Seattle's Neumos is set to be the epicenter of diverse musical artistry with upcoming performances from GoldFish, Rare Americans, and more. These events, spanning genres and continents, promise to deliver a rich auditory experience. From electronic dance rhythms evoking summer ocean waves to animated punk rock narratives exploring the human condition, the creators involved are rewriting the rules of their respective genres. Join us as we dive into the vibrant world of these artists and explore what makes their contributions to music and culture stand out.

A Sonic Tapestry: Neumos Hosts Eclectic Line-Up of Trailblazers

Join us at Neumos in Seattle as it hosts an extraordinary lineup of artists in 2025, featuring the trailblazing Mallrat, the introspective trio Trousdale, the resilient Ben Kweller, the intense Osees, and the enigmatic Splean. From electrifying performances to emotional narratives and thought-provoking themes, these events promise to captivate audiences and create unforgettable experiences. Let's dive into the details of each artist and their unique contributions to the vibrant world of music.

A Musical Odyssey at Neumos: From Mallrat to Splean

Splean

Neumos

Psych-punk psychic warrior, ear worm-farmer, and possessor of many stamped passport pages John Dwyer does not let up. His group Oh Sees (aka Thee Oh Sees, OCS, The Oh Sees, etc) have transmogrified to fit many a moment – from hushed druggy folk to groovy demonic pop chants to science fictional krautrock expanse and beyond – to suit his omnivorous whims. It’s common knowledge however, that at their shows, you’re there asking for a beating. 20 years going and the shows keep getting more and more intense, as many a soupy swarm can attest. The locked-in Rincon/Quattrone drum cops propel masses of strangers to froth and lean into each other as the insistent and repetitive underpinning tumbles nimbly from Tim Hellman’s bass. Meanwhile John ricochets breathy yips and snippets of synth and all manner of guitar heroics around your brain canyons while your reptile instincts yell “move”. Brain-stem body rock meets cerebral expanses, and their now du jour prolifically feeds a labyrinthine garden of well-hewn tunes.

Osees

BK is back and he’s not the same. Who could be after the heartbreak he’s endured since the sudden passing of his 16-year old son. Instead of hiding away, the beloved indie-rocker is walking through the fire of grief with intention and purpose. This unimaginable journey has led him to his seventh album, Cover The Mirrors, and the accompanying tour which begins on April 15th. “Music has been my savior throughout my life but never before has it saved me as much as it has this past year. My upcoming album, Cover The Mirrors, is a deep dive into my new reality. It’s a collage of my good days and my bad days, my highest highs and my lowest of lows. It's the most personal, emotionally raw project I've ever worked on.” Kweller has been an open book throughout his illustrious career. His songs hold a nostalgic quality that takes you to a time and a place, happy or sad. He’s also one of the rare few who can translate his recordings into captivating concerts that keep his fans coming back again and again. If you’ve never seen BK live before, the Cover The Mirrors Tour is sure to be his most heartfelt and joyous live show yet. This is a chance for old and new fans to come together and witness one of the great songwriters at his creative peak.

Ben Kweller

For Trousdale—the trio of Quinn D’Andrea, Georgia Greene, and Lauren Jones—the ache of growing through change resonates deeply. Like certain long nights of childhood where growing pains can feel like every inch is aching, cramping, pinching, Trousdale understands the feeling that comes with facing down existential anxiety, and matters of the heart. “We can acknowledge the strides we’ve made and be grateful, but we’ve talked a lot about how tired we are,” Jones says with a laugh. “We’ve been thinking a lot about the tension that comes with change, wanting it, fighting it, embracing it, but learning to thrive in that moment.” On Trousdale’s upcoming LP, Growing Pains (due April 11th) the band works through those struggles to find strength, courage, and growth in each other. “From what was, something new can always grow.” D’Andrea says. Opening on a ripping electric guitar and bolstered by their trademark harmonies, the title track and lead single perfectly encapsulates those feelings in the life of Trousdale. “I’m making it through the tough times when it feels like I’ve been burning out/ Trying to build up the muscle so the hustle doesn’t pull me down,” they sing, a limber bass line drawing each new syllable forward. The album was recorded largely live in the room and co-produced by the band and John Mark Nelson, a songwriter who has also co-written and produced songs for Suki Waterhouse and Shaboozey, as well as engineered tracks for the likes of Taylor Swift and Mitski. Songs like “Growing Pains” highlight just how much warmth and depth lent to Trousdale’s already golden tones. “This song was about what we feel every day in this band, what we’re going through as a band,” Greene says. “This is our shared experience, being exhausted but finding beauty together.” Trousdale’s debut album, 2023’s Out of My Mind, earned raves from the likes of the Boston Globe, Consequence, and Atwood Magazine for its powerful songwriting, immaculate harmonies, and ability to bridge gaps between country and indie pop. The group further honed those strengths on the road, finding deeper grooves and learning how to further highlight each of their voices individually. That process continued when writing Growing Pains, when the three songwriters set off to write rough ideas on their own, then refining and finishing them in the room together. “We can be vulnerable and share our feelings, but none of us has to feel like our heart is on the line alone,” D’Andrea explains. “We’re all adding to each other’s ideas, drawing from personal experiences and then expanding them into something more people can connect with.” To that end, second single “Secondhand Smoke” feels every ounce of personal specifics in its story of an abusive relationship, but elevates into something far more haunting. There’s an icy chill to the acoustic guitar, the pain ringing softly into the night as the trio take on the perspective of a woman struggling to find hope: “Does it make me a fighter, does it make me a fool?/ Is it a matter of time til I burn with you?” Greene recalls the intense energy in the room as they finished writing the song, the trio and co-writers Mags Duval and Adam Yaron talking through their own experiences with people who have destructive personalities. “As a creative, working with brilliant people like this can make these experiences feel very real,” she says. “It’s easier to get into that space with everyone’s voices ringing out together.” While those songwriters proved brilliant collaborators, the trio credit John Mark Nelson as a particularly powerful aide in seeing the album through its growing pains. “He’s always thinking about the big picture and staying out of the weeds, but getting in the weeds has always been our bread and butter,” Jones laughs. “We used to live in the weeds. But John Mark helped us focus on the album as a whole.” That lesson shows both in the totality of Growing Pains and in the summery charm of a track like “Over and Over”. Nelson shared a rough sketch of the track, and Trousdale eagerly carved out their own version: a tale of running into an ex and trying to decipher how you feel about everyone moving on. “There’s never a good time to run into your ex , and it’s even worse when they’re bragging about how well they’re doing now,” Greene explains. D’Andrea points to the way the track leaps between tight-knit harmonies and lead vocal flourishes as emblematic of the new heights Trousdale has reached. “Every time we record and we're in the vocal booth, we're all getting better and figuring out what we need,” she says. “We know how to accentuate the writing and make sure we’re hitting a song’s fullest potential.” Part of that reach came from expanding their sonic palette and using a larger band. “We made charts for a full band and went in with concrete ideas of where each song could go,” Greene says. “We have such incredible musicians on the record and knew they would run with it. It just feels way more organic and fresh than we’ve done before—less takes, less editing, and less chances to overthink things .” As good as Trousdale sounds when they lean into their gold-hued pop, the group work their country flair into the material more masterfully than ever before. There are shades of Leann Rimes to the groovy, swaying “Lonely Night”, a track determined to push any listener out of their solo funk: “A little taste of the high life/ Cause I don’t need another lonely night.” The heartbeat-ballad “Want Me Back”, meanwhile, took inspiration from Lady A and finds the trio hoping that an ex might be regretting the breakup. “I went into our recording session thinking the song would end up straight country, and Quinn and Georgia thought it would be straight pop,” Jones explains. “Our bassist worked some doo-wop into the mix, and we found something really special to lean into.” Across 12 remarkable tracks, Growing Pains stares down all the weight of its title, a trio of strong, independent women facing the threats of loneliness, broken hearts, loss, and more, and converting it into transformative, uplifting music. And as the album closes on the dazzling “Last Bloom”, Trousdale basks in the light at the end of every tunnel. “What it was will grow into something new,” they sing, radiating at the end of the journey. “It's a reminder that even in the coldest moments, renewal is always possible,” D’Andrea explains. “The song was inspired by Lauren trimming her houseplants, and I was inspired by the idea that letting go of what no longer serves us can help something new take root.” Trousdale is partnering with The Ally Coalition on behalf of The California Community Foundation’s Wildfire Recovery Fund. $1 from each ticket will support both mid-term and long-term efforts to rebuild and restore the lives of California’s most affected and underserved populations.

