted to make this record as instrumentalists,” they say.The result? A record that sounds more like a band organically animating their ideas all together on the fly, held together with their uncanny cohesion born from lengthy touring stints. It’s a sound that’s caught a lot of ears in recent years, with posts of the band’s live sessions garnering millions of views across the internet and a wellspring of critical praise.The record opens in the lush sheen of the moody, breakup-inspired “Still Cold.”“We ended up talking about a lot of different experiences that qualify as bittersweet or melancholy, including the idea that anything good happening in our lives right now takes place against the ominous backdrop of a world that seems ever angrier and more chaotic.”It’s a sentiment that persists through the driving, anxious “Carry On,” a high-energy watermark of the record fit with raucous, jolty percussion, and chamber vocal harmonies.“Common Place” unwinds in an uneasy Escherian cycle of chords, lamenting “the loss of third spaces and the communities that once filled them,” resolving at each chorus before descending back into its spiralic verses. The sunny, soft-rock ballad “I Do” presents the record’s core circumstance—“all we’ve got is a rock and a hill”—while “21st Century” emerges with angular guitars and orchestral stabs depicting a technocratic future.Improvement Movement has found a way to work through the weight of it all by singing together—in fact, they’re group-singing evangelists. In an ideal world, “every home would have a piano in it and everyone should be singing,” not as an escape, but as a way to alchemize our personal and collective trials.What they achieve with this approach is a certain singularity: “we all have different voices and timbre, and so the music ends up being an amalgamation of our disparate interests and sounds.”The collective effervescence of sharing and making art in community is one of the most life-affirming experiences we have. It makes sense that a band set on bridging our brutal realities and the catharsis of art-making is so plugged into that source.With Improvement Movement in our ears, we may as well keep pushing that rock up the hill, singing in unison.Don’t delay, join today!

Improvement Movement 

David Murphy – For My Peeps is the latest chapter in the storied musical journey of bassist and synth player David Murphy, a founding member of the pioneering electronic/jam band STS9 (Sound Tribe Sector 9). After spending 17 transformative years with STS9—helping shape an entire scene that blended live instrumentation with electronic innovation—Murphy returns to the stage with a renewed vision and soulful purpose.&nbsp;Rooted in a dynamic mix of funk, jam, and electronic music, David Murphy – For My Peeps bridges the past and future. Drawing from the timeless sound of early STS9 albums, particularly the iconic Artifact and their foundational first two records, Murphy is reimagining that spirit through a modern lens. Live performances weave in those classics alongside new solo material, inviting audiences into an evolving soundscape of rhythm, energy, and emotion.&nbsp;Musically influenced by trailblazers like Nine Inch Nails, Daft Punk, Pink Floyd, Empire of the Sun, Tame Impala, and Herbie Hancock &amp; the Headhunters, Murphy’s compositions are instrumental stories—deep, immersive experiences that speak without words. His philosophy is clear: music and art are not possessions; they’re collective experiences, and the artist is simply a channel.&nbsp;David’s current mission is simple yet profound: to bring joy and happiness through music. Whether reconnecting with longtime STS9 fans or welcoming new listeners in search of the funk, David Murphy – For My Peeps is a celebration of connection, creativity, and community—joined by the talented Kevin Donohue (Sunsquabi), Scott Hannay (Mihali), and Rohan Prakash (Rohan Solo).&nbsp;

David Murphy's For My Peeps

Dubbed by Rolling Stone as "a genre unto herself," Brooklyn, NY-based Kaki King has proven to be just that.&nbsp; Her career has taken her all over the world, sharing stages with Dave Grohl of Foo Fighters, contributing music to award-winning films (Sean Penn's&nbsp;Into The Wild), and performing at the London Jazz Festival and the Paris Les Femmes s'en Melent.&nbsp; Her explorations into the guitar and multimedia have led to the creation of groundbreaking work such as The Neck Is A Bridge To The Body, Modern Yesterdays, and a new multi-media musical production for children called BUGS. Kaki continues to create, perform, and lend her musical voice to the forefront of contemporary music, as shown on her 2025 EP, Tutto Passa, and recent album, SEI, the soundtrack to a unique performance piece where guitarists become dancers, coordinating their whole bodies to perform the rigors of both choreography and composition.&nbsp; Endorsed by Ovation Guitars, Kaki released the EP Stop Sometime last August and remains a force on the music scene, touring Italy and Germany in the fall and performing both solo and BUGS shows throughout parts of the United States into 2026, while also and scheduling yet another EP for release on February 13.

Kaki King

River Shook carries the country-rock torch of Sarah Shook &amp; the Disarmers into an exciting new era. Shook debuts as a solo artist this year, and continues to deliver everything we’ve come to expect from them: killer songwriting, a smoking hot band, and high-energy, heart-winning live shows.&nbsp;River Shook's galvanizing, self-titled, debut solo album (Independent, June 26, 2026) is a mythic body of work. Arrow-to-the-heart honest lyrics, unforgettable characters, rock-god electric guitar solos, shimmering pedal steel, and Shook’s unmistakable voice cut like a ray of light through a great darkness, coaxing listeners towards a deeper level of awareness and empowerment.&nbsp;In rebellious country rocker “Country Angel,” a narrator immerses herself in the feelings of young love and freedom, while her old-soul sensibility tugs gently with a reminder that this night, this feeling, this person, they’re all already slipping through her fingers. “You can’t tie a feeling down,” Shook’s haunting voice soars in the chorus, delivering twin doses of joy and sorrow.&nbsp;In “If We Got A Chance,” Shook takes an honest stock of their situation as a touring artist: they miss their partner back home, they’ve been gone too long, and they’re struggling to patch up a fight while navigating a grueling schedule on the road. We find a range of relatable themes: work obligations delaying the speedy resolution of an argument, getting burned out on a thankless job, or choosing not to give up on a struggling relationship.&nbsp;Shook’s songwriting has never been more inspiring. Throughout the album, Shook intentionally explores themes we tend to avoid, reminding us that we’re braver than we think, that we can handle hard truths about ourselves, and that we can change course the moment we’re ready.&nbsp;Touring 150 days per year with the Disarmers gave Shook a significant advantage that they did not let go to waste; they spent a decade developing their stage presence, honing their storytelling, and learning how to give audiences across the world an unforgettable, potentially life-changing experience. Shook’s egalitarian songwriting, their ability to make fans feel seen, and their reputation as a wildly exciting front person have led them to be referred to as “punk” and “rock n’ roll” as frequently as they're called country.&nbsp;“My songwriting, my music, they’re country to the bone, but it’s that rock n’ roll element that makes the whole thing lift off,” says Shook. “If you want to give fans an unforgettable show every night, you need that reckless energy and purity of spirit."&nbsp;Olivia is a Brooklyn-based West Virginia native who <a target="_blank" rel="noopener noreferrer nofollow" href="https://1946dfd4.streaklinks.com/C5nL9wgGRmUc-iIbyAKgj-IE/https%3A%2F%2Fwww.nashvillescene.com%2Fmusic%2Fcoverstory%2Fcountry-music-artists-to-watch%2Farticle_098ff905-ac3e-46c5-bcca-ace146746abb.html">Nashville Scene recently named a 2026 Artist to Watch</a>, and <a target="_blank" rel="noopener noreferrer nofollow" href="https://1946dfd4.streaklinks.com/C5nL9wkDg0JviRT1LgsSNaeY/https%3A%2F%2Fwww.siriusxm.com%2Fplayer%2Fepisode-audio%2Fentity%2Fa6ce7903-62ef-dfc4-d015-d84eda01d293">Steve Earle included in his Top 25 Songs of 2025</a> on Sirius XM Outlaw Country. She recently made her <a target="_blank" rel="noopener noreferrer nofollow" href="https://1946dfd4.streaklinks.com/C5nL9wo4-ASjT3hyLQYw_gQz/https%3A%2F%2Fwww.instagram.com%2Fp%2FDWIDTBTDRgi%2F%3Fhl%3Den">debut</a> at Willie Nelson's Luck Ranch in Texas, where she participated in a special tribute to Todd Snider.Her bread-and-butter area is the Northeast/Atlantic Seaboard down through VA into WV with good recent history into the Midwest through Ohio and Chicago, but she's game for anything. She's going out this June with Mikaela Davis on a few dates out in the PNW and West (Portland, Seattle, Boise, Denver), and with Willi Carlisle in the Midwest (Columbia, MO; Iowa City; Davenport, IA; Urbana, IL) and just opened for Sunny Sweeney in NYC earlier this month.Olivia has also opened in the past for Kelsey Waldon, Sammy Raye &amp; The Friends, Jobi Riccio, Tommy Prine, Joshua Hedley, Emily Scott Robinson, Caleb Caudle, Chatham Rabbits, Jim Lauderdale, The Local Honeys, Melissa Carper, and of course River's last project, Sarah Shook &amp; The Disarmers, among others.Olivia Ellen Lloyd will try anything once. From flight attendant school in Dallas, to producing theater in New York, and teaching in Guatemala, Lloyd sought adventure but struggled to find a greater sense of purpose––until she found her way back to music. Channeling that restless spirit, she writes songs that pay homage to her Appalachian roots while charting fresh territory.&nbsp; Olivia was named to<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.nashvillescene.com/music/coverstory/country-music-artists-to-watch/article_098ff905-ac3e-46c5-bcca-ace146746abb.html"> Nashville Scene’s</a> Country Music Almanac 2026: Artists To Watch, and <a target="_blank" rel="noopener noreferrer nofollow" href="https://savingcountrymusic.com/album-review-olivia-ellen-lloyds-do-it-myself/">Saving Country Music</a> called her recent sophomore album,<a target="_blank" rel="noopener noreferrer nofollow" href="https://ffm.to/5kxp26r"> Do It Myself</a>, “one of those albums that you measure all of the other albums against as the year unfolds." In the meantime, her debut album, Loose Cannon, has garnered over a million streams while Olivia has been busy touring, winning songwriting contests (Kerrville New Folk 2023; Songwriter Serenade 2024 Finalist), and generally eating life down to the rind. Heavily influenced by country, folk, and indie rock, Lloyd’s sound combines the traditional, rooted sounds of her West Virginia upbringing with the fly-by-the-seat-of-your-pants exhilaration of her current life. She is inspired by the electric heartbeat of New York City, the peaceful quiet of her small hometown, and the rich moments of life on the road in between.

River Shook

Formed in Santa Barbara, California, in 1995, the Mad Caddies quickly emerged as a unique force in the music scene with their original name "The Ivy League". Known for their energetic blend of ska and punk rock, they add unique touches of reggae and jazz to create a distinctive and catchy sound.The band's debut album, "Quality Soft Core," released in 1997, marked the beginning of a series of successful albums, including fan favorites like "Duck and Cover" and "Keep It Going." Over the years, the Mad Caddies have evolved, but their music always remains lively and engaging. Famous for their dynamic and party-like live performances, they have garnered a loyal fan base worldwide.The Mad Caddies continue to be celebrated in the ska and punk music circles, known for their unique sound and exhilarating shows.

Mad Caddies

One of the legends who has sculpted the Roots Rock sound with years of contributions to this music called Reggae.As part of the foundation of reggae music, The Meditations have over forty years of producing, writing, arranging, and performing. They performed at the historical One Love Peace Concert in 1978 at the request of Bob Marley. Legends like Jimmy Cliff, Sly and Robbie, Philip Smart, Willie Lindo and Gregory Isaac are a few of the people that they’ve worked with. Their contributionshave sculpted the sound of Roots Rock Reggae over the years, making The Meditations a fundamental and essential part of Reggae music. So therefore, when the other 2 original members were unable to continue the works, due to health and legal issues, Ansel had no choice but to keep the legacy alive. Joining forces with long time keyboard player / vocalistLaury Webb ,who is also featured on The Good Of Man album and vocalist Daddylion Chandell,they’ve been touring as The Meditations for over 10 years. A new sound, a new feel, yet reminding true to the culture and origins of the band. Touring together , their live performance have been praised by fans internationally , expanding their fanbase and introducing them to a new generation of music lovers. They’ve performed for massive crowds at venues like the Red Rock Amphitheater twice in seven years. And returning in 2013, to bring back Reggae On The River, a festival first opened by The Meditations and The Itals more then 29 years ago. Criss crossing the United States year after year, embarking on journeys over waters to Africa in an attempt to quench the thirst for Meditations music worldwide . On January 29,2010 Ansel performed for exhilarated fans at The Parker Place(in Abidjan, Ivory Coast). This resulted in the culmination of a great live album, titled Ansel Meditations Live In Africa. This album captured an energetic performance from the veteran, sealing a monumental moment in time. Together , they’ve toured almost every year since joining forces, recently completing an autumn tour In November of 2017 and they started off 2018 with a bang, performing at the world famous B.B.KINGS in New York City on January 7th. Without doubt , they’re loved and the thirst for their music is as strong as it always been. Roots RockReggae Lives !!!! The Meditations Forever…

The Meditations

Since 2016, Vacation Manor combine an artful blend of eloquent lyricism, alternative experimentation, indie rock energy, and unassuming pop appeal. The duo—Nathan Towles [guitar, vocals] and Cole Young [drums]—have earned acclaim from American Songwriter, Atwood, and more. Now, they pull fans deeper into their embrace on their 2025 EP [Nettwerk].&nbsp;&nbsp;“We value people above all,” adds Nathan. “For us, our music is always better when we can involve our good friends in the process and experience something together. That in and of itself feels like a success for us.”&nbsp;This community grasped onto the music and never let go. Vacation Manor emerged with the Girl, Say EP highlighted by “Careless” and the breakout “A Toast and a Spirit.” The pair progressed over the course of Everything I Can’t Say Out Loud [2019] and Vacation Manor [2021]. Along the way, they toured alongside Briston Maroney and Night Traveler, in addition to performing at festivals such as Bright Shade Music &amp; Arts Festival. The guys carefully assembled what would become the EP over two years. This time around, songs represented “different landmarks” in their shared and individual experiences. Recording out of a home studio in Virginia, Nathan and Cole self-produced the tracks, nodding to inspirations a la Oasis and The Sundays.&nbsp;&nbsp;In the end, Vacation Manor’s community will only continue to grow. “With anything we put out, we want to give people language to the things that they’re experiencing too,” Nathan leaves off. “It’s a way for us all to process life.”