Trousdale

Mallrat has been breaking barriers since her influential debut – accumulating over half a billion career streams in her discography and scoring many ARIA Platinum awards. The project of Grace Shaw has shared stages with Maggie Rogers, Post Malone, King Princess, Conan Gray; collaborated with Azealia Banks, The Chainsmokers, BENEE, Blu DeTiger, Cub Sport; a late night TV debut on The Late Late Show with James Corden; headline world tours amongst globally recognised festivals Reading and Leeds, Austin City Limits, Laneway, Splendour In The Grass, Listen Out and boasts multiple triple j Hottest 100 entries. The adored songwriter and producer’s work catapulted Mallrat across the globe with critical acclaim from NPR, Stereogum, NME, NYLON, PAPER Magazine, The New York Times, Billboard, Noisey and more, further affirming Mallrat as a beacon primed for the world stage in 2025, off the back of a Zane Lowe premiere for latest single Hocus Pocus.

Mallrat

Cheekface is an indie rock trio, more precisely a talk-singing band, from Los Angeles. The story starts in 2017. Things were getting pretty crappy on Earth. Indie rock lifers Greg and Mandy got together to write out the anxiety, despair and the bleak humor of it all. They sent the demos to Echo and, voila, a band. It wasn't a project that started with much ambition: the idea was to drop a record on Bandcamp and call it a day. But in 2018, the band's second single "Dry Heat/Nice Town," a playful pub rock tune about leftist protest culture, started to snowball online. A word-of- mouth cult started to form, and it intensified with Cheekface's community-minded singalong shows. Fans dubbed themselves "Cheek Freaks." The band chased their 2019 debut LP "Therapy Island" with 2021's "Emphatically No," which bowed as Bandcamp's top-selling alternative album. Their 3rd LP "Too Much to Ask" in 2022 was a watershed moment: it shot to #2 on the non-commercial radio chart, and The Needle Drop proclaimed it one of the year's best albums. Cheekface's 4th album "It's Sorted" came out January 22, 2024. Touring to support "It's Sorted," the band sold out shows across the US, Canada and the UK.

Cheekface

Blood On The Silver Screen Out March 7, 2025 Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.” After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.” She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen. “I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.” Blood On The Silver Screen Tracklisting 1. Slugger 2. Just Be Friends 3. I’ll Be Gone 4. Love Makes You Do Crazy Things 5. In Love With A Memory (featuring Clairo) 6. Possessed 7. Figure it Out 8. For The Weekend 9. Honeycrash 10. Hom Interlude 11. Nothing But A Sad Face 12. Lose It All 13. The Seed Mood Killer Artist Bio Opening portals to higher realms has long been the meandering path of experimental pop artist Mood Killer (they/them) culminating last year in their debut album “ABRACADABRA.” Bursting onto the effervescent LA scene in 2019 with pioneering EP “Liquify”, Mood, aka Michael Zarowny, quickly drew in a circle of collaborators and fans across the pop and alt spectrum, crafting a pioneering and unique blend of theatrical electronic pop and mystical panache. Their EP “Solidify” saw collaborations with Slipknot’s SID, The Garden’s Enjoy and Pussy Riot amongst others whilst Mood has performed with alt-pop greats Charli XCX, Caroline Polachek and Dorian Electra. With their ever-expanding musical journey taking inspiration from deep academic fixations on “sociology and the way our identities and realities are socially constructed”, the acclaimed EP, widely supported by Paper Magazine, Clash and more, opened up a fantastical sci-fi deep dive in an electronic music scene that so rarely touches upon the conundrum of the human experience. 2021 brought forth Mood’s divisive yet acclaimed official remix of Sine From Above feat. Elton John on Lady Gaga’s Dawn of Chromatica album. The song was one of the most talked about tracks and described by world renowned music critic Anthony Fantanto as, “one of the most insane things I think I’ve ever heard.” The same year saw the Happy Birthday single, music video, and bizarre 100-track album of remixes customized with popular names. 2024 saw the release of Mood’s acclaimed debut album “ABRACADABRA,” a kaleidoscopic dreamscape of buzzy electronic bass, jazzy horns, hyperpop and Hollywood foley studio sound effects. Mood effortlessly pulls you from an underground hyperpop club to a divine comedy that sits somewhere between Twin Peaks, Fantasia and Vaudeville Magic Show - the most unexpected colliding of worlds of a generation. Hitting multi-million streams and releasing self-directed music videos created with renowned production team “Wendyvision,” Mood celebrated a breakthrough year of transmutating the hyperpop space into a realm of mutli-dimensional possibility and is set to continue their journey through 2025 with US Touring, a magical variety show and the release of more musical mastery. The fool’s journey continues in 2025 with Mood providing direct support for Sasami on their US Tour and the release of new music that sends the magic act careening into dance pop territories. “This is one of the most insane things I think I’ve ever heard…" -Anthony Fantano on Sine From Above (with Elton John) - Chester Lockhart, Mood Killer & Lil Texas Remix "Mood Killer is the queer antidote to your boring pop malaise." - PAPER Magazine