Vacation Manor

Doom Scroll // Hans Gruber and The Die Hards

REPRISE, a band formed to reprise the Phish experience, is itself an all-star band. Cal Kehoe, longtime frontman for Pink Talking Fish, helms the enterprise on guitar. Adrian Tramontano (Twiddle, Kung Fu and The Breakfast) masters the drums. Scott Chasolen chairs the boards for the project, bringing years of experience as a founding member of Ulu and keyboardist of internationally touring Pink Floyd tribute The Machine. Multi-instrumentalist and composer Chris DeAngelis (The Machine, Kung Fu, and The Breakfast) rounds out the foursome on bass. The time is near, the mission’s clear.REPRISE: Recreating Iconic Phish Shows

Reprise

KDTU has electrified audiences around the world for over 25 years from the fields of Naeba in Japan at the infamous Fuji Rock Festival to the hallowed stage of Madison Square Garden where they previously joined the Dave Matthews Band and The Godfather of Soul, James Brown. From performing as Sexual Chocolate (Karl was in the original band in the movie Coming To America and its sequel) at the Outside Lands Music festival in San Francisco, to being the first late night act at the inaugural Bonnaroo festival, KDTU have been a dominating force in music for the past 25 years.All-night, sold-out concerts during Jazzfest in New Orleans have featured sit ins by everyone from Lenny Kravitz &amp; Steve Winwood (with whom Karl has recorded and toured) to avant garde luminaries Marc Ribot &amp; Boyfriend. Chuck Leavell and Bernard Fowler (Karl’s bandmates in The Rolling Stones where Karl replaced the great Bobby Keys as saxophonist in 2014) have joined onstage and on record, as have Lukas Nelson, John Oates, Michael Franti, Warren Haynes, IvanNeville, Anders Osborne, Big Daddy Kane, Roy Hargrove, Maceo Parker, Fred Wesley, Joshua Redman, Marcus King, and Bernie Worrell, among others. Touring the country with the Allman Brothers, My Morning Jacket, D'Angelo, The Roots, Public Enemy, Bob Weir of The Grateful Dead, Parliament Funkadelic, Slightly Stoopid, Widespread Panic, very few concert goers have been untouched by the Tiny Universe live. In addition to KDTU, Karl Denson aka “Diesel” is a founding member of the seminal groove act The Greyboy Allstars.“just saw THE REBIRTH BRASS BAND, unbelievable. hard as hell, free as a ray of light, there is not a band on earth that is better. stunning.” - Flea, Red Hot Chili PeppersFor almost 4 decades, the Grammy winning Rebirth Brass Band has been “stunning” fans with a fiery live show and a rich musical catalog. Their trademark sound pays homage to the New Orleans brass band tradition while weaving a tapestry that combines elements of jazz, funk, soul, R&amp;B and the sounds from the streets they grew up on. From their legendary 25+ year run of Tuesday nights at the Maple Leaf to stages all over the world, Rebirth is the soundtrack of the Crescent City and her premier musical ambassador.Founded by brothers Phil and Keith Frazier over 35 years ago, Rebirth began their career playing on the sidewalks of the French Quarter, and quickly landed gigs at second line parades. Those auspicious beginnings have led to thousands of shows to music aficionados everywhere, including heads of state and royalty.The bands unique “soundtrack of New Orleans” has also garnered admiration from artists of all genres. They’ve shared the stage and collaborated with everyone from the Grateful Dead to the Red Hot Chili Peppers, Maceo Parker, Green Day, U2, James Brown, 311, G-Love, MuteMath, Juvenile, Train, Big Freedia, Ani Difranco, Galactic, Allen Touisant, Neville Brothers, Quincy Jones and Trombone Shorty.

Karl Denson's Tiny Universe + Rebirth Brass Band

With over 800 shows across Europe, the UK, and Mexico, Dirty Sound Magnet have become one of the most electrifying forces in modern rock. Hailing from Switzerland, the trio has built a reputation for their mesmerising musical world and intense, unpredictable live performances. Hypnotic stage presence, rock star charisma, instrumental mastery, poetic lyricism, and unrelenting energy—no DSM show is ever the same. Stavros Dzodzos (guitar, vocals), Marco Mottolini (bass, backing vocals), and Maxime Cosandey (drums, backing vocals) formed the band as teenagers in Fribourg. What began as obsession quickly turned into a life’s mission. Their path has always been crystal clear: There is no Plan B. Their sound channels the essence of the Golden Age of Rock—the energy of Led Zeppelin, the heaviness of Black Sabbath, the mysticism of The Doors—while boldly carving new territory. With psychedelic currents à la Tame Impala and King Gizzard and the Lizard Wizard, and lyrics that dissect modern society with a sharp, poetic edge, Dirty Sound Magnet have forged a musical identity that is entirely their own. Since the release of their acclaimed third album DSM-III (2022, Hummus Records), the band has reached new heights: sold-out tours, headlining 2-hour shows across the continent, and performing at major festivals like Hellfest, Fusion Festival, Resurrection Fest, Bospop, and Burg Herzberg Festival. Their DIY ethic and unstoppable momentum have made them one of Europe’s most exciting underground success stories.Their fourth studio album Me and My Shadow will be released onJanuary 30th, 2026. Fueled by years on the road and the confidence gained through hundreds of intense shows, it is the band’s most powerful and focused record to date—the next step in a story that shows no signs of slowing down.

DIRTY SOUND MAGNET / GRAN MORENO

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;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, Ocean Alley, and The Dip.

Juice

&nbsp;Loaded guns, space heaters, and big skies. Welcome to the lethal littered landscape of Jim Heath’s imagination. True to his high evangelical calling, Jim is a Revelator, both revealing &amp; reinterpreting the country-blues-rock roots of American music. He’s a time-travelling space-cowboy on a endless interstellar musical tour, and we are all the richer &amp; “psychobillier” for getting to tag along.&nbsp;Seeing REVEREND HORTON HEAT live is a transformative experience. Flames come off the guitars. Heat singes your skin. There’s nothing like the primal tribal rock &amp; roll transfiguration of a Reverend Horton Heat show. Jim becomes a slicked-back 1950′s rock &amp; roll shaman channeling Screamin’ Jay Hawkins through Buddy Holly, while Jimbo incinerates the Stand-Up Bass. And then there are the “Heatettes”. Those foxy rockabilly chicks dressed in poodle-skirts and cowboy boots slamming the night away. It’s like being magically transported into a Teen Exploitation picture from the 1950′s that’s currently taking place in the future.&nbsp;Listening to the REVEREND HORTON HEAT is tantamount to injecting pure musical nitrous into the hot-rod engine of your heart. The Reverend’s commandants are simple.And no band on this, or any other, planet rocks harder, drives faster, or lives truer than the Reverend Horton Heat. These “itinerant preachers” actually practice what they preach. They live their lives by the Gospel of Rock &amp; Roll.&nbsp;From the High-Octane Spaghetti-Western Wall of Sound in “Big Sky” — to the dark driving frenetic paranoia of “400 Bucks” – to the brain-melting Western Psychedelic Garage purity of “Psychobilly Freakout” — The Rev’s music is the perfect soundtrack to the Drive-In Movie of your life.&nbsp;Jim Heath &amp; Jimbo Wallace have chewed up more road than the Google Maps drivers. For twenty-five Psychobilly years, they have blazed an indelible, unforgettable, and meteoric trail across the globe with their unique blend of musical virtuosity, legendary showmanship, and mythic imagery.&nbsp;“Okay it’s time for me to put this loaded gun down, jump in my Five-Oh Ford, and nurture my pig on the outskirts of Houston. I’ll be bringing my love whip. See y’all later.” - Carty Talkington Writer/DirectorRev your engines and catch the sermon on the road as it’s preached by everybody’s favorite Reverend. Don’t forget to keep an eye out for the 11th studio album from REVEREND HORTON HEAT, boldly titled Rev, due out January 21st.ROCK HARD, DRIVE FAST, AND LIVE TRUE&nbsp;While Messer Chups’ sound is hard to neatly categorize, it is embraced by fans of rockabilly, horror punk, vintage surf records, Italian slasher films,&nbsp;My Life with the Thrill Kill Kult,&nbsp;Pulp Fiction, lounge music, the theremin,&nbsp;The Cramps, and the theme song from&nbsp;The Munsters.&nbsp;Their catchy music combines surf, vintage Russian melodies, rare film samples from the 50s and 60s, scratchy historical recordings, and lounge loops.&nbsp;Live, they explode with garage-punk intensity, all played against a video-collage backdrop of mid-century trashy cult and horror movie clips featuring&nbsp;Russ Meyer&nbsp;and&nbsp;Ed Wood, and superstars like&nbsp;Vampira&nbsp;and&nbsp;Bela Lugosi&nbsp;in a zombie mash-up. Messer Chups&nbsp;is&nbsp;Oleg “Guitaracula” on guitar, Svetlana “Zombierella”&nbsp;on bass and vocals and&nbsp;Signor Mattia on drums.&nbsp;Through their constant touring and steady music releases, the band has now amassed a huge and passionate global fan base. In 2022, the band signed with USA-based label Hi-Tide Recordings, global leader in ‘Surf, Lounge &amp; Exotic Sounds"

The Reverend Horton Heat

Sixteen years and five albums after the Pennsylvania band’s formation, progressive death metal progenitors Rivers of Nihil are upping the ante with their 2025 self-titled album Rivers of Nihil. Traditionally, a self-titled record can signal a return to basics and/or a fresh beginning, and in 10 powerful songs, it’s clear that both those factors are in play. Founding bassist Adam Biggs became the band’s new lead vocalist/bassist in 2023; the same year marked the appearance of additional guitarist Andy Thomas (ex-Black Crown Initiate), whose vocals also play prominently on Rivers of Nihil. Producers Carson Slovak and Grant McFarland at Atrium Audio captured the new dynamics across more than 50 minutes of music.&nbsp;On June 15, 2023, the band released a new single, "The Sub-Orbital Blues,” the first track with Biggs handling lead vocals (following the 2022 departure of singer Jake Dieffenbach, and also their first featuring Thomas). A second single, "Hellbirds," dropped on October 19 of that year. On April 29, 2024, the band released the cut "Criminals" and an accompanying music video. Both “Criminals” and “The Sub-Orbital Blues” appear on Rivers of Nihil.The new album’s first single of 2025, “House of Light,” is a track the band believes “encapsulates the nature of what it is that we do perfectly while offering a different perspective on the sound with the new lineup,” explains founding member/guitarist Brody Uttley, who also plays piano and does the programming in the band. “Everything that our fans have come to love about our sound is demonstrated in this song with the new addition of Andy singing and Biggs on main vocals.&nbsp;It has the riffs, it has the big chorus, it has the prog, it has the solos, it has the sax. Just a real classic example of what we will do as a band in 2025.”Rivers of Nihil also showcases additional musicians, including Patrick Corona on alto saxophone; Stephan Lopez on banjo; McFarland on cello; and a slate of other guest vocalists. Further singles include “American Death,” a true-to-form beater that’s sure to slay live, and “Water &amp; Time,” which Uttley says is Rivers’ “stab at writing a big chorus style synth-laden song. The main melody on synth came out so cool the band filled out the song with “metal band stuff” for the potent final version heard on Rivers of Nihil.&nbsp;Despite the fresh approach on Rivers of Nihil, the album fits neatly into the band’s discography. With Where Owls Know My Name (2018), Rivers of Nihil transcended all labels applied to them, and with its 2021 follow-up, The Work, they forged further into new territory. Metal Injection calling the latter album “by far the group’s most cohesive, ambitious, meditative, and varied effort, with greater uses of philosophical significance and transcendental respites.”The quartet’s musicianship has been honed to a fine point thanks to an unrelenting touring schedule over the past few years, including headline tours of the U.S. and EU/UK, as well as support slots on the Chaos and Carnage Tour (Cattle Decapitation, Carnifex, etc.), Lorna Shore, Between the Buried and Me, and shows with Killswitch Engage.&nbsp;And the roadwork continues even before Rivers of Nihil’s 2025 release. Rivers will bring with them three of the other biggest names in progressive death metal --Cynic, Beyond Creation, and Dååth -- for the European and UK&nbsp; “Aggressive Progressive Tour,”&nbsp; which kicks off February 28, 2025, in Germany. They’ll travel across seas once again for a slate of European festivals in August. And more touring plans for 2025 are expected to be announced soon.&nbsp;

Rivers of Nihil

Modern Biology is the project of veteran musician Tarun Nayar. Originally educated as a biologist, Tarun brings his passion for nature and sound together in an ambient project that is organismic, immediate,uplifting, and deeply contextual. He uses modular synthesis, home built synthesizers and other analog equipment to improvise with the natural vibrations of a certain place and time - via plant bioelectricity, latent electromagnetic radiation, and even the earth's resonant hum. Trained from childhood in Indian classical music, he uses the system of Indian raga to mold his musical choices for time of day and season. His performances are an effort to bring the listener into the present moment through vibration, space, and connection.Tarun is passionate about protecting wild places and has committed the lion's share of the proceeds of this project to supporting the natural world.

Modern Biology

The upcoming release Roots &amp; Wings marks the electrifying debut of 20-year-old blues-rock sensation Amani Burnham, who has captivated millions on social media with his raw talent and magnetic presence. Released on the acclaimed Blind Pig Records, this 12-track collection showcases Amani's remarkable guitar work—played uniquely with his right-hand thumb rather than a pick—alongside soulful vocals and introspective songwriting. From the turbo-charged instrumental "Fastlane" to the deeply personal title track reflecting on his Ethiopian roots, the album crackles with groovy blues-rock riffs, cosmic solos, and stinging vibrato. Recorded at the renowned Carriage House Studios with a classic power-trio setup, Roots &amp; Wings honors the legacy of blues-rock giants while heralding a bold new voice for a new generation.

Amani Burnham

Hayley pulls inspiration from a variety of styles, including 60s + 70s rock + pop, musical theater, folk, blues, soul, psychedelic, funk + bluegrass. Just as varied, are the many ways she can captivate an audience. 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 wide range of musicians, producers + music lovers alike, for successfully combining a diverse sound with clever, over-the-top lyrics + Vaudevillian-style storytelling. Hayley reawakens her audiences to the wild parts of themselves, great medicine for these modern times.&nbsp;Hailed as a&nbsp;“fast-rising NY band”&nbsp;by Live For Live Music, and a group that's&nbsp;“making waves in the scene"&nbsp;by JamBase, Organ Fairchild craft their organ-trio-meets-rock-band sound — described as&nbsp;“adventurous, vital and alive”&nbsp;by Glide Magazine — by synthesizing influences ranging from Soulive and Medeski Martin &amp; Wood to The Grateful Dead, Steely Dan and the Meters. And when they're on stage completely captivating an audience without a bass player - and nobody singing - there is no confusing them for any other artist on today's scene. As&nbsp;Atlanta’s <a target="_blank" rel="noopener noreferrer nofollow" href="http://FunkCity.net">FunkCity.net</a> writes, “Get ready to be bowled over by this terrific trio - old school funk fusion with new era notions of jam.”

Hayley Jane Band/Organ Fairchild

NRBQ are that rare group that’s eclectic, stylistically innovative, and creatively ambitious while also sounding thoroughly unpretentious and accessible. At its best, NRBQ‘s music casually mixes up barrelhouse R&amp;B, British Invasion pop, fourth-gear rockabilly, exploratory free jazz, and dozens of other flavors while giving it all a stomp-down rhythm that makes fans want to dance and expressing a sense of joy and easy good humor that comes straight from the heart.

NRBQ

Otto Benson is a musician and recording artist from Brooklyn, NY. After first gaining online recognition under his teenage alias “Memo Boy,” his sound has evolved in increasingly surreal and introspective directions, blending emotional vulnerability with experimental textures. Peanut is the first vocally-focused album from Otto Benson, known for his heartfelt and experimental instrumental compositions. The album was made as a quiet accompaniment while navigating the American landscape and aims to give listeners a place of solace, internal reflection, and mystery.

Otto Benson

A lot of people ask us what genre we are. The truth is, we don't know. Check out some of our music and let us know what you think. In reality, if you really want to get to know about TopHouse, y'all should shoot us amessage and say hi, come to a show, or listen to some music! Why not all three?"Fast-paced, high-energy foot stompers. Ballads that'll make you cry. It's kind of like a rock band married old-fashioned bluegrass and had a little baby. And named it TopHouse."Katie is a singer-songwriter based in Nashville, Tennessee. A recent Berklee College of Music graduate, her music fuses singer-songwriter pop with jazz and R&amp;B. Katie began her journey in music at her summer home in Ireland where she learned to play Irish traditional fiddle tunes by ear.In the ten+ years following, she trained classically in both violin and viola and learned to self-accompany on piano. Her classical career consisted of participation in various orchestras and chamber groups including the Philadelphia Youth Orchestra, Pennsylvania Music Educator Association Orchestras, and Nelly Berman School of Music chamber groups and orchestras. Katie uses many elements of traditional strings music in her original songs, featuring viola themes and solos as vocal counterparts.In the summer of 2021, Katie released her debut EP, “Little Blue Beetle Volume 1” on all streaming platforms. Volume 2 of the project was released in winter of 2022 and features her latest single, “Amelia,” which documents the highs and lows of life following the COVID-19 shutdown. Katie’s music combines the nostalgia of 70s soul with modern storytelling, often even referencing stylistic features of American musical theater. Some of Katie’s artistic influences include Stevie Wonder, Fiona Apple, Sara Bareilles, King Princess, Olivia Rodrigo, and Daniel Caesar.