Sasami

The latest album from Neal Francis, Return To Zero, emerged from the kind of visionary fever dream that only the most masterful and inventive artists are capable of bringing to life. Amid a grueling tour schedule that found him playing nearly 400 shows from 2021 to 2024, the Chicago-based singer/songwriter/pianist immersed himself in creating a beautifully strange entangling of timeless rock & roll and ’70s-era dance music, merging supremely heavy guitar riffs with lush and pulsating grooves—all constructed sans digital programming, in keeping with his devotion to all things analog. Worlds away from the glitzy fantasia of archetypal disco, Return To Zero inhabits a far moodier atmosphere and ultimately makes for the most thrilling manifestation of Francis’ peerless musicality yet. Equal parts heady and hedonistic, pensive and euphoric, Francis’ third studio LP echoes both his deep-rooted psych-rock sensibilities and a lifelong affinity for classic funk. “I’ve always been intrigued by music that toes the line between funk and rock,” notes Francis. “In the past I’ve asked myself things like, ‘What would it sound like if Thin Lizzy cut a disco record?’ It’s something I’ve been fascinated with for a very long time, so I finally decided to really go for it.” The follow-up to his 2023 double live album and concert film Francis Comes Alive, Return To Zero marks Francis’ first full-length studio effort since In Plain Sight—a 2021 release acclaimed by the likes of leading rock critic Steven Hyden, who praised its “throwback big-band sound that recalls the highs of 1970s funk and swamp rock.” With his past work also including his 2019 debut album Changes (hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6), Francis began playing piano at the young age of four and became an in-demand sideman while still a teenager, touring with revered blues artists and beloved instrumental band The Heard before embarking on his solo career. Over the years, he’s sold out headline shows all across the globe, supported the likes of Wilco, Black Pumas, and My Morning Jacket, appeared at major festivals such as Bonnaroo, Fuji Rock, and Lollapalooza, and even performed at historic venues like Carnegie Hall. Like all of his studio work so far (including his 2022 EP Sentimental Garbage), Return To Zero finds Francis co-producing alongside his frequent collaborator Sergio Rios and recording live with members of his touring band (drummer Collin O’Brien, bassist Mike Starr, guitarist Kellen Boersma), elegantly showcasing his prodigious talent and dazzling originality as a keyboard player. Mainly created at Rios’ L.A. studio, the album’s grandiose yet warmly inviting sound also took shape from his close collaboration with composer/conductor Dom Frigo (who aided Francis by transcribing the LP’s symphonic string sections), Say She She (a Brooklyn-based psychedelic-soul trio who adorn a number of songs with their beguiling backing vocals), and a stacked lineup of co-writers that includes Queens of the Stone Age bassist Michael Shuman and Wild Belle co-founder Elliot Bergman. In the making of his most ambitious work to date, Francis faced countless moments of creative frustration—a factor that eventually gave the album its title. “I was cutting a lot of the vocals at home, using a hybrid process where I’d bounce the tracks from my computer to a tape machine and then record the vocals to tape,” he explains. “I’d be in my vocal booth in the closet with all our winter coats, and every time I needed to start over I’d press this button that says ‘RTZ,’ which stands for ‘Return To Zero.’ I was doing take after take and pressing that button over and over—it was a huge pain, but it also linked up with what I’ve learned in my meditation practice: no matter how frustrated you get, just remain calm and take inventory, and then begin again.” Although executing Return To Zero’s highly elaborate arrangements often involved a very time-intensive trial-and-error approach, the album-opening “Need You Again” surfaced from an immediate burst of inspiration after Francis attended a DJ set by Derrick Carter (a Chicago house legend who created a 12-inch remix of “BNYLV” from In Plain Sight). “My girlfriend and I went out to a queer dance party called Queen! and stayed till about four in the morning, and Derrick played a track that was a big rock riff over a funk beat,” he recalls. “The next day I went into the studio on very little sleep and started working on the demo for ‘Need You Again,’ and after I finished I couldn’t stop listening to it.” Featuring a guest spot from Grammy-winning guitarist Eric Krasno (Soulive, Lettuce), the result is a glorious entry point into the album’s groove-heavy soundscape, unfolding in sinewy riffs and larger-than-life rhythms as Francis narrates a tale of ruinous infatuation. “It’s a song about a love affair, and the experience of projecting magical qualities onto another person and feeling almost addicted or beholden to them,” he reveals. Another charmed moment in the album’s creation, “Broken Glass” was sparked from a session featuring Francis on bass and Shuman on drums, with the two soon conjuring the hypnotically potent riff that propels the track forward. With its viscerally charged depiction of lust and self-denial, the darkly majestic epic reaches a stratospheric crescendo at the bridge, when pounding drums meet with Say She She’s near-operatic harmonies. “Once we had that riff I started filling in some freeform poetry from my notebook, which had to do with the idea of taking direction in an intimate liaison,” says Francis. “It all came together so naturally because of how Michael was playing drums, bringing that Queens of the Stone Age heavy-rock thing I love so much.” One of the most dance-ready tracks on Return To Zero, “Back It Up” glides along on glossy synth lines and a playfully swaggering riff, imbuing a carefree spirit into Francis’ deliberately over-the-top confession of romantic desperation. “That song went through a few different phases before we got to the final iteration,” he says. “It took me a while to accept that it’s okay to have fun with the lyrics, instead of making everything so serious all the time.” Meanwhile, on “What’s Left Of Me,” Francis presents a gorgeously sprawling power-pop anthem built on his resplendent piano work. Co-written with Nashville-based songwriter Chris Gelbuda, the track arose from a piano-and-vocal demo captured at Chicago’s Fine Arts Building, soon evolving into a piercingly candid reflection on life on the road. “Chris and I are good friends and we got to talking about the challenges of being in a committed relationship while you’re on tour,” says Francis. “A lot of these songs were influenced by Electric Light Orchestra and the way Jeff Lynne synthesizes classical music and pop songwriting, and ‘What’s Left Of Me’ was definitely one where I was going for an ELO vibe.” Partly inspired by the funk and dance records he typically spins during his sets as an all-vinyl DJ, Return To Zero also encompasses everything from the spaced-out drama of “Dance Through Life” to the string-laced reverie of “Can’t Get Enough” (a collaboration with Durand Jones & The Indications’ Blake Rhein that is a sublimely mellowed-out homage to acid-jazz pioneer Roy Ayers). In creating such a complex body of work, Francis found his sense of perseverance repeatedly tested. “Most of these songs were pretty hard-won,” he says. “There was a feeling of pulling out all the stops to achieve what I was going for, and in the middle of that I was dealing with some depression and exhaustion. I ended up learning a lot about myself, and now I feel like I’m in a completely different place in terms of my priorities with mental health.” Despite its more daunting aspects, the writing and recording of Return To Zero also brought plenty of moments of pleasure, including composing with strings for the very first time and tracking songs with his longtime bandmates. “All those guys are like my brothers, and there was a feeling of us working together with an almost athletic desire to get better every time we did a new take,” Francis says. “Those were really long days at the studio, but they were also so much fun.” Looking back on the making of Return To Zero, Francis points to certain crucial lessons absorbed while creating his most extravagantly realized work so far. “One of the main things I’ve learned is that every album is going to be its own journey; I can’t really take the arsenal of things I’ve learned in the past and expect them to save me from any kind of frustration with whatever I make next,” he says. “Creating art is always going to be a challenge, which maybe goes back to why AI-created music is never going to be all that compelling—it’s just too fucking easy. The best I can do is use what’s at my disposal and try not to freak out or despair when it gets difficult, and hopefully end up making something that gives people joy.”

Neal Francis

Jane Remover

Momma is the musical project of Allegra Weingarten and Etta Friedman. After moving to New York from Los Angeles, the two brought on bassist and producer Aron Kobayashi Ritch, and drummer Preston Fulks, to flesh out their sound. Produced by Kobayashi Ritch, Momma's new album, Welcome to My Blue Sky, lays bare all of the precious and all of the ugly experiences of falling in and out of love, and the art of keeping secrets. Welcome to My Blue Sky comes out April 4th, 2025. Sicerely, Momma


Momma

Matt Hansen, age 24 and based in Los Angeles, CA, has garnered a significant following of 2.5 million on TikTok, where he showcases his soulful reinterpretations of popular songs and original music. With over 400 million streams across his first ten singles, all independently released, Matt's music has resonated deeply with listeners. His latest hit, "LET EM GO," has particularly captivated audiences with its powerful vocals and poignant message of emotional healing.

Matt Hansen

Nightly is the electrifying alt-pop indie trio that's taking the industry by storm. Comprised of Jonny Capeci, Joey Beretta & Nick Sainato, the band has been described as, “Positioned to be named amongst the best that modern alternative music has to offer,” by Square One Magazine. Nightly has been featured on Alt Nation and Hits1 Hitbound on Sirius XM, and HITS Daily Double Artists to Watch. Their sophomore album, 'wear your heart out,' ignited a blaze of excitement among fans and critics alike. Debuting at #6 on the iTunes Alternative Charts, the album followed their consistent success with their earlier EPs, their debut album, and singles, as well as varied collaborations with artists including: Knox, Ayokay, NOTD, Mokita, Georgia Webster and K-Pop artist Jeong Sewoon. Nightly's live performances have taken them across the country on several headline and support tours for artists like NF, The Midnight, Andy Grammer, Kane Brown and Imagine Dragons, as well as performing festivals like Hang Out, Lollapalooza, Firefly, Summerfest and Lovin Life Festivals. Their last two headline tours saw their fanbase grow significantly, with their sold out 2023 'wear your heart out' hitting major markets across the U.S., finishing with a massive sold out show at The Brooklyn Bowl in Nashville, TN.

Nightly

The PNW's only destination extreme metal fest. May 8-10, 2025. Neumos & Barboza. Featuring Agalloch, Demolition Hammer, Gorguts, Panopticon and more. 3-Day tickets on sale now.

Northwest Terror Fest

For a band that seems to thrive on collapse, it’s simply amazing that this US/Japanese quartet is now celebrating their 31st year. Though Deerhoof long ago established itself as one of the greatest rock groups ever to stride the earth—and if you think that’s hyperbole, you haven’t seen them live—the furiously inventive quartet releases new albums on the schedule of a young band still hungry for its first break. Each one discovers some previously unknown combination of candy-coated hard-rock riffs and free-jazz percussive freakouts, sideways J-pop hooks and fearsome dissonance, trenchant social commentary and surrealist humor. Fronting it all is Satomi Matsuzaki’s inimitable alto, whose plainspoken calm can seem strangely outside of the band’s maelstrom. This music is joyful and foreboding, cybernetic and deeply human, carrying an implicit note of defiant optimism in their refusal to bow to convention or received wisdom. Deerhoof is defined by such paradoxes.

Deerhoof

Seventeen year-old Chloe Moriondo arrives with “Kindergarten,” her first release via Public Consumption. Produced by Cavetown’s Robin Skinner, the track captures the dizzying feeling of a young crush. Moriondo began writing songs in her Michigan bedroom at the age of thirteen. Armed with a ukulele and relatable, confessional lyrics, the singer-songwriter has built a devoted fanbase of millions across all social platforms, sharing her authentic self to create a genuine connection with her listeners. A song from Chloe Moriondo is more than words and melody – it’s a message from a dear friend.

Chloe Moriondo

Clipping (Daveed Diggs, William Hutson, and Jonathan Snipes) are very story-oriented. They deal in ontology and narrative as much as beats and rhymes. Across six albums, along with countless singles, remixes, and collaborations, Clipping has been approaching making music like writing science fiction since the band’s conception. Two of their records have been nominated for Hugo Awards (one of science fiction’s top literary prizes), and a novella spun-off from their music was nominated for a third. As Clipping, they’ve collaborated with as many of their fellow experimental noise artists as they have fellow rappers. While their last few projects have been record-long concepts like the classic prog rock of old, new album Dead Channel Sky is mixtape-like, a carefully curated collection of songs in which every track is a love letter to a possible present. Like a mashup of distinct elements, the overall concept is there, but the result is brief glimpses into a world rather than an overview of it. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it’s a reminder of how slipshod our present moment truly is On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle, are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat—the detritus of a different timeline, the survivors of armed audio warfare. That war at thirty-three and a third, its atrocities imprinted upon yet another generation, what someone once called, “the presence of the significance of things” without a hint of ambiguity.

clipping.

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 releasing music to an a growing fanbase. Splithoff has toured globally as a headliner with appearances at renowned festivals such as Lollapalooza and Bonnaroo. Most recently, Splithoff collaborated with renowned jazz trumpeter, Chris Botti, penning the David Foster produced single, “Paris,” out fall 2023 on Blue Note Records. 2024 sees Splithoff on a global tour with stops from San Francisco to Singapore and putting touches on his sophomore album, due out spring 2025 via Virgin.

John Splithoff

Laura Jane Grace is a major figure in today’s rock scene as both a solo artist and the front person of Against Me!, which she founded in Naples, FL in the late 1990s. As a working artist, she has released six solo offerings and seven albums with Against Me!, and in 2012 went public with her gender transition in the pages of Rolling Stone. In her music, she continues to detail her journey all while staying true to her earlier themes of outspoken political critique – environmentalism along with personal and social liberation – with a base in American music including country and folk-rock, with a penchant for noise and anarchy. Laura Jane will be joined by her band "The Mississippi Medicals" featuring Matt Patton of Drive-By Truckers (bass), Mikey Erg of The Ergs (drums) and Paris Campbell Grace (vocals, percussion).

Laura Jane Grace & The Mississippi Medicals

Imagine a catchy pop gem, carried by an androgynous and haunting voice, dancing andgraceful like a soap bubble, designed as an anthem to joy. PAPOOZ’s summery sounds maketheir way into our ears never to leave.Their earlier entracing hit "Ann Wants To Dance" was an extraordinary success with 10 millionviews on YouTube with its kitschy and summery video and over 20 million streams on Spotifyand served as a kick-start for the duo, who had the simplest of goals: to make music,particularly pop, the soundtrack of their lives, out of love for guitars, but above all, to makepeople happy.For RESONATE, their fourth album, which began even before the release of its predecessor,Ulysse Cottin (the brunet) and Armand Penicaut (the blond) altered their composition processfor the first time, seeking the collaboration of Jesse Harris, an American songwriter known forhis work with Melody Gardot, Gabi Hartman, and Norah Jones. "One day," recalls Armand, "hesaid to us, “'Let's try writing a song together.” We got into it. By the end of the day, we hadrecorded a piece we adored. We repeated this process for about ten days, meeting everyafternoon in Ulysse's studio, writing, playing, and recording. We had the basic structure-a beat,a bassline, a rhythm guitar-but we didn't spend too much time harmonizing or arranging thepieces. We preferred to keep the spontaneity and energy intact, that immediate creative flow,full of freshness and sexiness."After composing and sketching out ten songs in Paris, the group flew to New York to meetJesse Harris once again, continuing this fluid and laid-back composition process in his loft in theheart of Tribeca. The first song born from these new sessions for PAPOOZ was "Resonate," acaptivating ballad tinged with folk strings and celestial choirs, which would give its name to thealbum. Armand explains, "Ulysse and I were going through a somewhat complex period.Theextensive live tour had exhausted us, my relationship was going through a crisis, and theconcept of resonance was a perfect metaphor to sum up the state in which both PAPOOZ andus found ourselves. Resonance is a concept theorized by Hartmut Rosa, a German sociologistand philosopher, as a remedy for the acceleration of the world and the madness ofcontemporary lives. But beyond the theory, it was necessary to rediscover the magic thatexisted between Ulysse and me, between our lives and the band, our audience and us, toregain the energy and joy we had in composing."Reconnecting with the fervor of their beginnings, like a welcome resurgence, Armand andUlysse then polished and finalized the score of songs from these writing sessions with producerPatrick Wimberly during a stay in the heart of Brooklyn. Of course, interspersed with nocturnalexpeditions in the city that never sleeps. Formerly of Chairlift alongside Caroline Polachek, theduo that revolutionized pop music, Wimberly is a sought-afterproducer-he's worked with BloodOrange, MGMT, Solange, Cola Boyy, and most recently on Lil Yatchi's incredible rap opera.He's a pop genius with whom the duo had been eager to work after a memorable encounter atthe Villa Aperta festival at the Villa Médicis. Armand recalls, "We were overjoyed when he accepted. He cranked up the sound, pushed us to rework certain arrangements, added finesseand cohesion to the album. He helped us bring to life this somewhat conceptual andmetaphorical idea of resonance without weighing down the pieces but rather polishing them,making them smoother, while retaining the spontaneity of the initial sessions, which was veryimportant to us. Most importantly, he restored our confidence.RESONATE is more immediate, raw while remaining melodic, melancholic and intimate,blending sentimental ballads and dance calls. The album recaptures the epic breath and theamorous nonchalance that characterized PAPOOZ's early steps. It's like the meeting of theamorous sweetness and California vibes of Metronomy with the psychedelic groove of MGMT.An ideal musical atmosphere visually brought to life by Moodoïd, who handles the visual aspectof the resonance concept. From "Resonate," with its heartfelt melancholy and haunting guitar,which opens the album, to the very funky and catchy "It Hurts Me," from the pop-infused andgroovy "Don't YouThink It'd Be Nice" to the slow and fatal "No One Else," the eleven tracks ofthe album showcase PAPOOZ's art of venturing into rock, pop, and song, driven by their knackfor melody that touches the heart, with lyrics finely crafted and delivered by the sublimelyandrogynous voices of Armand and Ulysse, and a joyous, stirring, and nonchalant groove that'sirresistibly infectious. All the while alternating between laughter and tears, melancholy andhedonism, ballads and dance invitations, introspection and letting go, with the same ease andspontaneity. In essence, it resonates with life in each of us.Ulysse and Armand met fifteen years ago in the never-ending line of a Parisian Patti Smithconcert. Their friendship was immediate, with afternoons spent reshaping the world, composingsnippets of songs on their guitars, and endless discussions about their love for songwriting.Their enjoyable guitars drew influence from the Beatles, Beach Boys, Steely Dan, VelvetUnderground, and Ry Cooder, all while approaching one of their major influences, Erlend Oye ofKings Of Convenience, and his project oscillating between pop and rock, euphoria andmelancholy, The Whitest Boy Alive.Their love for music spans across the vast landscape of Los Angeles highways, the artsyposture of New York, the psychedelia of the Summer of Love, the sophistication of post-punk,the intimacy of folk, and the flirtation with funk. A grand, hedonistic, and electric mix infused witha burst of pop and refreshing nonchalance! Active for a decade, equally at ease in the studioand on stage, they carried three albums under their belt, from the beginner, homemade, andnaive "Green Juice" (2016) to the very groovy and psychedelic "Night Sketches" (2019) createdwith Adrien Durand of Bon Voyage Organisation, passing through "None Of This Matters Now"(2022), folk-oriented and deceptively calm. PAPOOZ has seamlessly fit into the revival of theFrench pop-rock scene, along with La Femme, Feu Chatterton, Catastrophe, Moodoïd,L'Impératrice, and Bon Voyage Organisation. All of these bands, fueled by the success ofPhoenix, assert their influences with a relaxed attitude while exploring new frontiers withelectronic elements.