Tophouse

What kind of music do you play? Folk, soul, country, in between the cracks, on the edges - roots, rock, reggae. Sean Hayes is a crooner, a wailer and an escape artist. He plays songs to get you dancing, sipping, dreaming and falling.Born in New York, raised in North Carolina, with over 30 years playing music in California’s Bay Area you can hear a bit of all of these places flowing through the songwriting and his singular voice.These influences are reflected in the many different musicians Sean has played with over the years. From singing duets with Aimiee Mann and Frazey Ford to touring with Charley Crockett, Jolie Holland, The Wood Brothers, Ani DeFranco and The Cold War Kids among many others. His songs have been remixed by renowned House DJ Mark Farina and haveappeared on NPR, NBC and HBO. Dress it up however you like it’s just a night of good music.Shawn Magee is a sailor on the ship of humanity floating in a sea of endless, unconditional love. His songs fall from the sky as rain, tumble over the bulwarks in waves, and are what remains when the sun, in its life-giving radiance, calls everything back into ether.&nbsp;

Sean Hayes

Brass sensation The Soul Rebels started with an idea - to expand upon the pop music they loved on the radio and the New Orleans brass tradition they grew up on. They took that tradition and blended funk and soul with elements of hip hop, jazz and rock all within the style of a modernized and contemporary brass band.The Soul Rebels built a career around an eclectic live show that harnesses the power of horns and drums in a party-like atmosphere. The eight-member collective frequently appear on major record label releases with star artists including Sony Music artist GEazy’s single ‘When You’re Gone” featuring Lil Wayne, Def Jam artist Dave East and Nas’ “Godfather 4”, Big Freedia and Icona Pop’s “Pipe That” and Warner Music Group artist Phony Ppl’s new album. The Soul Rebels have scored original music for Walt Disney’s 2023 movie Haunted Mansion and appeared on the official soundtrack for Universal Pictures' hit comedy Girls Trip.The Soul Rebels have impressed viewers with two appearances on The Late Show with Stephen Colbert, featured on NPR's Tiny Desk series with Wu Tang Clan front man GZA, and headlined the global TED Conference.The Soul Rebels are riding high in 2024 after receiving national attention following the release of their new album, Poetry In Motion. The Soul Rebels continue to expand their international reach touring four continents including Europe, Australia, China, South Korea and Japan. Their explosive stage presence has led to live collaborations with the likes of Katy Perry, Nas, G-Eazy, DMX, Robin Thicke, Macy Gray, Portugal. The Man, Robert Glasper, Pretty Lights, Macklemore &amp; Ryan Lewis, Matisyahu and most notably their new supergroup with the legendary Wu Tang Clan.The Soul Rebels continue to chart new territory and are respected for their ability to combine topnotch musicianship with songs that celebrate peace, love and soul.

The Soul Rebels

Come as you are and celebrate the music and legend of Nirvana &amp;&nbsp;Kurt Cobain w/ Smells&nbsp;Like&nbsp;Nirvana&nbsp;on Oct 1st at The Stone Church with special guests Dead OriginalMake this show special&nbsp;by submitting a song request at <a target="_blank" rel="noopener noreferrer nofollow" href="http://smellslikenirvanatribute.com">smellslikenirvanatribute.com</a>&nbsp;Composed of seasoned pros and DIE-HARD FANS of Nirvana, Smells&nbsp;Like&nbsp;Nirvana’s live tribute to Nirvana&nbsp;is a haunting episode of grunge filled angst and rock prowess played without click tracks or backing tracks a trait that is rare in today’s contemporary musical landscape, a trait and philosophy that Nirvana&nbsp;lived by. The band features an ex member of the grammy nominated metal band Trivium and hit musical 'Rock of Ages' vocalist Paul Wandtkew/ bassist Mike Petrasek and drummer Ty Del Rose (ex Smile Empty Soul)Come early for grunge revival enthusiasts"Dead&nbsp;Original"! Stream their first album 'Bought and Sold', avail everywhere <a target="_blank" rel="noopener noreferrer nofollow" href="http://deadoriginal.com">deadoriginal.com</a>&nbsp;

Smells Like Nirvana - Tribute to Nirvana

The Yawpers are proud to announce the continuation of their 15-year operational legacy as a leading stakeholder in the global rock-and-roll vertical. As a synergistic music solution provider, The Yawpers have consistently leveraged both heritage technologies (guitars, amplifiers, live human energy) and disruptive innovations (forward-looking creative frameworks, cutting-edge distribution pipelines) to deliver robust sonic outcomes for a diverse and evolving audience base.In partnership with DTTW, the exclusive custodian and strategic portfolio manager of The Yawpers’ catalog assets, the band has achieved an optimized balance of cultural equity and IP monetization potential. This collaboration underscores a shared commitment to sustainable growth within the rock ecosystem while maintaining operational agility in a volatile music marketplace.Looking ahead, The Yawpers are activating a bold new initiative: the launch of their forthcoming record product, designed to catalyze fresh engagement opportunities and reestablish their market positioning as a best-in-class rock-and-roll provider. Parallel to this initiative, the band is deploying a high-impact touring campaign, serving as a scalable brand activation strategy designed to maximize audience touchpoints in both legacy markets and emerging geographies.The Yawpers remain committed to their core mission: to ideate, implement, and inspire through the timeless, disruptive force of rock and roll."It’s the old way of doing things that inspires a new sound for upstate&nbsp; NY-based artist, Shane Guerrette. Drawing influence from classic soul&nbsp; and roots rock genres, Shane has only just begun to craft his own retro flavored sound. Having self-produced two albums since 2022, a&nbsp; considerable buzz amongst industry and fans alike has been built -&nbsp; leading to millions of streams, multiple tours and festival appearances.&nbsp; Since the start of 2023, Shane and his band have toured relentlessly,&nbsp; opening up for acts such as The Heavy Heavy, Neal Francis, The&nbsp; Sheepdogs, The Wood Brothers, Black Joe Lewis, &amp; The Stone Foxes as&nbsp; well as playing at major festivals such as Rhythm and Roots, Winnetka,&nbsp; and Alternating Currents. With a new album due out later in 2025,&nbsp; you’re going to want to keep an eye on what’s next for this rising star.

The Yawpers

Capturing light is not easy: ask any outdoor photographer. In order to capture the perfect shot, one has to be ready for fragmentary shifts in illumination. In that spirit, Caught Light is Great Lake Swimmers’ ninth album, and perhaps their most nimble: be prepared, don’t overthink, act fast.Founder Tony Dekker has always been akin to a wildlife photographer, often choosing to make records in unique surroundings with a connection to Ontario history. This time, he holed up in the Ganaraska Forest, between Peterborough and Port Hope, with producer Darcy Yates (Bahamas) and engineer Jimmy Bowskill (Blue Rodeo). Their goal was to tap the warmth of early ’70s folk/pop/rock, whether it be the cozy sonic sweater of Gordon Lightfoot’s classic work, or the gentleness of underrated American songwriter Dory Previn. Dekker made everyone listen to John Martyn’s 1971 album Bless the Weather before the session.For the first time, Dekker ceded control to a producer, albeit one who had once been the bassist in Great Lake Swimmers (2007-08). Yates chose the studio and the backing band, which included veteran drummer Gary Craig (Bruce Cockburn, Jann Arden), who Dekker calls “the Jim Keltner of Canada.” Tracking was completed in three days, Nashville-style, with only two days of overdubs, including Colleen Brown’s backing vocals. Compare that with 2023’s Uncertain Country, which took three pandemic-stricken years to make.Caught Light was captured in the shortest amount of time Dekker had ever spent making a record, and it’s likely to be the one with perhaps the longest impact. That’s because Caught Light is not just the most fully realized Great Lake Swimmers album in years, but it also leads off with two of Dekker’s strongest singles.“One More Dance Around the Sun” is an open-window, summer-driving song to accompany a golden-hour trip through the backroads of your childhood hometown. Dekker himself moved back to the Niagara area during the pandemic, with his partner and two young children. “I spent the first half of my life trying to get out of the small town where I was born and raised, and I’m spending the second half getting back there,” says the songwriter who lived in Toronto his entire adult life until now. “It’s an ode to the familiarity and the joy in that and the repetition of seeing the same faces and places, knowing all of that very well. It’s also important to feel grounded in community, to feel the power of that in a specific place, keeping one’s moral compass fixed in the right direction.”“Wrong, Wrong, Wrong” is about seeking solace in a trusted friend, one who can listen to your worldsickness without judgment, the one person in the world who understands your anxiety and won’t get it wrong. Dekker’s voice, though voicing the character who needs reassurance, is itself therapeutic, an empathetic ear who mirrors the narrator’s concerns. For a song about fragile mental health, it’s not ready to wallow: it’s a jaunty country shuffle, likely the most uplifting minor-key pop song of 2025, with a stardust-laden pedal-steel solo by Bowskill.Bowskill is the secret weapon on Caught Light, a wizard with any stringed instrument, while simultaneously engineering the record. “He’d hit the recording button,” recalls Dekker, “and then play pedal steel or mandolin or fiddle or bouzouki and would be playing electric guitar and other acoustic instruments—while also placing mics. I’d never seen anyone work at that high level before. It informed a lot of the character of the record, him and Darcy. It’s as much theirs as it is mine, though I brought in fully formed songs.”The new players really come to life on “Running Out of Time,” one of the only explicitly political songs in the Great Lake Swimmers’ catalogue, which adds psychedelic overtones to a song about how “It’s time, not for profit / not for greed / without borders / out of love.”The title track, and also “Endless Detours,” are about embracing twists of fate, inspired by a childhood image. “Where I grew up in a rural part of Niagara Region, on a farm, in the back 40, there was a very small airstrip with a skydiving club,” Dekker explains. “As kids, we’d see these guys jumping out of planes, five, six at a time. Once, one of them landed in the fields around our house. That was such a powerful image to me as a kid: What happens when you don’t land where you intended, when life blows you off course?” The phrase “caught light” refers to an unexpected situation where you don’t have as much as you thought you wanted or needed. Early on in the album process, it became apparent that it would be the title track.It’s also a metaphor for Great Lake Swimmers’ career in 2025: more than 20 years in, they’re a Canadian institution, with a large family of past collaborators who drift in and out of the band. “We were in a really great place leading up to the pandemic, then we lost a lot of steam, like a lot of people,” says Dekker, who took stock by unearthing a 2007 live show, releasing an acoustic retrospective, and a book collecting his lyrics. “Now, it feels like we are starting from scratch again.”Dekker says he has “a newly found zeal for not being precious and being more direct.” With Caught Light being one of his best albums, he’s done exactly that. Great Lake Swimmers are ready to swim to new shores. Or maybe just explore the infinite details of their native coastlines.

Great Lake Swimmers

<blockquote>Matt Turk and C Lanzbom joined forces to form Deadgrass, a string band jamgrass adventure through Jerry Garcia’s musical world. Bassist Dave Richards, banjo player Kris Bauman and fiddler Kensuke Shoji complete this fine group of seasoned pros exploring the life works of Jerry Garcia on the instruments that first inspired him. Deadgrass celebrates and interprets the music of Jerry Garcia, drawing from Old &amp; in the Way, JGB, Jerry’s Jug Band days and Grateful Dead.</blockquote> A seasoned recording artist and multi-instrumentalist, Matt Turk is a veteran performer who has performed and recorded with Pete Seeger, opened for Judy Collins, The Doobie Brothers, Fiona Apple and Grateful Dead's Mickey Hart. He has performed at the Clearwater Festival, Gathering of the Vibes, Atlanta's Music Midtown, Jazz at Lincoln Center The Capitol Theatre and The Beacon Theatre. Matt has recorded for Warner Bros Records with Gaby Moreno &amp; Matter Music. Grammy award winner C Lanzbom is a touring and studio guitarist with producing, performing, writing and engineering credits with Pete Seeger, Bruce Springsteen, Crystal Bowersox, Shlomo Carlebach and Soulfarm. C's studio, Sherwood Ridge, is a state of the art recording facility just north of New York City. C has numerous television and film song placements. His affection and passion for Jerry Garcia’s music has been a major influence. Bassist Dave Richards performs in Hamilton on Broadway and has recorded and performed with The Indigo Girls, Rosanne Cash, Buster Poindexter, Madeline Peyroux, Jewel and Richie Havens. He has toured throughout Europe, Canada and the USA, appearing at Ottawa Jazz, Toronto Blues festival, Hollywood Bowl and Austin City Limits. At the age of 17 Dave was playing jazz five nights a week in Orlando, Florida with Billy Peebles, the drummer for Ray Charles on many classic Atlantic recordings.&nbsp; Banjoist Kris Bauman is a multi-instrumentalist who has been performing professionally since he was sixteen. He was featured with bassist Alexis Cuadrado on NPR's Studio 360. Bauman works in a variety of musical genres including Country/Bluegrass with his group "The Dang-it Bobbys"; Jazz as a leader and sideman, including performances or collaborations with vocalist Bobby Short, saxophonists Seamus Blake and Loren Schoenberg, composer/arranger Jason Lindner, and guitarists Kurt Rosenwinkel and Luca Benedetti; Rock/ Pop with engineer Mike Barnard (Christina Aguilera, The Strokes) and Ilhan Ersahin (Nublu records); R&amp;B/Soul with recording artist Bilal (Interscope). Jazz violinist Kensuke Shoji was born in Gifu, Japan. He joined his father's bluegrass band as a teenager. As a young adult he moved to the U.S.A. to study jazz violin with Berklee String Department chair Matt Glaser, and world renowned violinist Christian Howes. Kensuke moved to New York City in 2013 to play with Alex Hargreaves, Barry Harris, Jacob Jolliff, Maria Muldaurand more.

Deadgrass

Angelo De Augustine returns with Angel in Plainclothes, his fifth album and most inspired work yet—a deeply felt rendering of his multi-year journey of healing and renewal. The record showcases De Augustine's powerful melodies and poignant lyrics across tracks like the haunting elegy "Empty Shell," the hopeful "Spirit of the Unknown," and standout psychedelic country piece "Mirror Mirror." Themes explore life's fragility, second chances, and picking up the pieces after an undiagnosed illness forced him to re-learn basic abilities: "I'm trying to figure out who I am now," De Augustine says. "I feel like I may have been given a second chance at life, and I'd like to live it."Written, recorded, arranged, produced, and mixed by the artist at his recording studio A Secret Place in Southern California, the album marks his first time welcoming collaborators in years, including string arranger Oliver Hill (Kevin Morby, Helado Negro), harpist Leng Bian, background vocalist/percussionist Wendy Fraser, as well as Thomas Bartlett (who produced De Augustine’s Tomb, St. Vincent, Bebel Gilberto) and Jonathan Wilson (Angel Olsen, Father John Misty), who played drums on and co-produced "The Cure." The result is a powerful statement of hope: "One of the most helpful things that kept me going was the people in my life telling me that everything was ultimately going to be okay. I hope these songs end up having the same kind of effect on people out in the world, and help them know that miracles are possible.”&nbsp;Angel in Plainclothes is out April 24th via Asthmatic Kitty Records.

Angelo De Augustine

Bobby Bare, Jr. could've phoned in a career. He could've exploited the fact that he's the son of iconic Country Music Hall of Famer Bobby Bare, was born into Nashville's Music Row elite, and counted artists like Shel Silverstein as close family friends and George Jones and Tammy Wynette as next door neighbors. Instead, Bobby blazed a path of unique songwriting craftsmanship with a voice that blows through you like an unyielding wind on the desolate prairie.Undefeated is BBJ's first release since 2010 and what he calls his "break-up record," but the whole of it is much more involved: this isn't escapism; it's an emotional survival guide. Undefeated is ten songs of reality checks, clever wordplay, and daring arrangements, the aural companion to that buddy who pulls up a bar stool next to yours to help soak away your sorrows. Like a bespectacled, curly haired prizefighter whose opponent is on the ropes, Bobby goes at each release as if it might be his last round, focused, and full of energy and purpose. Undefeated is no different. The song list is a war chest of formidable uppercuts (e.g. distorted pop rock gems "North of Alabama By Mornin'" and "Don't Stand At the Stove"), eye-splitting right jabs (open and orchestral "Don't Wanna Know" and "The Elegant Imposter"), and sneaky left hooks (the crescendoing "As Forever Became Never Again").&nbsp;Undefeated is an album of distinct balance, but with raw and varied textures. "North of Alabama By Mornin'" leads with a murky, palm-muted electric guitar and striding, crunchy organ backbeat; a combination that is undeniably kinetic à la Humble Pie's '70s boogie grooves and sinister and sexy, like a Southern doppelganger to Greg Dulli/The Twilight Singers. Bare Jr.'s ghostly high/low vocal layers echo the bleak picture of a metaphorical road trip, when his confidence slips, "Am I holding the steering wheel or is it holding me?/ The transmission is slipping like a pigeon through a tiger's teeth." By the song's finale, though, jubilant yelps ("Oh! Ho! Ho! We're goin' home!") and the electric guitar's pinch-harmonic wailing, indicate that things are headed in the right direction.What's most striking about BBJ is his proficiency with a broad sonic palette that fluently conjures uncommon impressions of life's soul-arresting experiences. "The Big Time" is rock 'n' roll reinterpreted through the lens of soulful pedaled bass, celebratory and punchy brass, and the facade of big-city talk ("You're gonna miss me after I hit the big time/ Gonna get brand new famous friends."). In "Blame Everybody (But Yourself)" the band -- Young Criminals' Starvation League -- taps into a piano-inflected British invasion/Herman's Hermits sort of vibe, blended with the melancholic echo chamber aesthetic of My Morning Jacket.At other moments, Bobby channels his country DNA (like in the Hayes Carll co-penned "My Baby Took My Baby Away"), mirror-ball gazing '70s R&amp;B/soul ("Undefeated"), and bright ballads from the hills and hollers of&nbsp; Venice Beach ("If She Cared"). From anyone else, this refusal to play it on the straight and narrow would sound cluttered and disjointed, but Bobby never breaks a sweat.YOUNG CRIMINALS' STARVATION LEAGUE PERSONNEL:Jordan Caress on bass/vocals, Doni Schroader (formerly of ...And You Will Know Us by the Trail of Dead) on drums, Van Campbell (Black Diamond Heavies) on drums, Matt Rowland on keys, Carey Kotsionis on background vocals, Richie Kirkpatrick on guitars/bass, David Vandervelde on guitars/bass, Michael "Grimey" Grimes on bass, Bobby Bare, Jr. on vocals and guitar.

Bobby Bare Jr

Since the release of her debut album Shapeshifter in 2016, New York based songwriter Jilian Medford – better known as IAN SWEET, has worked vigorously towards reinvention with each album. From the rocking rush of Crush Crusher (2018) into the emotional depths of Show Me How You Disappear (2021), gradually rising to the surface with the sparkling pop profundity of SUCKER (2023), Medford’s singular voice has only grown stronger. As IAN SWEET prepares for an exciting new chapter in her decade-strong discography, 2026 promises to be Medford's most realized songwriting era to date. IAN SWEET’s music has been streamed millions of times worldwide and has been praised by the likes of The FADER, KEXP, The New York Times, NPR Music, Pitchfork, Rolling Stone, Stereogum, and elsewhere. “One of the most thrilling and experimental voices in indie rock.” — Rolling Stone “Jilian Medford might perform under the name IAN SWEET, but the sugary hooks in her dynamic indie pop are often cut with acid.” — The New York Times “[IAN SWEET] leans into high-adrenaline hooks and poignant self-reflection with confidence and grit.” — Pitchforkmeg elsier is an indie-rock singer, songwriter, and visual artist based in Nashville. One of the most exciting new voices in the indie-rock scene, meg juxtaposes sweet vocals and opulent melodies with grungy guitars and weighty production. Keen wit and self-awareness shine through her lyrics, seamlessly weaving into the fabric of her ethereal shoegaze sound.In late 2023, meg made her introduction with the release of her debut single, “ifshitfuq.” The track was added to Spotify playlists like Fresh Finds, Fresh Finds: Indie, and Fresh Finds: Rock, and was later included on Spotify’s indie editors’ Best Songs of 2023 playlist. She continued to build excitement with singles like “iznotreal,” “baby,” “forlyleinsanfrancisco,” and “oldnews,” which captured the attention of tastemakers like DIY Magazine, DORK, and Grimy Goods. After unveiling new layers of her artistry with each single, meg is now preparing to reveal her full-length album, spittake, out June 28th.Growing up half-Korean in a New England town, meg never quite felt like she belonged. “I think the main challenge that weighed on me when I was younger was that I never felt like I fit in anywhere I went. I was made fun of for being too white in Korean school, and I was made fun of for being too Korean at my normal school,” she says. “But, I think it was also a huge factor in how I came to find my identity and accept that I don’t have to fit myself into one box.” In her journey towards understanding herself and her identity, music became an essential outlet for meg. Whether mourning the loss of her hamster or feeling upset about a Legend of Zelda character dying, meg found the best way to ease the pain was through songwriting. Keen to have more colors to paint with, she soon picked up the guitar and started playing piano as well.While meg knew she had an undeniable desire to pursue music from a young age, she was also plagued by stage fright. In an attempt to overcome it, she pushed herself to join her high school’s jazz band and musical theater productions. Eventually, she found the confidence to audition for and attend the acclaimed Berklee School of Music, but admits that her nerves didn’t truly subside until she moved to Nashville. There, surrounded by fellow musicians trying to pave their own ways, she came into herself as an artist, writing songs that felt authentic to her, while connecting with other musicians with whom she felt confident performing.“Music has always been something that’s so intimate for me. It was something I had always done by myself in my bedroom, so I was nervous to be vulnerable with people and show them what I actually sounded like. Eventually, it was both the built up frustration and my own confidence in the music I was making that made me push myself to share my music with an audience,” meg explains. “It hit a point where it was like Alice in Wonderland where she ate the cookie that made her grow and break the house.”Now, meg has become well-known for her frenetic and emotionally intense live shows. Her performances foster an intimate connection with audiences, stirring up a sense of shared experience while exploring new emotional territory together. “I’ve been having so much fun playing live and I feel like I’ve unlocked a side of me I truly love,” she declares. Her climb up the live circuit has seen her perform at iconic Nashville venues like Basement East, DRKMTTR, and The Blue Room. This Fall, meg will be taking her live show on the road with a North American tour supporting Finom.meg's artistic vision extends far beyond her music. Alongside collaborators Jacqueline Justice, Mary Violet Woosley, and Roberto Kohler, she has created a boldly intense and vibrant visual world to compliment her music. Fashion is another vital element of self-expression for meg. She self-styles the majority of her videos, photos, and shows. “I love expressing myself through clothes, whether I’m playing with femme/masc traits, layering up, or wearing a bikini in a convenience store,” she remarks. “You can say so much with just how you’re styled. It’s an additional tool to be creative with.”Her debut album, spittake, is just the beginning for meg elsier. All of the songs were written and demoed solely by meg over the course of a few years. She later collaborated with Nashville-based producer Ryan McFadden to record the final product while still maintaining the DIY spirit of the album as a whole (the lowercase, uncapitalized song titles are a nod to the original demo names). The album opens with the title-track, “spittake,” which meg kept in its original demo format, and speaks to the raw, untempered nature of the project as a whole. “This album was my first experience recording myself – not just vocals and guitar – and attempting to arrange and hear other instruments and what I wanted them to convey,” she explains. “That gave me a huge amount of confidence in going into the recording process and knowing that I would be able to make it sound like it did in my head.”Blending elements of grunge, contemporary pop, folk, and indie-rock, the LP showcases meg’s ability to create dynamic, versatile, and effortlessly catchy music. Across the album’s 11 tracks, she delivers musings on love, death, nostalgia, youth, anxiety, depression and everything in between, with a uniquely self-deprecating touch. “The story isn’t necessarily linear,” she explains. “But the main connection throughout is this unreliable narrator that you as a listener determine your view/trust of. They are incredibly inconsistent with their statements but I believe they think they’re telling the truth.”She continues, “to be honest, I don’t think I knew what the record meant to me until it was done. What I really was searching for was an introduction as… meg. Not someone I’m mirroring, or something I’ve been trying to become. Just who I am genuinely at this moment.”

IAN SWEET

Jatoba is a Vermont-based multi-instrumental trio. They bring their unique, high-energy groovegrass bluegrass to crowds up and down the East Coast through original songwriting on guitars, mandolin, banjo, upright bass, three-part harmonies, and occasional beatboxing, highlighting their distinctive sound. Their roots span from the Blue Ridge mountains of Virginia to the mountains of Vermont and New Hampshire. They’ve opened for Jeff Austin Band, Greensky Bluegrass, Rusted Root, The Kitchen Dwellers, The Infamous String Dusters, Leftover Salmon, and many more.

Jatoba

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>_________ The Burning Hell is the musical project of songwriter Mathias Kom and multi-instrumentalist Ariel Sharratt. Their narrative-driven songs are packed with literary, historical, and pop-cultural subjects, incorporating a frequent fixation on apocalypse and ruin into work that celebrates participation in a surprising, wry, and even occasionally beautiful world. Based in the woods of Prince Edward Island, Canada, The Burning Hell emphasizes connection and commitment to the political power of sharing music.

Carsie Blanton

Nik Parr &amp; The Selfless Lovers are a high-energy, piano-driven roots rock band hailing from Austin, Texas. Imagine the raw passion of Bruce Springsteen colliding with the electrifying showmanship of Jerry Lee Lewis—New Orleans late-night revelry infused with Southern soul and a Texas Gulf Coast groove. And if that’s not enough, Nik Parr takes it to the next level, playing saxophone and piano at the same time—you’ve got to see it to believe it.Known for their dynamic live performances, Nik Parr &amp; The Selfless Lovers have shared the stage with some of the biggest names in roots music, including Marc Broussard, Rebirth Brass Band, Big Bad Voodoo Daddy, Black Joe Lewis, The Soul Rebels, Dumpstaphunk, The Heavy Heavy, Shinyribs, The Damn Quails, Eddie 9 Volt, Two Tons of Steel. With a relentless touring schedule of over 150 shows per year across the country, the band continues to build a dedicated following.Nik’s upcoming EP, American Lover Boy, produced by Low Cut Connie, is set for release in Spring 2026. Stay tuned—big things are coming. For more, find Nik Parr &amp; The Selfless Lovers on Spotify.&nbsp;

Nik Parr & The Selfless Lovers

Haggis X-1 is a high-energy Celtic rock band built around veteran members of Enter the Haggis. Over a 30-year career, Enter the Haggis toured extensively across North America, performing on national television programs including Regis and Kelly, A&amp;E, PBS, and on prestigious stages such as the Kennedy Center for the Performing Arts. With over 4 million Spotify streams, their songs “One Last Drink” and “Down With The Ship” have become modern Celtic pub anthems, keeping audiences raising a pint and singing along wherever they’re played.Carrying that legacy forward, Haggis X-1 blends driving rhythms, pipes, fiddle, and memorable songs into a powerful live show that connects with longtime Haggis Heads and new listeners alike. The band delivers a celebration of sound, rooted in strong melodies, fiery instrumentals and soulful improvisation.In addition to Craig Downie (bagpipes), Trevor Lewington (guitar) and Tom Barraco (drums), Haggis X-1 features Jesse Grandmont on fiddle (America’s Got Talent, Conan O'Brien Needs a Friend), guitarist Will Earley adding rhythmic punch and melodic flair, vocalist/keyboardist Charlotte Roth bringing dynamic lead vocals and rich textures, and Anthony Candullo on bass. Together, they create an engaging, contemporary take on Celtic rock that’s equally at home in listening rooms, theatres, clubs, and festival stages.

Haggis X-1

Human existence depends on using music to make a statement and inspire change. These days, that call sounds like the fusion of a brass band, heavy rock, and powerful vocals from a group called Brass Against.&nbsp;Curated by Brad Hammonds and led musically by baritone saxophonist Andrew Gutauskas, Brass Against began in 2017 as a musical response to the divisive tones of the time. Their viral cover of Rage Against the Machine’s “Killing in the Name” launched a movement blending political activism with genre-defying sound.&nbsp;What began as fiery covers of Rage, Tool, Soundgarden, and Black Sabbath has evolved into a dynamic collective of jazz-rooted musicians, releasing five albums and bringing their explosive energy to audiences around the world. From Glastonbury to Java Jazz, from opening for Tool to sharing stages with Slipknot and Lenny Kravitz, Brass Against has made their mark.&nbsp;Their version of “Wake Up” was featured in the credits of Matrix: Resurrections, and they recently completed scoring Uppercut, a Lionsgate feature film starring Ving Rhames.&nbsp;Brass Against isn’t just about performance—it’s about passion, purpose, and a call to action. Rage. Energy. Motivation. Community. They’re the soundtrack to the moment—and a rallying cry for what comes next.&nbsp;

Brass Against - Halloween Tour 

The Barr Brothers are a group out of Montreal fronted by the poly-rhythmic, jocular drumming of Andrew Barr and the songs and guitar playing of brother Brad Barr. Bass, pedal steel, keyboards, and horns come in and out of the mix freely. Equally at home in solemn Arcadian ballads, swampy North African improvs, or classic rock and roll revelry, The Barr Brothers continue to embrace and enchant audiences with their methodical-yet-whimsical approach to music making.A prodigal young talent, SOAK began their musical journey aged 14 when they first wrote breakout track 'Sea Creatures', cutting their teeth and cultivating a passionate following from their home of Derry. Taking their time to develop their craft and complete school, Bridie signed to Rough Trade and released their beautiful debut album, Before We Got How To Dream', in 2015. One of the Mercury Prize's youngest ever nominees, the record also won the prestigious Choice Music Prize for Album of the Year, the Northern Irish Music Prize, saw SOAK shortlisted for a Q Award ('Best New Act'), as well as taking home the European Border Breaker Award. With support ranging from the BBC Sound Poll and Jools Holland to playlist support across Radio 1 and 6Music, all these extreme experiences have taken SOAK far beyond (but often right back to) their close-knit Northern Irish scene.

The Barr Brothers

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

John Splithoff is a songwriter, singer, and multi-instrumentalist who splices together throwback soul, modern production, and laid-back pop. A native of Chicago, Splithoff began gaining momentum following the independent release of his breakout single, "Sing to You.” Driven by a hypnotic howl, breezy guitar, and an unbreakable bounce, the track generated over 100 million streams, occupied coveted real estate on noted Spotify playlists and reached the top 8 at AC Radio, paving the way for Splithoff to continue to release music to a growing fanbase.Splithoff has toured globally as a headliner with appearances at renowned festivals from Lollapalooza to Bonnaroo, building a reputation for shows that are equal parts intimate and electric.Following the release of his sophomore album Far From Here, Splithoff is at work on his next studio album while revisiting his catalogue with fresh, stripped-back arrangements of fan-favorite songs.

John Splithoff

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.

Dead Ahead

THAO, known for her distinctly evocative songwriting and dynamic, arresting performance, has continued to evolve artistically and personally since dropping the moniker “Thao &amp; The Get Down Stay Down” in 2021. Her latest album, 'Temple,' reflects a profound exploration of freedom and belonging, shaped by her experiences reconnecting with her cultural roots on her first trip to Vietnam. This journey is also the subject of her intimate documentary, "Nobody Dies," which premiered on PBS to critical acclaim. Throughout her career, Thao has expanded her reach beyond recording and touring and glided into the realms of writing, filmmaking, television, podcasting and theater. She has guest hosted the celebrated podcast Song Exploder, hosted PBS's Southern Storytellers series, and scored numerous film and dance projects, all the while continuing to tour nationally and internationally. Thao can currently be seen in the music film Amongst The Disquiet (which she co-created, starred in, and wrote original music for) as it shows in contemporary art institutions and events all over the world (ex. New Orleans Museum of Art, MCA Denver, São Paulo Biennial). Her 6th studio album will be released in 2026. She is currently at work writing her debut book for Graywolf Press (2027) and developing a musical. Balancing personal vulnerability with broader cultural commentary, Thao remains a prominent voice in the contemporary music scene and beyond.&nbsp;

THAO

“Over the Shire &amp; Far Away” is a powerful rock ’n’ roll tribute to The Lord of the Rings and Led Zeppelin — a one-of-a-kind storytelling experience that transports audiences deep into Middle-earth. Through a carefully woven narrative inspired by Tolkien’s legendary fable, the show follows themes of adventure, darkness, fellowship, and triumph — seamlessly intertwining the mystical might of Led Zeppelin with the epic spirit of The Lord of the Rings. Iconic costumes, cinematic narration, and scenic visual projections collide in the immersive theatrical rock adventure unlike anything else on stage today. More than a concert, “Over the Shire &amp; Far Away” is a transformative live experience celebrating one of the greatest musical and cinematic connections of all time. One show to rule them all!Since their formation in 2021, Knorrwood has performed alongside nationally celebrated acts such as Trampled by Turtles, Leftover Salmon, Keller Williams,&nbsp;Cabinet&nbsp;and&nbsp;Moe.&nbsp;among many others. The 2025 release of their debut album embodies the band’s adventurous spirit by fusing acoustic innovation, cinematic textures, and dynamic rhythms into an immersive experience that is as innovative as it is timeless.&nbsp;Enigmatic vocalizing and ethereal explosions from a theremin further transcend listeners into the vibrant, earthy realm of Knorrwood.