Papooz

The bastard child of a Ramones/Strokes one night stand, Bad Nerves play ferociously fast distorted pop songs and drew acclaim with their previous releases ‘Dreaming’, ‘Baby Drummer’, & ‘Can’t Be Mine’. It would appear to be in the DNA of rock music, particularly punk music, that the music itself happens by some kind of happy accident. Nothing truer could be said of the Essex five piece speed punk band. For frontman Bobby, the formation of the band itself was an unintentional happenstance that just wound up taking off in unexpected but very exciting directions. Did band life choose Bad Nerves or did Bad Nerves choose band life? It's hard to say. On the eve of releasing their second album, the brilliantly titled Still Nervous, the boys are still reeling from their surprise success. Their self-made, self-funded debut put them in the hearts and minds of the cream of the alternative crop in 2020; from tastemakers such as Dan P Carter to Alyx Holcombe, and from peers like Green Day's Billie Joe Armstrong to Pearl Jam's Stone Gossard, Bad Nerves were instantaneously heralded with the poisoned chalice of saviours of a type of punk that promises to never die. They’ve toured with Royal Blood and The Darkness, and have drawn comparisons to Supergrass, the Ramones and Jay Reatard. And despite all that, their pop rock is a unique – and very fast – whack over the head that reminds us all of the future life left in hell-raising loud and fast music. Speaking from his dad's garage-come-studio in Colchester, frontman Bobby recounts how he and bandmate Will had always played in bands. By chance of a random text at the end of 2015 (“let's do a band!”), Bobby relented once more unto the breach. “Seems like a terrible idea,” he recalls. “Really?! Another band?!” However with “nothing else to do”, it became the only choice. Bad Nerves began to write songs, and promised to never play live, but the songs were so much fun they were forced to reconsider. The only challenge was the pace of said songs. “Finding a drummer was a nightmare,” he laughs. But what started off as a laugh has now become a fated mission. Gone is the blasé motivation, now Bad Nerves are laser-focused on this being the best thing they've ever done. “It feels like this is the main thing that any of us will do in our lives,” says Bobby. “If we're remembered for anything...” Given that rock doesn't have as much of a look-in on the air and in the press, Bad Nerves feel a calling to try and revive rock from the rust. Their second LP, Still Nervous, is due for release Spring 2024. Did they feel pressure approaching the sophomore slump, so to speak? Not at all. The process was more or less the same; Bobby demoing the tracks in his dad's garage, and then the band re-recording everything “properly” with their friend Mike Curtis. The only difference was in trying to ensure that they were still writing for themselves, and not just to satiate their new audience. “When I write songs thinking about what people expect I end up mimicking the first record, but not well,” says Bobby. That internal battle was new, but Bobby quickly realised you can't write like that, and in the process of being “pissed off trying to write a Bad Nerves song”, he found some of the best tracks on the album, doing whatever he wanted. Bad Nerves have been blazing at two hundred miles an hour across the live circuit for a few years now, and are showing no signs of slowing down. Despite the speed and chaotic nature of their music, they have taken great pride in challenging the traditional punk method, by playing tight and trying to replicate the sound of their record in the live setting. “We wanna deliver the songs well,” says bassist Jon. And that's why people have taken notice. Bad Nerves set the bar much higher. One of the band's most iconic gigs to date was a headliner at Sebright Arms in London in 2022, which was so electric they decided to release a live recording of it. “I'm surprised no one died that night,” says Jon. “That ceiling is so low! I've never seen so many people sweat. It was crazy. We were all sick afterwards.” The magic of rock music is in the chaos of the live performance. Bad Nerves understand that. They chase it. They crave it. They know how to create it. “My favourite Ramones record is the live one,” says Bobby. “The stakes are high. That's what makes it.” The future is loud for Bad Nerves. They proactively seek to make the type of in-your-face, opposite-of-sterile, rock music that the genre was built on. They want to play as much as they can for as long as possible, in the hope of inspiring the next generation, before it’s too late. It feels as though they have arrived just in time