Knorrwood Presents: Over the Shire & Far Away

The Brit Pack brings the best of classic British rock music to stages across the USA! Performing music by Led Zeppelin, Queen, and The Rolling Stones, to David Bowie, Oasis, Tears for Fears and more, The Brit Pack cover everything from the most iconic anthems of the sixties, to the modern classics of today! British born but American made, The Brit Pack was formed by two British session musicians living in the US. Their energetic performances are a magnificent and heartfelt tribute to the UK's deep musical legacy, and a testament to the fact that great music never gets old!&nbsp;

The Brit Pack

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

Not a Show

"Holy Roller? More like holy sh**!" That's the review according to Nashville's multi-Grammy award winning songwriter, Jim Lauderdale. The Richmond, VA based group is quickly proving that they intend to be the new face of southern rock. Holy Roller has been dominating the east coast, selling out nearly every show over the last year, not to mention some outstanding performances that landed them as festival favorites at Bristol Rhythm &amp; Roots and Red Wing. Their sophomore album, Good Religion is out now and boasts some seriously riff-heavy, yet deeply intimate songs that are best played L-O-U-D. Holy Roller is down home, and damn good at it.&nbsp;

Holy Roller

Billie Marten loves to leave her mark on a good book—underlining important passages, scribbling ideas in the margins, folding the corners of pages into dog ears to mark her place. The 10 songs of Dog Eared serve that purpose, telling the story of who she was as she wrote and recorded it, cleaving her adolescence from her adulthood in order to move forward. She is the songwriter who finds wisdom in horses and encourages self-reflection while realizing she has barely begun her own. She is the singer who makes the chorus of “Goodnight Moon” as beautiful as a lunar corona and smartly lets dissonance slip between her voice and the band around her as she watches something she loves disappear during “Crown.” Marten is a consummate singer-songwriter who has dared to push beyond the limitations of that form and make a stunning record that marks a new page, suggesting what comes next through the strength and beauty of what’s right here.With Dog Eared, Billie calmly posits herself at the top of the tree of not just British contemporary folk artists, but with British songwriters at large.&nbsp;Hot off his European support tour with Zach Bryan, you’ll find Keenan O’Meara situated 100 miles north of New York City in the Catskills, tinkering on his guitar, writing songs with friends, and settling into his new role as a dad. A few months ago, O’Meara unveiled his debut album, Bathe in the Everlasting Light with featuring collaborations from Sufjan Stevens, Hannah Cohen, and Sam Evian. While his audience has expanded dramatically over the last few years, Bathe In the Everlasting Light documents a quieter season of reflection and creative exploration.&nbsp;

BILLIE MARTEN

Kabaka Pyramid is a Grammy Award Winning Rastafarian lyricist fusing elements of Reggae, Hip Hop and Dancehall to create a unique sound, revolutionizing Jamaica music with conscious messages.A key pillar of the Reggae Revival movement, Kabaka Pyramid carved his way into the Jamaican reggae scene with Rebel Music in 2011 with marquee songs like “Free From Chains” and “Warrior” featuring Protoje. His hip hop roots were evident in the lyrical style and hard hitting beats, laying the foundation for an ever ascending career highlighted by the classic marquee sophmore album “The Kalling” produced by role model Damian “Jr Gong” Marley.This chart topping artist has developed a solid global fan-base that connects deeply with the messages in his music, touring extensively over the past 10 years to the largest of Reggae stages around the world and headlining numerous 20+ multi-city club tours and some the greatest reggae festivals worldwide. Kabaka is well known for delivering an electrifying and entertaining live performance with his band “The Bebble Rockers”.The Kingston native, born Keron Salmon, spent many of his early years developing his sound as a part of Bebble Team, a talented group of friends and schoolmates that would be the foundation of his independent label Bebble Rock. Rebel Music was the fruit of this preparation and Kabaka’s career as a reggae artist was born. After touring europe in 2012, prominent producers would take an interest and staple songs “No Capitalist” and “Never Gonna be A Slave” as well as hit songs “Mi Alright” featuring Chronixx Chronixx and ‘Well Done’ produced by Damian Marley would follow in 2013 and 2014 respectively. The Billboard charting “Lead The Way EP” in 2013 would cement Kabaka in the international Reggae landscape as well as the career defining “Well Done” produced by Damian Marley in 2015.The “Accurate” mixtape by Major Lazer’s Walshy Fire would see Kabaka collaborate with Raekwon on Be Inspired, and classic Kabaka vs Pyramid would be become a hallmark for true Kabaka fans.After touring with Damian Marley in the US in 2017, Kabaka would team up with the son of Bob Marley for his debut album Kontraband, debuting number 3 in the reggae Billboard chart and number one in several countries on iTunes. Hit song “Reggae Music” became Kabaka’s first song to pass 10 million views on youtube with many other records from the album having a tremendous impact in the market such as “Can’t Breathe” and “Kontraband”.During the covid pandemic Kabaka worked tirelessly and released popular singles “Nice Up The Dance and “Believe” as well as the classic “Immaculate Mixtape” with Federation Sound. He also produced his first juggling rhythm “Victory Rock” to great success. All this while working continuously on his second album “The Kalling”. Hit singles “Red Gold and Green” featuring Damian Marley, The “Kalling” featuring Stephen Marley, Protoje and Jesse Royal and “Faded Away” with Buju Banton would see the 2022 LP release dominate iTunes charts in many countries culminating in a Grammy award for reggae album of the year amongst many other album of the year awards on publications such as Reggaeville and Riddim magazine.Live performances for Rolling Stones, BBC radio 1xtra and Tuff Gong Studios, features in Billboard, The Source, Vogue, Riddim and Reggaeville magazines, winning the Grammy for Best Reggae Album, winning the Caribbean Music Awards for Best Reggae album and also the Jamaica Reggae Industry Association’s Breakthrough artist of the year are some of the highlights of a stellar career.

Kabaka Pyramid

With many of their wildest dreams strung across more than two decades together, the Henhouse Prowlers' sight remains fixed on the future. Ever constant in the group's enthralling performances is their ability to showcase their passion for both their craft and our shared humanity. Their latest record, 'Unravel,' produced by Dark Shadow Recording’s Stephen Mougin (Sam Bush Band) underscores the quartet's resistance towards being contained, some tunes expressing a modern Americana feel with others nodding to classic country and bluegrass standards. On this offering, their trademark four-part harmonies have matured in tone and sincerity, their picking ferocious as ever. However, it’s impossible to ensnare the Prowlers’ lifeblood in 45 minutes and 12 tracks. Each member’s skills of storytelling, compelling songwriting, and intricate instrumentation shine through their onstage performances. Incorporating an inspiring narrative&nbsp;and bluegrass takes on international tunes from their travels, their live show will captivate minds and capture hearts. The group's many life-changing encounters as cultural diplomats across the globe have shaped their worldview and bolstered the bridges they establish between cultures, a main function of the band.Max Wareham is a Boston-based banjo player, songwriter, and author. A longtime member of the Peter Rowan Bluegrass Band, he has toured nationally with Rowan and appears on his Grammy-nominated album Calling You From My Mountain alongside Billy Strings. He has performed at leading festivals including Telluride Bluegrass Festival, MerleFest, and RockyGrass, and fronts his own group, The National Bluegrass Team, with appearances at Carrboro Festival, Festival for the Eno, and Crooked River Festival. Rooted in traditional bluegrass with a lo-fi indie folk sensibility, Wareham's live shows move from intimate storytelling to high-energy ensemble playing, all driven by the banjo.His second album, If The Cosmos Were Whiskey…, will be released June 19, 2026. His debut album Daggomit! (2025) is already drawing national attention, earning praise from <a target="_blank" rel="noopener noreferrer nofollow" href="https://thebluegrasssituation.com/read/bgs-55-max-wareham/">The Bluegrass Situation</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://www.wbur.org/news/2025/01/13/2025-winter-new-albums-music-boston-massachusetts">WBUR</a>, <a target="_blank" rel="noopener noreferrer nofollow" href="https://nodepression.org/album-reviiew-max-wareham-daggomit/">No Depression</a>, and <a target="_blank" rel="noopener noreferrer nofollow" href="https://americana-uk.com/bluegrass-briefs-john-depew-high-horse-trace-baerd-max-wareham">Americana UK</a>.

Henhouse Prowlers

Hannah Frances (b. 1997) is a vocalist, guitarist, composer, and poet that NPR’s Ann Powers calls “a stunning vocalist and songwriter, making monumental and mythic music,” and was awarded Pitchfork’s Best New Music for her critically acclaimed 2024 album Keeper of the Shepherd. Frances will release her forthcoming album Nested in Tangles on October 10 with Fire Talk Records. With this distinctive body of work, Frances solidifies herself as an artist of insurgent emotional clarity, committed to personal truth and self-actualization. On this album, she narrates complex stories of familial estrangement, emotional trauma, and a deepening of her own sense of trust, through a collection of intricate, dizzying, and large-scale compositions. Nested in Tangles spans the realms of progressive rock, avant-folk, and jazz, but remains anchored throughout with Frances’ signature vocal leaps and percussive, polyrhythmic fingerpicking.A persistent troubadour, Frances lives in Vermont with roots in Chicago, though she is most often touring internationally and nationally, opening for artists such as Robin Pecknold of Fleet Foxes, Florist, Hurray for the Riff Raff, The Weather Station, Hiss Golden Messenger, Billie Marten, Whitney, and Damien Jurado, among others. Whether performing as a solo act or leading her full seven-piece ensemble, her mythology spellbinds with an insistent gravity.

Hannah Frances

Owsley’s Owls perform two sets of face-melting Grateful Dead music and hardcore improvisational jollies. With reverence for the past and a foot in the eternal now, they mine the songbook 1965-95 and beyond for sacred ore. The Owls are based at various points across the state of Massachusetts and have convened&nbsp;to perform nearly 500 shows.&nbsp; Always a hoot!

Owsley’s Owls

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

Twisted Teens is a band from New Orleans. Most musicians make you choose between rock and roll; Twisted Teens would never do that. Their political platform is religious psychosis; their music opens a door to a new universe by shutting all other doors to all other possible universes.“Fans of Raw Power-era Stooges, Eastern mysticism, or the punk-to-country pipeline should tuck in” -Atwood Magazine“Here to put some steel wool type hair on your chest. Gritty, toothy lofi punk with some stoink on it” -Sims HardenToo much for one, enough for two, and nothing at all for three. Fortunately Tattler is composed of four. Forged in the mean streets of Brattleboro Vermont, Tattler implements a variety of collaborative songwriting methods — including, of course, the epiphanic, rambling voice memo — subsequently, the resulting tracks cover many genres, tones and themes. There is the distinctive Bad Lounge sound of “Dear Machine” and the Americana musical self portrait “Autumn Astor;” there are up-tempo, guitar-driven rock numbers such as “Theory” and a few tracks that settle into indie pop brevity. Tattler’s bespoke lyrics consistently explore the nuances of identity, purpose, meaning, alienation and connectedness as they travel between subjects at once speculative, whimsical and macabre.&nbsp;

Twisted Teens

Grammy Award-winning singer-songwriter Peter Rowan is one of America's most revered musical storytellers. A 2022 inductee into the International Bluegrass Music Hall of Fame, Rowan has spent over five decades shaping the sound and spirit of American roots music—from bluegrass and folk to rock, country, and beyond. Raised in Wayland, Massachusetts, Peter found his voice in Boston’s vibrant 1950s folk scene, learning guitar from his uncle and frequenting the Hillbilly Ranch nightclub, where old-time legends like the Lilly Brothers lit the stage. By high school, he had formed his first band, The Cupids, and was already charting his own musical course. Peter’s professional journey began at the source—joining Bill Monroe’s Blue Grass Boys in 1963. With Monroe, he co-wrote “Walls of Time,” now a standard in the bluegrass canon. “Monroe’s music had more blues in it,” Rowan later reflected. “It had more edge, and it carried the old ballad tradition I loved.” In the decades that followed, Rowan pushed the boundaries of genre through pivotal projects including Earth Opera, Sea Train, Muleskinner, and The Rowans (with brothers Chris and Lorin). His work with Old &amp; In the Way—alongside Jerry Garcia, David Grisman, Vassar Clements, and John Kahn—brought bluegrass to a new generation, fusing counterculture energy with Appalachian roots. Peter Rowan’s songwriting has etched itself into the American musical lexicon. He wrote “Panama Red,” a hit for New Riders of the Purple Sage, and fan favorites like “Midnight Moonlight” and “Lonesome L.A. Cowboy” remain staples across genres. His solo work spans bluegrass, Americana, folk, and spiritual fusion.Rowan’s legacy is felt not only in recordings and performances but in his enduring mentorship. His collaborations with the Sam Grisman Project preserve the Old &amp; In the Way legacy, while his ongoing work with Billy Strings, Molly Tuttle, and other young artists ensure the vitality of acoustic music for decades to come.

Peter Rowan

The Skatalites were formed in 1964 in Kingston, Jamaica by key studio musicians Tommy McCook, Rolando Alphonso, Lloyd Brevett, Lloyd Knibb, Don Drummond, Jah Jerry Haynes, Jackie Mittoo, Johnny Moore, and Jackie Opel. Together they created a music called Ska.&nbsp;The musicians had already been playing together in various studios and had played on many hit records of the time, backing groups including The Wailing Wailers (featuring Bob Marley, Peter Tosh and Bunny Wailer), Toots and The Maytals, Jackie Opel, Doreen Shaffer, Ken Boothe and Alton Ellis. They performed together as the Skatalites for the first time at the Hi-Hat club in Rae Town, Kingston.&nbsp;&nbsp;The band’s debut album was released in 1964 on Studio One Records.&nbsp; Also in 1964 “Man in the Street”, written by Don Drummond, entered the UK Top 10.&nbsp; Between May 1964 and August 1965 they recorded hundreds of instrumentals and vocal tunes, but in 1965 they played their last show and disbanded to pursue their own individual careers.&nbsp;&nbsp;In 1983 most of the members reunited and started playing shows in Jamaica and abroad. In the intervening years the music had spread around the world, and especially to England where the music had evolved into a genre known as 2Tone. White and black musicians were playing together, fusing a punk attitude with Ska rhythms and a strong social commentry. Bands like The Specials, The Selecter, Madness, The English Beat and Bad Manners were all paying homage to the music of The Skatalites.&nbsp;&nbsp;Meanwhile, members of the Skatalites had emigrated to the USA, and by 1986 had started playing engagements there. In 1989 they embarked on their first tour of the USA as the support act for the legendary Bunny Wailer.&nbsp; Since then they have released eight studio albums, including the two Grammy nominated albums; “Hi-Bop Ska: The 30th Anniversary Recording”, and “Greetings from Skamania”.&nbsp;&nbsp;In 1990 they did their first headline tour of the USA with 25 dates across the country. In 1991 they started touring Europe and the world and have been on the road ever since.&nbsp;&nbsp;From Glastonbury to FujiRock, Montreux Jazz Festival, WOMAD, Reggae on The River, Reggae on The Rocks and every festival and club in most corners of the world, The Skatalites continue to excite their audiences with their own infectious brand of original Jamaican ska.

The Skatalites

When Brooklyn collective Gentleman Brawlers performs, it's more than a concert: It's an electrifying experience. Led by creative duo Becca Fox and Matt Walsh, the band channels musical inspo Talking Heads with their distinct brand of Afrofunk and indie dance music. "If you can MOVE you can DANCE!" shouts an exuberant Fox from the stage —&nbsp; or from the dance floor, where she's joined the crowd. Gentleman Brawlers loves to engage an audience, and the audience loves them right back.&nbsp;GB has two distinct incarnations – live and in studio – that elevate and inform each other. Through a sonic blend of disco-based horn lines, sticky highlife guitar, and polyrhythms from West Africa, Trinidad, and Brazil, GB’s live shows ignite a community-based, improvisational energy; in studio, the band will often reimagine their songs through an EDM lens. Whether the audience is on the dance floor or pressing play, Gentleman Brawlers always delivers an exhilarating, celebratory experience.&nbsp;Acclaimed by NPR’s Tiny Desk Contest, WNYC’s The Greene Space, and the BBC's Tom Robinson as "a virtuoso live band, grooving together like a beautifully engineered machine,” GB has opened for Grammy artists Cimafunk, Los Amigos Invisibles &amp; Fantastic Negrito at Brooklyn Bowl, performed at Bryant Park's Dance Party, Perelman Performing Arts Center, Pier 1/Summer on the Hudson, Dumbo's Live at the Archway series and The Public Theater’s Summer Block Party.Fool &amp; The World is a Brattleboro, VT–based band delivering a genre-blending mix of funk rock, punk, and theatrical indie rock with powerful vocals, tight musicianship, and a magnetic live show.With the funk-driven energy and rhythmic bite of Red Hot Chili Peppers, the soaring harmonies and dramatic scope of Queen, and the wild, modern indie-rock charisma of Cage The Elephant, Fool &amp; The World creates music that feels both familiar and unmistakably their own.Onstage, Fool &amp; The World is part concert, part shamanic journey, part electric fever dream —&nbsp;moving effortlessly between driving, danceable grooves, cinematic storytelling, explosive rock moments, and crowd-engaging theatricality.Fool &amp; The World isn't just here to entertain you...&nbsp;They're here awaken something in you — the part that still believes music can save your life, explode your plans, call your soul back into your body, and make the world feel enchanted again.

Gentleman Brawlers

Everything Is Alive, Darlingside’s fourth LP, marks a subtle but remarkable departure for the Boston-based quartet NPR once described as “exquisitely arranged, literary minded, baroque folk-pop.” While the album retains much of the lushness and sophistication of Extralife (2018) and Fish Pond Fish (2020), the band’s latest work decisively exposes and differentiates the individual voices of the four songwriters—a daring reinvention for a group known for ubiquitous vocal harmonies. Grappling with change both personal and universal, with quandaries domestic and existential, Everything Is Alive is an album about loss and the struggle for a semblance of redemption.&nbsp;Comprised of Don Mitchell, Auyon Mukharji, Harris Paseltiner and David Senft, four likeminded multi-instrumentalists who first met at Williams College in 2009, Darlingside’s career has been defined by the elegance of their compositions and the unity of their four voices. Their talent for harmony and melodic world-building is part of what garnered praise from outlets like NPR, Rolling Stone and The New Yorker, and what has created demand worldwide for their extraordinary live performances. Becoming beautifully unindividualized has, in other words, worked very well for Darlingside in the past. With a vigor and discipline more common to graduate-level writing workshops than to indie rock, Darlingside has, over the years, experimented with all manners of idiosyncratic methods for elevating and upholding a truly democratic process of songwriting—processes that include multiple rounds of group writing and recording exercises—all with the aim of escaping the trap that bands with multiple songwriters often fall into: ego-driven infighting and artistic incoherence.&nbsp;On Everything Is Alive, then, Darlingside is taking a risk. Nudged by the limitations created by pandemic isolation, as well as through other more voluntary catalysts, the album, which was produced and recorded by the band and mixed by Tucker Martine (My Morning Jacket, Sufjan Stevens, Iron and Wine), foregrounds in a sustained and heretofore untried way the individual voices of each member. Where once the harmonies formed a hard-won sonic unification, Everything Is Alive showcases the four singers as they alternate (more or less) song for song, an approach that rewards listeners with a sense of personal ownership and, therefore, a new degree of intimacy and nuance.Don’t misunderstand: Everything Is Alive is still very much a collaborative effort—many of the same meticulous rituals and exercises went into this effort as went into Extralife and Fish Pond Fish. The difference here is that the band has given itself permission to plumb new depths, to add extra dimension to what was already a highly dialed-in aesthetic. And the results are compelling, not only due to the intimacy itself, but for the way such intimacy is counterpointed or juxtaposed against Darlingside’s trademark lusciousness. Present still are the beds of enveloping harmonies, as in the stunning (mostly) a cappella “How Long Again.” Retained also are the textured polyrhythms, the infectious body percussion, a triumphant horn section to bolster the earworm chorus of “Baking Soda” and a sobering cello quartet to elevate the heartbreak of “Lose The Keys.” The difference is that on Everything Is Alive these moments have been set against quieter, and thus contrasting, depths of solitude and vulnerability.&nbsp;In this way, Everything Is Alive, which was begun in 2021, seems a continuation of 2020’s Fish Pond Fish. A sequel, perhaps; the second half of a COVID double album. Where Fish Pond Fish built its lush sonic landscape around vibrant images of woolgathering, fruit picking and returning home, Everything Is Alive confronts the multitude of challenges that arise when “home at last” becomes “when, dear god, will I be free of this stasis and grief?” Lose the keys, the marbles, lose a parent/lose the count, lose the plot/it’s the losing that counts/is it not sings Mitchell on “Lose the Keys.” Elsewhere one encounters images of walking in circles, of domestic frustration, and of unabashedly falling apart, all of which work together as an acknowledgment of a despair that must be confronted before redemption can be made possible. “Am I almost out of the dark?” asks Senft on “Can’t Help Falling Apart”—a track that, it turns out, helped Senft arrive at the realization that he could not continue as a touring member of the band.&nbsp;In other places on the album, such as opening track “Green Light,” a propensity for retreating into the self is refuted by an attempt to discern the small but tangible glory of the world before us. The song meditates on the humble beauty contained within things as (seemingly) drab as sidewalks and concrete and rust. Built on an iPhone memo of a strumming mandocello, “Green Light” is notable for another reason: in its mantra-like worldliness it is unlike anything Darlingside has done before. Reminiscent of George Harrison circa “Within You Without You,” the track, itself a creative leap, signals the heretofore untrod territory the album at large goes on to explore.Vivid images and striking turns of phrase abound on Everything Is Alive. Expectations are commonly inverted or exploded—exploded curiously, with nuance, but exploded no less—as in these lines from “All The Lights In The City”: maybe working is what makes us live, or maybe it’s living/sky is always hanging blue above the cloud/but the path of no resistance will wear you out. On “Sea Dogs,” the track that contains the album’s title, Paseltiner sings over an effervescent dreamscape: I can’t wake up all the time/or even half the time or/even be on time. Such lines capture the disorientation and desperation that pervade this album. And yet, later in the same song, come the lines which align poignantly with the song’s dreamy sonic context: when up in the clouds are sea dogs/and kites and big white basketballs/the backyard is thickening/ how is it everything/ everything is alive/alive, alive. “Sea Dogs” is both the album’s thesis and a bridge to Fish Pond Fish, modifying that album’s motifs about nature as a reflection of the self to ask whether nature is not also a means of escaping or transcending the confines of selfhood altogether.&nbsp;It’s a rare thing and becoming rarer by the day: a group of musicians with that emulsifying magic to make the whole greater than the sum of its parts. And to see Darlingside perform live is to confirm this special chemistry. With the release of Everything Is Alive the band will, for the first time, take to the road without Dave Senft. Instead of filling his spot directly, the band has wisely chosen to honor the special chemistry of the foursome by letting those arrangements live on the recordings without obligation to faithfully recreate them onstage. While Dave remains a contributing member of the band, on tour Darlingside will perform in a completely different configuration altogether—a configuration that will, at times, include the album’s drummer Ben Burns, singer Molly Parden, and others—proving again how the group can adroitly rearrange themselves for the breaking of a new and different day.&nbsp;

Darlingside 

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

An inscription on the new EMEFE vinyl reads: “This album is for you - our listeners - thank you for inspiring us to keep moving forward.” EMEFE has developed a loyal-turned-fervent following since their beginnings as classmates in NYC jazz programs, hungry to revel in the joy of musicmaking together. Back then, they yearned to express their musicianship as individuals and connect as a whole, free of judgment and focused on fun. 15 years later, with band members having played with Mark Ronson, David Byrne, The Roots, Sharon Jones and many more musical luminaries, their 2025 album FORWARD showed that their initial mission remains exactly the same. Through 10 energetic and inspired tracks, the album exhibits a tight knit group of longtime friends seasoned in accessing that musical joy together. “We just flip a switch, and boom, we’re locked in - it’s a level of connection we don’t take for granted,” says drummer and producer Miles Francis, who founded the band in 2009 just before joining acclaimed New York band Antibalas and mentoring under legendary Afrobeat drummer Tony Allen. EMEFE’s initial guiding light was Fela Kuti’s Afrobeat, but they would incorporate funk, new wave, and neo soul influences to create their own unique sound that recalled past classics while leaning into the future. From their 2012 album Good Future to signature tracks like “Sun Spat,” their songs - lead by their iconic horn section as the proverbial lead singer and anchored by the bass presence of Doug Berns - have garnered millions of organic streams and have been played by school ensembles and marching bands around the world. At their legendary live shows, as cathartic and potent as ever, the crowd is made up of both longtime followers and many who just discovered them online in the last few years. “We’ve been actively motivated by our fans to celebrate what we’ve built so far and stay true to our path ahead, ” says Berns. “They are the engine that propels us to keep making new music that we’re overflowing with excitement about." Saxophonist Jas Walton chimes in: "Same as it ever was!”The Brighton Beat's influences range from Afrobeat pioneer Fela Kuti, to modern cutting-edge NYC Jazz with a heavy helping of classic New Orleans brass band Funk. Performing up and down the East coast since 2010, the band has developed a style of performance that uniquely engages the audience and is fun for the whole family. Positive, uplifting, danceable music is a trademark of The Brighton Beat sound. Instrumental songs that feature room for the horn section to improvise anchor the band's set, but the show often includes guest vocalists, audience participation, group sing-a-longs and even the occasional circus act.The Brighton Beat have the honor to perform with many legendary artists such as Femi Kuti, Roy Hargrove, Mike Stern and The Soul Rebels just to name a few.&nbsp; In their hometown of NYC, the band has been featured at venues like The Brooklyn Bowl, The Blue Note, Joe's Pub and many more. In an effort to give back to younger musicians and inspire the next generation, The Brighton Beat developed&nbsp; their flagship in-school education program;<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.thebrightonbeat.com/education"> Jazz In The Classroom</a> and has been bringing it to schools for almost 10 years.Faculty of Berklee, New England Conservatory, NYU, Broadway pit musicians, top call session players, and world touring musicians all call The Brighton Beat there own, their home and heart. The fruit of their lifelong passion for music art and entertainment is presented each night on stage for all to experience and be inspired by. This passion, honesty and positive music is deeply necessary in our current cultural climate. This family truly believes in the power of music, and all it can bring.

EMEFE x Brighton Beat

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

Galactic Empire is the galaxy’s foremost instrumental Star Wars cosplay heavy metal John Williams tribute band. Their first two music videos were viral hits, gaining over 24 million Youtube views with national press coverage including Huffington Post, Guitar World, Entertainment Weekly, and MSNBC, along with a live TV performance on E! Entertainment during their coverage of the 2016 Academy Awards. The band went on to tour extensively, headlining multiple national and overseas tours, including Canada, Europe, Japan, and Australia, along with appearances at major festivals, comic cons, sporting events, and supporting arena acts Ozzy Osbourne and BABYMETAL.Galactic Empire released two full-length albums with Rise Records before signing to Pure Noise Records in 2023 and releasing the third in their trilogy of Star Wars albums, “Special Edition”. The upcoming album CINEMETAL sees the band journeying to other universes as they put their signature metal twist on songs from popular film franchises including Superman, Pirates of the Caribbean, Back To The Future, Lord Of The Rings, Batman, Avengers, and more. Comprised of the most sinister musicians in the galaxy, Galactic Empire is primed to continue their journey toward becoming the ultimate power in the universe.___________________Neonach is the solo project of a one-man musician from western Massachusetts, crafting immersive soundscapes that blur the line between ritual and performance. Blending ethereal ambient textures with synthwave pulse, cinematic tension, industrial weight, and traces of rock intensity, Neonach creates music that feels less like a concert and more like a transmission from another forgotten age.Taking the stage as some sort of dark alien druid from a lost time, Neonach incorporates cosplay, theatrical visuals, and mythic storytelling into every performance — transforming live sets into haunting, otherworldly experiences. Equal parts atmospheric and visceral, the project offers&nbsp; a uniquely cinematic act that leaves audiences curious, unsettled, and wanting to step deeper into its universe.

Galactic Empire 

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.Hailing from the mountains of Western Montana, Dusty The Kid brings politically charged folk with grim determination and idealistic hope. A multi-instrumentalist, actor, and playwright, The Kid weaves stories with the sounds of olde tyme mountain songs, rowdy pub sessions, and coal covered folk punk. Marxist Jargon is&nbsp;Burlington's favorite unamericana folk-pop radical education initiative.

Sister Wife Sex Strike + Dusty The Kid & Marxist Jargon

Ruth Garbus is a songwriter and vocalist from Brattleboro, Vermont. She has released several solo albums including Kleinmeister and Alive People, and Profound, out on June 12, 2026 on Orindal Records.&nbsp;&nbsp; For the last three years Ruth has performed her solo material as a trio with elie mcafee-hahn and Nick Bisceglia. She also has performed as an experimental vocalist with a number of collaborators, and is a member of the trio Earth Flower with Sam Gendel and Phil Melanson.&nbsp;LUCY (Cooper B. Handy) While still in high school, Cooper Handy, of Cape Cod, Massachusetts, started a Facebook page called »lucy« for the sake of anonymity in sharing his music. Most of what appeared here was distant from what »Lucy« would come to represent in the years since, but it was a fitting, could-only-exist-online start for a project that would soon be turning heads. As Lucy, lucy, LUCY, lucyboy, or L U C Y (depending on where you listen) Handy has picked and chosen elements from a wide array of genres to make a sound that is at once ‘outsider’ and unpretentious. The result is exciting, raw, and triumphant music from an artist who has made a career of producing &amp; self-releasing videos and music, unpolished &amp; posted in near-real time.&nbsp; The plainspokenness of Lucy’s lyrics and the unassuming character of his production inspire a curiosity in his fans and first-time listeners alike—as, despite this straightforwardness, there is undeniably something else going on. Handy is an enigma without the cold-shoulder of mystique. His lyrics spin the sense out of common sense while remaining frank and conversational—his instrumentation clips and distorts but keeps sight of itself as if being a four-piece band. Lucy performs a playfully romantic take on pop music, singing, »too smart to argue or to judge, you know me, I only want to love« (2016), or, »match made in heaven, strike anywhere match« (2017). His music may come out of left field, but it is also immediately familiar. It is the best result of mixing artistic ingenuity with down-to-earth deftness.&nbsp; When asked about his musical background, Handy remembers loving the perceived »authenticity« of early-aughts pop-punk (an interest that traces back to an earlier infatuation with The Clash). This fandom made him realize that he, too, could make music. Since moving from home on the Cape to Hadley, Massachusetts, the practice of music-making has shared with these early influences the pursuit of authenticity and the embrace of the pop-song form. The lessons gleaned from his tastes in earlier years were a humbling realism and a commitment to heartfelt communication. However, as with most of his musical influences, Handy incorporates the feeling and the culture of any given music without hijacking its timbres or other typical signifiers of genre. This keeps his performance grounded and accessible while his material is wildly creative and often experimental.&nbsp;&nbsp; Since Handy is hesitant to bring up influences—primarily out of concern for forever being tied-down to a short list that might make sense in one moment but not in the next—he does his best to remain vague, compact, and (respectfully) unquotable: Motown/Elliott Smith/Odyshape/Tippa Irie.&nbsp; good luck tonight my viewers love,&nbsp;unity,&nbsp;communication,&nbsp;yes?