Bad Nerves

Described by the international press as: • “New primal revolutionary electronic punk opera…” • “Powerful and exhilarating… poetic, razor-sharp and disarmingly witty…” • “Far from being a conventional gig, it is instead a hard-hitting, punk spirited and encapsulating piece of art theatre…” • “Stunning audio-visual experience…” • “The best punk rock show…” Riot Days showcases Pussy Riot’s innovative combination of live music, theatre, and video. The first Riot Days international tour commenced in the USA in March 2017. By May 2023, Pussy Riot was honored with the Woody Guthrie Prize and celebrated this achievement with a riveting performance of Riot Days in Tulsa, Oklahoma. Now, a major North America tour beckons. About Pussy Riot: A Russian feminist protest and performance art group, they are best known for their provocative activist punk performances. On their name’s significance, they stated, “We called ourselves Pussy Riot because the first word denotes a sexist attitude towards women. Our ‘riot’ is our reply to that attitude.” Founded in 2011, the group gained global prominence after a performance at Moscow’s Cathedral of Christ the Saviour led to the imprisonment of three of its members - Maria (Masha) Alyokhina, Nadezhda (Nadya) Tolokonnikova, and Yekaterina (Katya) Samutsevich. Some perceived their actions as too radical. Today, these perceptions are being re-evaluated, especially as the alliance between the Russian Orthodox Church and Putin’s Kremlin strengthens. It's becoming evident as Orthodox priests sanctify soldiers, tanks, and weaponry meant for the invasion of Ukraine. In February 2014, Masha, Nadya, and other members showcased as Pussy Riot during the Winter Olympics in Sochi. Their performance was interrupted by Cossacks, serving as security, who assaulted them with whips and pepper spray. After prison, Masha and Nadya emerged as the most identifiable faces of Pussy Riot. Many affiliate the group with them. However, despite their shared history, various joint protest actions, and belonging to the same Pussy Riot political activist collective, their individual on-stage performances are distinct. Riot Days Project: Maria Alyokhina, along with music producer Alexander Cheparukhin, initiated Riot Days based on Alyokhina’s book. The show chronicles Alyokhina’s experiences with Pussy Riot, from their iconic protests to their court trials and prison sentences. The content evolves, reflecting current events like political prosecutions and the Russian aggression against Ukraine. With over 400 performances globally, “Riot Days” has garnered prestigious awards like the Herald Angel Award, Total Theatre Award of Edinburgh Festivals, the annual anti-fascist award in Germany, the Woody Guthrie Prize in the USA, and more. Just recently four ladies of Riot Days have got the honorary degrees of the Doctor of Letters of the University of Kent, and celebrated this with an impromptu performance in the historical Canterbury Cathedral. Maria Alyokhina’s 1.5-year detention and house arrest in 2021-2022, for a single social media post supporting Russian opposition leader Alexey Navalny, exemplifies the climate. Despite these hurdles, she managed to escape Russia in May 2022, disguised as a food courier. Without her Russian passport, she still successfully crossed borders. This escape allowed “Riot Days” to spread its message globally, particularly in support of Ukraine. Significant part of the projects’ income goes to support Ukrainian Okhmatdyt children’s hospital and foundation. Press quotes: New primal revolutionary electronic punk opera (The Sydney Morning Herald) powerful and exhilarating... Alyokhina’s collaboration with music producer Alexander Cheparukhin and director Yury Muravitsky was full of fierce, rousing joy, free of scripted cues. ... poetic, razor-sharp and disarmingly witty... I left blazing with hope... Riot Days convinced me that gigs still have the power to move the masses (The Guardian) swaggering, throbbing gig by Pussy Riot… A ragged mix of performance art, poetry and bone-crunching trash-can tunes (The Times) Far from being a conventional gig, it is instead a hard-hitting, punk spirited and encapsulating piece of art theatre … ...stunning audio-visual experience the best punk rock show of 2017 Inventive, passionate, darkly funny in parts, twitching with energy and intelligent defiance and anger and yet full of compassion this is a moral tale for our times delivered with an intense brilliance. What I experienced was not what I expected and was also unlike any live show I have ever seen. And it was incredible. Part gig, part art show and part political demo this was certainly a riot for the eyes, the ears and the brain. Passion, revolution, and bold-ass rebellion – all these things the audience inhaled deeply, lighting a fire in their bellies and driving them out of their seats for a standing ovation. ...the most devastating political act, and the highlight of the festival..Transcendence, for those who truly dare, is an ongoing act of faith and courage performance was – in every sense of the word – powerful… English subtitles and supporting images helped emphasise key moments of the story and added to the shows already strong dynamics..The performers clearly gave it their all, as if the weight of the story wasn’t enough to persuade you. Every action and movement was passionate and heartfelt…The whole show was a confronting and emotive force that barraged you for an hour. You felt what they felt at every turn.

Pussy Riot: Riot Days

Raised by the Seattle music scene, Sol began performing and creating music at the age of 12. His 2012 album, Yours Truly, debuted at #1 on the iTunes US hip-hop charts, leading to extensive touring and over a decade of album releases. Beyond music, Sol is deeply committed to community work, organizing benefit concerts and festivals that have supported local artists and provided disaster relief for Sol's homeland of Haiti both after the earthquake and Hurricane Matthew. A new Sol album will enter the world in Spring 2025, celebrated with a hometown show at the iconic music venue Neumos on April 5th.

Sol's Album Release Show

BEAK>

The Strike is a three-member band based in Los Angeles, CA including frontman Chris Crabb, Jay Tibbitts (drums), and David Maemone (keys/guitar). The Strike released their debut album "Faint of Heart" in June of 2017, which was met with great enthusiasm nationally. The success of the record allowed them to expand their presence into Los Angeles from the greater Mountain West region where the band started. In 2022 the band signed with Nettwerk Music Group and released their follow-up album “The Lost Years,” which helped them garner national attention and begin touring. The Strike will be releasing their third studio album in the Fall of 2024. The album was recorded with acclaimed producer John Fields (Switchfoot, Ben Rector, Corey Wong). The Strike is known for their captivating live performances. In an age of musical minimalism, The Strike is reminiscent of rock bands from the 70's and 80's. They feature true showmanship in an age where the art of performance has been forgotten. Chris Crabb's vocal style is akin to rock vocalists such as John Waite, or Steve Perry. The band members are all students at their craft. Those who attend Strike shows become instant fans. Touring Has performed on the same ticket as: Journey Kelly Clarkson Carly Rae Jepsen Neon Trees BIG DATA Cold War Kids Lindsey Stirling Macy Gray In 2018 Strike performed a 3 month long residency at Q's Bar and Lounge at the Palazzo Versace Hotel in Dubai, UAE. The Strike was personally selected by Quincy Jones for the residency. Performed at the 27th annual Qingdao Beer Festival in China The Qingdao beer festival is the 2nd largest beer festival in the world with hundreds of thousands attending every year Sync Dancing With the Stars, ABC (used as acclaimed opening dance number) America's Got Talent, NBC Netflix (To All The Boys I've Loved Before, On My Block) Dude Perfect (Featured in the #2 video on YouTube with 18million+ views) AMC (Dispatches From Elsewhere) 2016 Grammys Daytime Awards The St. Louis Cardinals MTV, Love Sac, Nordic Track advertising (4+ million YouTube views), national and international retail stores Devin Supertramp YouTube Channel (2+ million views), The Nerdist YouTube channel

The Strike

Jesse Welles is a musician in a living tradition; whether he is canonized within his lifetime or without, he doesn’t much seem to care: he just keeps moving. Already an underground rock n roll influence, Welles disappeared and re-emerged a folk wordsmith; a quick witted bard on acoustic guitar, his voice reflecting a hard-sung existence, though it’s hard to tell with Jesse, his disarming smirk can lead you to doubt even the most black and white evidences. His lyrical range (from a doomed Whitman to an optimistic McCarthy, from pacifistic aggressions to oppressively bleak honesties) keeps up with his fingers; his guitar work would be enough in itself for most artists. Welles will break your mind’s window with a brick and stay to convince you the pieces are worth putting back together. “Nobody get too comfortable”

An Evening with Jesse Welles

Annie DiRusso is a Nashville based indie - rock artist born in NYC, who wears the influence of both of these cities on her sleeve. Blending buzzing garage rock guitars and high - energy performances with a pop - infused flair, the magic she creates in her hooks and melodies is apparent in her previously released singles and debut EP. She has quickly turned casual li steners into hardcore fans with V Magazine noting she’s “single handedly bringing back that raging rock sound” and Alt Press stating, “she’s set to skyrocket.” Annie has made quite a mark on the touring world since the launch of her career amidst the pandemic, supporting artists like HAIM, Samia, Declan McKenna, beabadoobee, Djo, Peach Pit and more as well as selling out headline shows at venues such as New York’ s Music Hall of Williamsburg, Nashville’s Basement East and Boston’s The Sinclair. She’s currently gearing up to release here first ever full length project Super Pedestrian in March , where her searing guitar riffs and self - deprecating yet heart - rending ly rics infuse the project with a spirit of joy. In NYLON’s words, “she continues to put out some of the most catchy indie rock in the game.