Ruth Garbus Album Release Show 

Hannah Cohen –Earthstar Mountain is an ode to curiosity. It asks what it means to live a life: how do we decide which direction to take? How do we stay there? And what happens when the rug is pulled from under our feet? Once again working with her partner and collaborator Sam Evian at their recording studio Flying Cloud, Hannah Cohen’s fourth full-length album Earthstar Mountain, is a keepsake of Cohen's time in the Catskills, built over the course of 2020-2024, as blurred, shimmering memories come into focus to produce a collage of echoes and sonic souvenirs. Featuring contributions from Sufjan Stevens, Clairo, Sean Mullins, Liam Kazar, Oliver Hill and more, Earthstar Mountain is a love letter to the Catskills and in the interconnectedness of all things: in her past, present, future and alternative selves, in her friends––here and gone––and in the mountain that peers through her windows.&nbsp;<hr>Since 2023, Vermont songwriter Lily Seabird’s life has been in perpetual motion, spending nearly half of that time on the road performing her own music and as a touring bassist with Greg Freeman, Lutalo, and Liz Cooper. While she thrives in transit, back home she is anchored by “Trash Mountain,” a pink house surrounded by other artists and creatives situated on a decommissioned landfill site at the back of Burlington’s Old North End. Here, Seabird has found belonging, friendship, and inspiration. It’s a place that hosts artists, puts on shows, and has been passed along in her friend group for the better part of the decade. It’s a symbol of transition and stability: something always evolving and growing but never losing its soul. It's only fitting that Seabird named her new album Trash Mountain, as it also contains its namesake's qualities. Over nine delicate but sturdy tracks of intimate folk rock, she pares her songwriting down to its most resonant essentials. It’s an album of unwelcome exits and uncertain futures, but there’s resiliency and hope at its core. It is Seabird’s most confident and immediate effort to date. Where Seabird’s previous records—2024’s Alas, and 2021’s Beside Myself—were written over the course of a year, Trash Mountain practically poured out of Seabird: three months of songwriting in spring 2024, followed by four days of tracking with Kevin Copeland (Hannah Frances, Lightning Bug, Allegra Krieger) in his Southern Vermont studio in the summer. The condensed timeline allowed her to be present and process how differently her life looks now compared to a few years ago. She’s coped with transforming relationships and grief, as well as music’s awkward shift from a no-pressure, casual thing to do with friends to a career. Though working in environmental politics and community organizing brought her to Vermont from Pennsylvania, her disillusionment with systemic change led her to become a full-time musician. It’s a transition that requires deep self-reflection. “Songwriting is meditation for me, “she says. “It’s the way I work through things and make sense of the world. Being on tour so much I've been writing more just to understand what's happening around me." Lead single "Trash Mountain (1pm)” came about the day Seabird returned to Burlington after a month on tour, which included 15 shows in a week at SXSW. “Coming home is not always easy for me,” she laughs. “Sometimes I feel like I am a way better version of myself when I'm in the chaos on the road. When I get home, I tend to spiral.” Written on a walk outside her house, she channeled being overwhelmed into a perceptive look at coming down. Over woozy slide guitar and harmonica, Seabird muses, “How are we supposed to remember things / When everything is coming and going?” She doesn’t let herself succumb to her anxieties, finding peace and gratitude for being “on the edge of town / where when I’m home I rest my head.” While the grief that enveloped her last effort Alas,, which dealt with her best friend’s suicide, still lingers, it’s settled into healing and reflection on Trash Mountain. On “It was like you were coming to wake us back up,” Seabird vividly paints a brief moment of seeing a person outside her house who bears an uncanny resemblance to her dearly deceased. Rather than mourning, she finds comfort and healing in the vision. “In the past, I used to come to songwriting when I was in crisis,” admits Seabird. “Only recently have I come to songwriting when I am feeling other things beyond emergency and disruption." The album’s arrangements are markedly sparse and intentional, a shift from the layered Alas, and Beside Myself, allowing Seabird’s writing to soar and stand starkly centered. Only three songs feature her longtime touring band in guitarist Freeman, bassist Nina Cates (Robber Robber), and drummer Zack James (Dari Bay, Robber Robber). On the stunning “How far away,” she’s backed only by a piano played by Sam Atallah which makes for elegiac catharsis. “I've finally accepted that I'm a singer-songwriter,” she says with a shrug. “Not everything has to be some big rock song.” Seabird cites Elliott Smith, Neil Young, and Leonard Cohen as influences on Trash Mountain, and much like the latter, her evocative, emotionally potent lyrics find her looking for cracks in the darkness where light comes in, sometimes literally. Take the album’s other title track, “Trash Mountain (1am),” where she sings of a nocturnal stroll: “We walk these streets we’ve come to know / memories live on in them after the snow / is all melted and gone / garbage covers the ground / and you pull a flower from the weeds and you spin me around.” Sometimes all you need is a loved one to show you how to find beauty in the mess. Trash Mountain boasts a profound grace and openness. On the buoyant “Sweepstake,” she cherishes memories with dear friends and optimistically looks towards the future, singing, “Where are we going is a question I save for halfway / Tonight the kingdom and tomorrow the milky way.” The song captures the carefree feelings of making art with your best friends, nostalgically mining the boundless creativity and possibility of her early music life in Vermont. Life can change in an instant, but Seabird knows that there’s power in grasping onto the purest moments of connection. Seabird’s best friend would often joke that “the world is trash,” a welcome dose of dark humor as the sentiment rings more true with each passing year. It’s with this resilient spirit that Trash Mountain finds its optimistic, life-affirming center. It’s an album that understands and accepts that highs and lows are inescapable and that the only way through is with small acts of kindness and other people. It’s a tribute to home, chosen families, and taking life as it comes. “I don’t have hope for the oppressive systems that abandon us, but I do have hope in people,” says Seabird. “Sure, the world is really messed up, but that doesn’t mean we can’t make something beautiful out of the garbage. We might as well make something beautiful out of what we have got.”

Hannah Cohen

In April 2025, Peter Mulvey and Jenna Nicholls, along with guitarist Ross Bellenoit, traveled to Floyd, a small mountain town located in the Blue Ridge Highlands of Southwest Virginia, for five uninterrupted days of recording. What emerged is Floyd Mercantile — a record that feels both intimate and timeless.The makeshift studio was a decommissioned general store called (you guessed it!) Floyd Mercantile — a weathered wooden building standing across the road from an open pasture where cows wandered and grazed in the gentle early spring. (One cow even volunteered to be on the album cover.) Inside those old walls, the trio recorded the album live — no isolation booths, no heavy overdubbing — just three musicians in a room, listening closely and letting the songs unfold in real time.The sessions were recorded by Jeff Oehler and filmed in their entirety by partner Sue Bibeau and their associate Skylar Locke. Together, Sue and Jeff comprise Beehive Pro, an audio, visual, and design collective famed for their intimate recordings and thoughtfully considered visuals. They captured not just the sound, but the atmosphere — the wood floors, the daylight through the dusty windows, and the creak of the porch boards could all be considered session players on this album.The repertoire bridges eras. Mostly comprised of songs Peter and Jenna wrote separately, there are a few gems from the Great American Songbook: “Skylark" (Hoagy Carmichael/Johnny Mercer), “Them There Eyes" (Maceo Pinkard/Doris Tauber/William Tracey), and “I'll Be Seeing You" (Sammy Fain/Irving Kahal).The visual and sonic tones of the project reflect the periods these songs evoke — even the newly composed tracks feel in conversation with another time. The goal was not nostalgia, but continuity: to stand inside the lineage of American song and add something honest and present to it.Floyd Mercantile is not just an album. It’s a document of place. Of three musicians in a room. Of songs — old and new — allowed to breathe in the quiet of a Virginia afternoon.

Peter Mulvey & Jenna Nicholls Present: Floyd Mercantile

Omar Hakim Recovering in the Hospital, Lenny White and Will Calhoun to Step in for Upcoming Tour DatesNEW YORK CITY – MAY 29, 2026 – Rachel Z announced today that Omar Hakim will step away from upcoming tour dates due to hospitalization from a recent illness. Lenny White (<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.lennywhite.com/">http://www.lennywhite.com/</a>), legendary drummer, will join the band for upcoming June 2026 tour dates. "Omar's health is our absolute priority right now,” says Rachel Z. “We thank everyone for their support these past few weeks, it means so much to us. We are incredibly grateful to Lenny and Will for stepping in. We look forward to seeing everyone soon."Guitarist Paul Pesco (<a target="_blank" rel="noopener noreferrer nofollow" href="http://www.paulpesco.com/">http://www.paulpesco.com/</a>) will also be joining the band on the upcoming tour.The band asks fans to respect Omar's privacy during recovery from a recent undisclosed illness. Get well wishes can be sent via Omar and Rachel’s official social media channels.Lenny WhiteAt 19, Lenny White played with Jackie McLean, recorded Bitches Brew with Miles Davis, and Red Clay with Freddie Hubbard. Lenny is one of the founding fathers of the jazz-rock movement and is a four-time Grammy Award winner. Lenny White earned a worldwide reputation as thedrummer with Return to Forever and has played and collaborated with artists such as Joe Henderson, Gato Barbieri Gil Evans, Stan Getz, Jaco Pastorius, Herbie Hancock, Wayne Shorter, Carlos Santana, and Chaka Khan. Lenny continues to lead and stay on the cutting edge of musicby producing new artists and performing. Lenny is currently mentoring and teaching students at NYU Steinhardt and The New School.RACHEL Z, keyboardist, synthesist. Grammy-winning, Grammy-nominated with a long history of award-winning performances in the worlds of jazz and rock. Rachel has released 13 albums as bandleader and been a crucial part of countless tours and recordings including Steps Ahead, Vertú, the Omar Hakim Experience, OZmosys, Wayne Shorter, Stanley Clarke, Marcus Miller, Terri Lyne Carrington, Al Di Meola, and Regina Carter. Her years of touring with Peter Gabriel include appearances in his live films Growing Up Live &amp; Still Growing Up Live. She is Professor of Jazz, Contemporary Music Studies and Electronic Music, variously at New School University NYC, Montclair State University and Cali School of the Arts.The Rock N’ Roll Collective is a powerhouse group of exceptionally talented young musicians between the ages of 13 and 18. Designed for students who have outgrown traditional music education programs like School of Rock, the Collective offers a professional-level environment where emerging artists can develop their craft and gain real-world performance experience.Founded by veteran audio engineer and producer Jeremy Gerard, the Collective is music-directed by renowned industry professionals Rachel Z Hakim, Omar Hakim, Mike Pellegrino, and Ben Moyer. Collective members have performed on tour across the US &amp; Europe. In 2025, Collective members completed US &amp; European tours with Frank Zappa alumni and embarked on a separate European tour with Gibby Haynes of the Butthole Surfers.The Rock N’ Roll Collective is not just a band — it's a launchpad for the next generation of world-class musicians.&nbsp;

Rachel Z & Lenny White

"THE WANDERING BOY NEVER FLINCHES - James McMurtry’s 11th LP is a solid smorgasbord of aging, Americana, and arrested&nbsp;development”"Local critic asks another: 'How’s the McMurtry?' Answer: cut-above songs and then the clutch killers.” &nbsp;...The Austin Chronicle/Raoul Hernandez • October 31st, 2025<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.austinchronicle.com/music/record-reviews/the-wandering-boy-never-flinches/">https://www.austinchronicle.com/music/record-reviews/the-wandering-boy-never-flinches/</a>James McMurtry released The Black Dog and the Wandering Boy on June 20th via New West Records. &nbsp;The 10-song collection was co-produced by McMurtry &amp; Don Dixon (R.E.M., The Smithereens) and is his first album in four years. &nbsp;It follows his 2021 acclaimed new West debut, The Horses and the Hounds, which UnCut Magazine said “lifts storytelling-in-song to meticulous new levels" and Pitchfork awarded an 8.0, saying “James McMurtry stands out even among the Lone Star State’s finest songwriters…” The Black Dog and the Wandering Boy features appearances by Sarah Jarosz, Charlie Sexton, Bonnie Whitmore, Bukka Allen and more, alongside his trusted backing band, THE MARTIAL LAW REVIEW, Tim Holt on guitar and accordion, Cornbread on bass and Daren Hess on drums.As varied as they are, McMurtry’s new story-songs find inspiration in scraps from his family’s past: a rough pencil sketch by Ken Kesey that serves as the album cover, the hallucinations experienced by his father, the legendary writer Larry McMurtry, an old poem by a family friend. &nbsp;A supremely insightful and inventive storyteller, McMurtry teases vivid worlds out of small details, setting them to arrangements that have elements of Americana but sound too sly and smart for such a general category. Funny and sad often in the same breath, The Black Dog and the Wandering Boy adds a new chapter to a long career that has young songwriters like Sarah Jarosz and Jason Isbell cite him as a formative influence.

JAMES McMURTRY & The MARTIAL LAW REVIEW

Wolfman Jack Summer Sunday Residency

New Radiant Storm King:&nbsp;Formed in Amherst, Massachusetts in 1989, New Radiant Storm King released nine full length albums, numerous singles, and toured extensively before finally calling it quits in 2009.&nbsp;In 2023 the band briefly reunited in Holyoke, MA to host a concert commemorating the twenty-fifth anniversary of the release of their critically lauded album Singular, No Article.&nbsp;Back together for a few select shows, NRSK will be performing&nbsp;at The Stone Church, Brattleboro, VT&nbsp;on Saturday, June 20th with The Oranges.

New Radiant Storm King

Summer Tour Film Screening + Live Dead Performance by Mason’s ChildrenSummer Tour is a poetic documentary that follows Jerry and Annie, a magnetic young couple devoted to the music and community of Dead &amp; Company,&nbsp; as they journey across America for the band’s final tour. Blending intimate portraiture with lyrical road imagery, the film captures the essence of the Deadhead experience: an unconventional family bound together by music, freedom, and the open road. At once a love story and a celebration of a uniquely American tradition of wandering, Summer Tour reflects on what it means to seek belonging, adventure, and transcendence in a fleeting moment of cultural history. Mason's Children BioMason's Children&nbsp;brings the raw, psychedelic energy of the Grateful Dead’s early years to life. Formed by musicians who met while following&nbsp;Dead &amp; Company&nbsp;and&nbsp;Bob Weir &amp; Wolf Bros, the band built their following by playing Shakedown lots and surprise sets on the corner of Haight &amp; Ashbury. Their shows are a full-on revival of the 1960s spirit—authentic, electric, and deeply rooted in the music. Expect deep jams, vintage tones, and that unmistakable Dead magic from the '60s and '70s.

Summer Tour with Mason's Children

Ooh-wee-ooh, we look just like Buddy Holly! Don't miss Recent History as they take on one of the most iconic albums of the 90s: Weezer’s Blue Album. This isn't just a cover, it's a full-album experience, played track-for-track, complete with deep cuts and fan-favorites from the era. From the opening riff of "My Name Is Jonas" to the epic sweep of "Only in Dreams," plus a selection of other classics like "Susanne" and "Tired of Sex," this will be a powerful night of nostalgia. Then stick around for a bonus “Alt-Rock” Jukebox set, as the band performs a mix of your favorite alt-rock hits from all decades! Catch Recent History's tribute to Rivers Cuomo's masterpiece at The Stone Church in Brattleboro, VT, on June 13, 2026. Get your tickets now for a perfect mix of power-pop energy and heartfelt rock.