Annie DiRusso

Kelly Lee Owens

Magic Sword is an ageless tale of good and evil told through an ever expanding graphic novel with each volume accompanied by an original, synth-heavy soundtrack as well as immersive live performances. With the three mediums intertwined from conception, together they create an epic experience for those bold enough to bear witness and come away with a deeper understanding of the ultimate hero’s journey. Armed with a musical and visual aesthetic that has its roots unabashedly buried deep in the golden era of ‘70s and ‘80s fantasy and sci-fi, Magic Sword’s followers are called to another plane of existence where the struggle between light and shadow becomes all too real. In this newest installment, The Keeper embarks on a righteous quest to navigate a corrupt world where the sword has been abducted by an evil most foul. Amid the conflict, he seeks to find himself and reclaim what is rightfully his ‘Badlands.’ Originally composed as a soundtrack to a feature film, ‘Badlands’ tells the story of loss and rediscovery of one’s self. The Immortals are: The Keeper of the Magic Sword – red, keyboards The Seer of All Truths – blue, guitar The Weaver of all Hearts and Souls – yellow, drums The Immortals give a direct account of their vision: “In the beginning there was light... and darkness. A creation of perfect balance. As time passed, evil spread over the land like a plague, slowly consuming everything in its path. In the final moments before light was lost to the shadow for all time, a weapon of infinite power was created, the Magic Sword. Thus, restoring balance to the universe. The genesis of things are often small. As the single seed grows to a mighty oak, so too did the path of the Keeper begin as a single choice in an age long past. Once a humble king, they were manipulated into unknowingly unleashing the Dark One. All of reality was torn asunder as the Lord of Shadow was released from their ancient prison, having been bound only by the power contained within the Magic Sword. From that day forth, the King was cursed to be the immortal Keeper of this powerful key. He has been relentlessly compelled for millennia to find the Chosen One who will one day unleash the true power of the weapon and cannot rest until the grand design is seen complete with the Darkness bound once again. Little is known of The Lord of Shadow but death and decay. Since the release from his ancient prison by the hapless Keeper of the Magic Sword, he has pulled all of existence slowly toward himself in a vortex of darkness and destruction. Any wayward soul that he touches is corrupted to their ultimate demise. He uses his followers, acolytes of death, with no more regard than any other, for his reason of being is simply to end all things. Ensuingly, the forces of good have been searching for the Light to push him back into his eternal prison. The key to operate this cell is the Magic Sword; when wielded by the Chosen One, it has the power to return balance to the Universe. The Keeper of the Magic Sword searches endlessly for the Chosen One. With the help of the other Immortals, The Seer of All Things and The Weaver of Hearts and Minds, they are ever trying to stem the tide of the Great Shadow from engulfing all life. Through time and space itself, The Immortals are pulled by the power of the Magic Sword to those who hunger for true justice. Whenever the need is great, they appear with the Magic Sword and a high stakes proposition for those who are pure of heart, perpetually hoping that their search is finally over. This prophesied being contains the ability to wield the power of the Magic Sword and seal the prison that holds Dark One for all eternity. Only then will The Keeper, The Seer, and The Weaver be able to rest. Until the chosen one is revealed, the search continues in this realm and many others throughout all of time and space. In what form will the Magic Sword manifest? Who is the Chosen One? Will it be you? Answers will reveal themselves as the need arises. A tale of high adventure as old as time itself.”

Magic Sword

Amaria

Piano-rock trio Jukebox the Ghost formed in 2006 and has been a steadily growing cult favorite and a globally touring band ever since. Composed of Ben Thornewill (piano/vocals), Tommy Siegel (guitar/bass/vocals) and Jesse Kristin (drums/vocals), they have played over 1,000 shows around the world over the course of their career. Their ambitious "3 Albums, 3 Nights!" concert series has quickly become a fan favorite, giving audiences the chance to experience one of the band's first three albums each night in its entirety, with no skips. In addition to revisiting their early discography, each concert also features highlights from their newer records, creating an unforgettable three-night-run with no repeats. In previous runs, the enthusiasm for the concept has been overwhelming, with the majority of fans attending all three nights for a unique musical marathon. With such a positive response, the band has expanded the series to additional cities this year, continuing to build excitement with each stop.

Jukebox the Ghost presents: ‘Safe Travels’

Jukebox the Ghost presents: ‘Everything Under the Sun’

Jukebox the Ghost presents: ‘Let Live & Let Ghosts’

Lime Cordiale is an Australian band formed by brothers Oli and Louis Leimbach. The band’s music is known for their infectious melodies, catchy hooks, and clever lyrics that resonate with fans across the globe. Their formal music training and prodigious talent allow them to mix various genres such as indie pop, rock, funk, and reggae into a unique style which has gained a significant following in Australia as well as garnering international attention. The Leimbach brothers grew up in Sydney, Australia, and were influenced by their musical family background. They began writing and performing music together in their teenage years, eventually forming Lime Cordiale in 2009. The band initially started as a duo, with Oli on vocals and Louis on keyboards, but they later expanded their lineup which now includes long-time collaborator, James Jennings (Drums), Felix Bornholdt (Keys & Piano), and Nick Polovineo (Trombone & Guitar), supplementing Oli’s guitar and vocals, as well as Louis’ bass and lead vocals. Lime Cordiale released their debut EP “Faceless Cat” in 2012, which received positive reviews and helped them gain attention in the local music scene. Over the next few years, they continued to release more EPs, including “Falling Up the Stairs” (2014), and “Road to Paradise” (2017). These releases showcased the band’s evolving sound and songwriting abilities. In 2017, Lime Cordiale released their debut album, “Permanent Vacation”, which was well-received by critics and fans alike. The album featured popular tracks such as “Naturally” and “Temper Temper”, which helped the band gain significant radio airplay and expand their fanbase. Lime Cordiale’s live performances also became known for their energetic and engaging stage presence. Following the success of “Permanent Vacation”, Lime Cordiale embarked on extensive touring, both in Australia and internationally. They performed at various festivals and headlined their own shows, launched their own one-day festival called The Squeeze, all the time building a reputation for their dynamic live shows and growing their fanbase. In 2019, Lime Cordiale released their second album, “14 Steps to a Better You”. They album was a commercial success, reaching the top of the Australian charts, and earning widespread acclaim. It featured hit singles such as ‘Inappropriate Behaviour’, ‘Robbery’, and ‘Dirt Cheap’, which further solidified the band’s popularity and propelled them to new heights. Whilst 2020 and 2021 saw their activities inhibited somewhat due to the pandemic, the band did not sit around feeling sorry for themselves, using the time conspiring and laying plans for the biggest tour of their lives. The band had a stacked 2022 with an ARIA nomination for Best Video for their single ‘Apple Crumble’, headline Australian shows which saw them perform to over 34,000 Australian fans throughout the “14 Steps to a Better You” and “Facts of Life” tours, alongside festival sets at Groovin’ The Moo, NYE in the Park and more. In January 2022, Lime Cordiale released ‘Cordi Elba’, their acclaimed collaboration with actor/musician/DJ and record label boss Idris Elba. The mini album debuted at #9 on the ARIA album chart, spawning the hit singles ‘Apple Crumble’ and ‘What’s Not To Like’, which landed at #14 and #41 on the triple j hottest 100 respecively. The track ‘Holiday’ which also makes an appearance on the album, was later remixed by the legendary Fatboy Slim. 2022 also saw the release of a trio of singles; ‘Colin’, ‘Country Club’, and ‘Facts of Life’. In 2023, Lime Cordiale released two more singles, ‘Imposter Syndrome’ and ‘Pedestal’, which reached #27 and #42 in the triple j hottest 100. The band also branched out with the release of their own carbon neutral beer Largo, completed a regional Australian tour, and were awarded a Rolling Stone Readers Choice Award. Alongside a mammoth world tour kicking off at the beginning of 2024, Lime Cordiale have since released two singles, ‘The Big Reveal; Ou L’Hypocrite’ & ‘Cold Treatment’, each with partnering music videos [TBR & CT], ahead of their third album Enough of the Sweet Talk out July 26th . Lime Cordiale has amassed over 500 million streams on Spotify, 40 million Apple Music streams, and YouTube views exceeding 30 million. Their infectious performances and genuine, generous interactions with their fans have made them one of Australia’s most in demand acts, playing to wildly enthusiastic crowds across Australia and overseas.