Recent History- Weezer Blue Album + Hits

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;Radio Kingston is a six piece classic reggae cover band, centered in the Upper Valley. Our sound embodies the spirit of Jamaica's rich musical heritage. Blending deep grooving basslines, hypnotic drums beats, and catchy guitar rhythms, Radio Kingston's sound is a tribute to the golden age of reggae. Inspired by the likes of Bob Marley and the Wailers, Toots and the Maytals, Joe Higgs, Black Uhuru, the band delivers uplifting melodies and conscious lyrics that speak of unity, love, and social justice. With soulful harmonies, Radio Kingston rolls out sounds that are fun, upbeat, and danceable for the whole family. Radio Kingston features Jody Segar on vocals, John Roback on bass, Dave Perrin on keys and trumpet, Rick Cambell on guitar, and keys, Brian Minisce on lead guitar, and Bob Stone on drums.

Black Uhuru

Brattleboro Queer Dance Party Presents… HOUSE OF LOVE: Liberation and Joy!Come join us for a night of dancing and radical expression, centered around our BIPOC community, at our small-town sanctuary for celebrating pride, liberation, and chosen family! With performers to be announced soon!The Stone Church 210 Main St, Brattleboro VT June 11th, 2026 8pm - 12am For Queers and Allies ages 18+ Tickets $10 online or at door

QDP- HOUSE OF LOVE: Liberation and Joy!

<ul><li>This is the part of the bio where we announce that beloved New Jersey seminal post-hardcore band Thursday are undertaking a tour where they are celebrating that their NO DEVOLUCION album turning 15 years old, their A CITY BY THE LIGHT DIVIDED album is turning 20 and their genre defining FULL COLLAPSE record turning 25 years old.&nbsp;</li><li>This is the part of the bio where we announce that we are celebrating all three records over two sets, coast to coast in America this April.&nbsp;</li><li>This is the part of the bio where we announce that Chris Conley from Saves The Day will be joining us on the tour.&nbsp;</li><li>This is the part of the bio where we announce that each night of the tour will comprise of three acts. Act 1 will be Thursday performing a selection of material from CITY and NO DEV. Act 2 will be Chris Conley making a rare solo appearance. Act 3 will be Thursday playing cuts from Full Collapse and the rest of their catalogue.&nbsp;</li></ul>&gt;&gt;&gt;&gt;&gt;&gt;<ul><li>This is the part of the bio where we mention that Full Collapse originally released on April 12th 2001 changed our lives forever and took us around all of the world.&nbsp;</li><li>This is the part of the bio where we talk about how the ‘success’ of Full Collapse started a major label bidding war that included meetings with Jay Z and Bon Jovi to sign the band.&nbsp;</li></ul>&gt;&gt;&gt;&gt;&gt;&gt;<ul><li>This is the part of the bio where we mention that A CITY BY THE LIGHT DIVIDED originally released on May 2nd 2006 by Island records is probably not what the music industry expected and is a case study of how to not follow up a top ten Billboard charts record (War All The Time)&nbsp;</li><li>This is the part of the bio where we explain that we never really cared what the music industry thought and we have always followed our own path and today CITY sits among our fan base as an accomplished piece of work.&nbsp;</li></ul>&gt;&gt;&gt;&gt;&gt;&gt;<ul><li>This is the part of the bio where we mention that No Devolucion originally released on April 12th 2011 via Epitaph records was written and recorded by a band who thought that this would probably be their last ever record and gave it everything they had.</li><li>This is the part of the bio where we mention that No Dev was the last ever Thursday record.&nbsp;</li></ul>&gt;&gt;&gt;&gt;&gt;&gt;<ul><li>This is the part of the bio where we state that in the past we have taken out bands like Portugal The Man, The Gaslight Anthem, Murder City Devils, Poison The Well. Coheed and Cambria to open for us and have toured with the likes of The Cure in the past and played carnivorous arena’s and stadiums with My Chemical Romance over the last few years.&nbsp;</li><li>This is the part of the bio where we state that because everyone expects us to come out with a particular support bill, we thought it would be fun to flip the script and support ourselves on this tour.&nbsp;</li></ul>&gt;&gt;&gt;&gt;&gt;&gt;<ul><li>This is the part of the bio where we say thanks if you made it this far as we never expect anyone to read any of this crap.&nbsp;</li></ul>

Thursday

We are beyond excited to announce our lineup for <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 xkrqix3 x1sur9pj x1fey0fg x1s688f" href="https://www.facebook.com/hashtag/brattrock?__cft__[0]=AZahvUcFH-snwhdvXPQ-1rR0w_vfwkMhxxs5lP0hp_mTlf_Trtb2ZPvQRyc_BGkUMYwt2GUvKuKAXAooAaNckxbaEFIBMQ_kNhE-I7DnzPOYOfhwn_Slczf09LcN6C-r2pS3e9d4taOHnma74TKj40HfH6zfL4qC0PrmPuoATYG40nA7hrRqTVlBWbPARz1dQzk&amp;__tn__=*NK-R">#BrattRock</a> 2026 Spring Edition. Amazing youth bands - many that we haven’t heard at the Stone Church stage yet! Please welcomeThe Snapdragons @the_snapdragons__Riverside RiotThe Cheese PriestsDead Man’s ClothesEva Isabella @evaisabellamusicVacillator @vacillator_bandLeo Machelor @leomachelorCold Hard TruthSchedule 7-10.30pm! Youngest musician is 11-years-old! We will have rock’n’roll, pop, bluegrass and lots of fun! Join us Friday June 5th in Brattleboro. Thank you @guilfordsound The Richards Group @chromatechnology @brattleborofoodcoop @northeastdeltadental

BrattRock

Cancerslug

Ms. Ezra Furman Doing What She WantsMs. Ezra Furman will entertain in whatever way she wishes. It might be story telling, it most likely will include music. But it is up to her, at the end of the day. Be prepared to be engaged. This is a very small room, tickets sell out quickly, tell your friends.Ezra Furman is a boundary-breaking artist whose fearless creativity and emotional honesty have made her one of the most compelling voices in modern music. Blending punk energy, heartfelt lyricism and genre-defying innovation, Furman’s work is both deeply personal and universally resonant. This year saw the release of her 10th album Goodbye Small Head. &nbsp;&nbsp;“If I were a music journalist, I would call this an orchestral emo prog-rock record sprinkled with samples. Thank goodness I’m not a music journalist!” explains Ezra. “I think of this music as cinematic and intense. A friend of mine said it sounded like “the coolest movie soundtrack of 1997,” and I’m quite pleased with that description. We’ve incorporated a small string section into eight of the twelve tracks, and are using samples for the first time. Other than that, this record features something that’s become nearly an anachronism: a band that’s been playing real instruments together for over a decade, intuitively in touch with each other as musicians. Four players in a room together who know exactly how to respond to one another.”Over the course of her illustrious career, she also recorded the soundtrack for the Netflix smash hit TV series Sex Education and authored Lou Reed: Transformer for the 33 ⅓ series. Ezra Furman’s music is a testament to the power of individuality and authenticity, marking her as a truly unique voice in modern music.Alternative singer songwriter Mimi Fang creates feelings out of thin air which draw you deeper into your own experience and immerse you in the Mimi Fang world. Her songs are a dance, evoked through a push and pull of intimate lyrical sincerity and cathartic, driving power pop melodies. With raw emotional clarity, Mimi Fang creates a listening space where laughter, tears, and unanswerable questions seek to exist all at once.Limited low income tix available at the door.

Ms. Ezra Furman Doing What She Wants

The 10 members of No Static have performed the music of Steely Dan since 2005. Thousands of Dan lovers young and old have experienced the excitement they bring to every performance. Appearing at first-tier venues across New England and beyond, this talented band has earned the admiration and affection of critics and fans alike. Based in Boston, No Static is one of the top Steely Dan tribute bands in the country. These dedicated musicians specialize in expertly performing the music of Steely Dan, re-creating that amazing bluesy jazz-rock sound invented by Donald Fagen and Walter Becker. As Dan fans know, this is no small feat. The music is complex, spanning genres, requiring precise attention to musical detail, with subtle grooves, sophisticated vocal harmonies, iconic solos, and time and key changes popping up when least expected. Steely Dan is not an easy band to pay tribute to. No Static has been nailing it for over 20 years now and their sold-out shows tell the tale. With passion and warmth they cover the breadth of Steely Dan’s great catalog, attracting some of Boston’s finest musicians, and working with guest performers including Steely Dan band members Walt Weiskopf (saxophonist) and Jon Herington (Music Director/guitarist).&nbsp;

No Static

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

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

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

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

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

from the pits of heaven&nbsp;Since meeting in high school, Cooper Handy and Salvadore McNamara have slowly and steadily worn down their own distinct rut in the East Coast post-everything guitar based music underground. As Taxidermists, the duo have been flying on the cusp of above and below the radar for a few years now. With a handful of excellent releases, and a constant stream of live shows, the Massachusetts based band has wholeheartedly embraced what the kids used to call DIY. No pretension, no gimmick and having nothing to prove to anyone but themselves has melded their playing into a sound of their own. Drums playing as much melody as they are keeping time, high-IQ guitar playing, and lyrics that simultaneously remain fractured and hit straight to the point. Taxidermists songs and shows are often short and to the point, leaving you both satisfied and wanting more. Recently Cooper has found success with his solo project LUCY (Cooper B. Handy). GQ called him “your favorite artist’s favorite artist.” Although I’m not sure how accurate that is. My favorite artist is Josef Albers, and he died almost 50 years ago. That said, it’s that same energy that Cooper brings to his solo endeavors that he, along with Sal, bring to Taxidermists. The band's forthcoming LP 20247 is out March 7, 2025 on Danger Collective Records.&nbsp;

TAGABOW

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

ORIGINALLY FROM SMALL-TOWN CONNECTICUT, THOUGH NOW BASED IN NASHVILLE, TN (AS OF 2019), JOSHUA QUIMBY HAS MADE A NAME FOR HIMSELF AS AN ALTERNATIVE COUNTRY-FOLK SINGER/SONGWRITER AND GUITAR PICKER. A MULTI-DISCIPLINED CREATIVE CARVING HIS OWN PATH, QUIMBY HAS EARNED HUNDREDS OF THOUSANDS OF LISTENERS AND FOLLOWERS ACROSS PLATFORMS, AND MILLIONS OF STREAMS, THROUGH THE YEARS. WHEN HE ISN’T SINGING, PLAYING, OR ON THE ROAD, QUIMBY WRITES POETRY AND SKETCHES.A long-standing favorite in the DIY and folk punk scenes, singer-songwriter Matt Pless has been making an impression on music fans since he was first noticed singing at Occupy Wall Street. More folk than punk, Pless is an outsider among outsiders…his wild hair and lyrical finesse call to mind Dylan at his peak.&nbsp; A fast-paced, energetic, live performer, he captivates audiences whether on stage in a solo/acoustic set or working with any number of band members. Matt Pless has independently released several albums, including 2022’s “Cheap Shots on the Rocks”, and has garnered a dedicated following across the US and beyond. His distinctive voice delivers songs addressing love, loss, and social observations with equal parts sincerity and irreverence. His music not only entertains but also provokes thought, encouraging the listener to reflect on the complexities of the modern world. With each new release, Matt Pless continues to evolve, offering a fresh perspective that stays with you long after the song has ended.&nbsp; This year, Matt has been in the studio with legendary Bouncing Souls guitarist, Pete Steinkopf recording a new all acoustic album along with a more punk-forward, band EP. His latest single, “Troubled Times” is available for streaming or download at <a target="_blank" rel="noopener noreferrer nofollow" href="http://mattpless.bandcamp.com">mattpless.bandcamp.com</a>.

Joshua Quimby // Matt Pless

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

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

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

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.<hr>DUST WITCH makes dark psychedelic anthems for freaks, snythoids &amp; proglords.&nbsp;Formed in Western Massachusetts in 2011 with a shared love of horror soundtracks &amp; 70s Italian and European prog-rock, Dust Witch plays a heavy &amp; pastoral take on twisting, instrumental prog rooted in old-school warmth and groove. Swathed in mellotrons, synths, and propulsive rhythms, DW has been compared to Goblin, early Genesis and Crimson, French masters Magma and Gong, krautrockers Popol Vuh, Canterbury's Soft Machine, and the headbangers of jazz-fusion. "Tight, complex and densely layered - recalling Goblin at their most fluid, and Yes during their most wigged out moments. What sets them apart from their current synth wave contemporaries is not only their exceptional song writing skills but the addition of live drums &amp; guitar which gives a very human element missing from most current synth acts operating today."&nbsp;70s French prog icon Patrick Gauthier reflects, "It's remember me my youth with mini-moog and repetitive sequences. It's lighty and certain happiness into it."

Secret Chiefs 3

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

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 w/ Emily Margaret Band

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.From her early days, staying late after-hours at her video rental store job in Maine to record songs, to co-producing and arranging her four studio records, Aly Spaltro has remained focused on music that connects, empowers and builds community. She built her fanship the old-fashioned way, getting in front of audiences and projecting her poetic confessionals, silencing rowdy crowds with an a cappella opening song in the center of a dark stage. Spaltro was quick to develop a reputation as a breakout star in New England, and then expanded slowly outwards, moving to New York at twenty to continue work on the songs that would become Ripely Pine. Her voice has never wavered, has grown more honest and open with time, and anyone witnessing the long lines of fans seeking signatures after her performances can see how her work has impacted fans. Her live shows are revelations, a further deep dive into what makes Ripely Pine such a mainstay.Spaltro is celebrating ten years of Ripely Pine with the release of a 5xLP Box Set, IN THE MAMMOTH NOTHING OF THE NIGHT out August 18 on Ba Da Bing Records. With the original songs remastered, as well as reams of additional material produced and arranged by Spaltro and mixed by original co- producer Nadim Issa, IN THE MAMMOTH NOTHING OF THE NIGHT captures the time, mood, art and ambition of Aly Spaltro in her early twenties, who had already accumulated years of playing and self-recording experience before laying down tracks for this giant of a debut.“I wrote some of these songs when I was 18, learning how to play the instruments and record with my digital 8-track along the way,” Spaltro says, reflecting on the time. She talks about IN THE MAMMOTH NOTHING OF THE NIGHT with a sense of a mission. “These tracks have haunted me, because they haven’t had a home for all these years. I found all these alternate track listings in my notebooks. Any of them could have ended up on the record,” Spaltro says. “This box set is a way to honor that whole time, the beginning of the path of my life. Releasing this project feels like just that; I’m able to look back on where I’ve come from, and then gently close that door behind me and keep moving, keep growing.”

Haley Heynderickx & Max Garcia Conover

As the sun shines to warm the ground, sleepy queers begin to wake from their winter slumber. Brattleboro Queer Dance Party is offering a new time with an inaugural Tea Dance on Sunday, April 26th from 3p to 7p at the Stone Church.To offer another element of accessibility and to further our mission of building community, this party is happening earlier in the day and open to all ages. The always-danceable music flow will begin without expletives and shift to more mature content over the course of the event. Got song inspiration? Something you've been vibing to and eager to hear at a QDP? We invite you to submit song requests via the link in bio or the QR code on the graphic.This BQDP is open to Queers and Allies of all ages.We kindly request that you wear a mask to protect yourself and others in these times of indoor entertainment.Sliding Scale $10-20

Bratt QDP Spring Afternoon Dance Party

Join Stone Church Tech Director Dan Richardson for Protest Sound Systems- a 2 hr workshop in getting your message out to a crowd.We will have various systems there, running demos on what to do and what not to do. How to be safe, how to be effective. You are encouraged to bring your own gear. No matter how small, we'll set it up and get the most out of it.This class will be offsite at The Brattleboro Commons. Raindate of 4/26 (postponement will be posted on socials that morning)Click the big button above to enroll.

Protest Sound

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

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

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

Strange Creek Battle of the Bands

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

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

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.

Stone Church

@stonechurch