Lime Cordiale

Timecop1983 is a producer from The Netherlands. His style is best described as romantic and cinematic, inspired by the eighties, Cyberpunk and sci-fi soundtracks. He is a one-man band creating Synthwave music with (vintage) synthesizers and his computer. He works together with other musicians and vocalists regularly. After years of experimenting and learning how to create music he was inspired by the movie Drive (2011) and he decided to create Synthwave himself. That’s when Timecop1983 was born. He is now considered as one of the top artists in the Synthwave genre and has released multiple albums, EP’s and singles which have accumulated millions of plays on the major digital music platforms. Multiple albums made it to the Billboard top-100 Electronic music charts. All the while staying independent. His music has been featured in various (short) films, including major productions like DC’s “Legends of Tomorrow”, “Stream” from the producers of the Terrifier trilogy and Netflix’ “Lucifer” and he has done several soundtracks for videogames and other productions. For his live shows Timecop1983 has teamed up again with his longtime collaborator Josh Dally and drummer Juan “Jay Cali” Calixto to bring a great live experience. In 2023 the team toured the United States and now they are ready to take the American stages again with a bigger and better show. Josh Dally is a UK based singer/songwriter who has made a name for himself in the music scene with his many collaborations, his band At1980 and his solo debut album “Speak Your Mind”, which was very well received by industry leading critics. Jay Cali is an experienced drummer from Rochester, NY who has made a great online presence with his drum covers and has been part of the Timecop1983 touring band since 2023. The live show is a combination of classic Timecop1983 instrumentals, combined with the best collaborations. Featuring unique visuals and a stunning lightshow

Timecop1983

Cold Cave is the creative rebirth of acclaimed Musician and Writer Wesley Eisold. Cutting his teeth in legendary hardcore punk and noise bands American Nightmare and Some Girls, Eisold's body of work has truly effected a generation of listeners. Through constant cross-pollination Eisold has gained mass appeal, influencing underground and popular culture with his ever evolving artistic vision.

Cold Cave

Recognizing the need for diverse representation in entertainment, Shannon has made it her mission as a storyteller to represent the LGBTQIA+ community through her work. Shannon hosts a weekly video podcast called exes & o's where she talks about queer relationships and sex with a rotating influential queer guest. While she loves creating her own content, she also directs and produces music videos for artists like Joy Oladokun, Alyson Stoner, and Fletcher, and photographs artists like Ariana Grande, The Beaches, and Zolita. She's also produced some stunning narrative shorts and has received several awards for her work. Shannon hopes to continue her mission to foster an inclusive future for everyone.

exes and o's live with Shannon Beveridge

xaviersobased

DC The Don creates without borders. The Milwaukee-born, LA-based rapper is one of the most creatively daring artists in hip-hop today. His genre-blurring discography presents a spectrum of ever-changing sounds, anchored by DC’s precise and direct delivery. For him, being different is a strength. This has been the driving force behind his music, evidenced by the former XXL Freshman’s do-it-all dynamic. From rage rap, to punk and pop, DC’s swift rise is a testament to his wildly experimental and massively appealing ingenuity. Since delivering his first song “Everything 1K” in 2017, he has ascended from budding next-gen rapper to a burgeoning powerhouse. Following an abrupt halt in his recording career, after DC was unable to resolve a contract dispute, he was hindered from releasing music on streaming platforms for almost two years. Turning adversity into art, he launched his playlist, DC FRIDAYS, and started developing a community and fanbase online. In 2020, DC signed to Rostrum Records, and released his debut album, Come As You Are. He followed that up with 2022’s My Own Worst Enemy, which introduced the masses to DC’s two personas: Donny and Rag3 Kidd. After the loss of his close collaborator and friend, Sad Frosty, DC returned with renewed vigor and a new mindset. And his 2023 album, FUNERAL, personified this meaningful change succinctly. 2024’s SACRED HEART 2 (+) not only catalyzed a massive year for DC, but it also cleared the runway for the June-released EP 2012 – a three-song set that’s striking upon first listen and even better on repeat visits. With more new music on the horizon, DC The Don is squarely positioned to continue breaking boundaries and cement his status as a rising superstar.

DC the Don

F u l l B i o : R e g a r d l e s s o f w h i c h e v e r o m n i p r e s e n t p u l l e r - o f - s t r i n g s y o u s u b s c r i b e t o , i t ’ s u n d e n i a b l e t h a t s o m e f o r c e w a s a l w a y s w o r k i n g t o e n s u r e t h e i n e v i t a b i l i t y o f T h e H a i l s . F r o m t w o o f t h e b a n d m e m b e r s b o t h c a l l i n g t h e s a m e t h i r d f l o o r a p a r t m e n t h o m e a t d i f f e r e n t p a r t s o f t h e i r t h e n s e p a r a t e c h i l d h o o d s — t h e v e r y b u i l d i n g t h e y ’ d l a t e r m e e t t h e i r b a s s i s t i n — t o a f a t e f u l U n i v e r s i t y o f F l o r i d a d i n i n g h a l l e n c o u n t e r y e a r s l a t e r t h a t s e t t h i n g s i n m o t i o n . T h e r e h a s a l w a y s b e e n a s t r a n g e a i r a b o u t t h e s e q u e n c e o f e v e n t s m e a n t t o u n i t e R o b b i e K i n g s l e y , F r a n c o S o l a r i , D y l a n M c C u e , A n d r e E s c o b a r a n d Z a c h L e v y , t h a t b e g s t h e q u e s t i o n , i s a n y t h i n g e v e r t r u l y u p t o c h a n c e ? D e s p i t e f i r s t p l a y i n g i n a n i n s u l a r M i a m i h i g h s c h o o l m u s i c s c e n e , t h e b a n d o f f i c i a l l y f o r m e d a t U F , f i n d i n g t h e i r m o n i k e r i n t h e c o l l e g e ’ s a l m a m a t e r — “ A l l h a i l , F l o r i d a , h a i l . ” T h e H a i l s b a n d e d t o g e t h e r t h r o u g h a s l e w o f l o n g n i g h t s a n d w i l d h o u s e s h o w s i n t h e i r l i v i n g r o o m — t h e o n l y o p t i o n i n t h e b a s e m e n t - l e s s s t a t e o f F l o r i d a . I r o n i c a l l y , f r o m t h e t a t t e r e d c a r p e t i n g a n d t h e b e e r b o t t l e l i n e d s h e l v e s o f t h e i r s h i t t y c o l l e g e h o u s e a r o s e a d i s t i n c t , r e f i n e d s o u n d t h a t i s n o w s y n o n y m o u s w i t h t h e b a n d ’ s n a m e . W i t h s h i m m e r i n g e a r l y s i n g l e s l i k e “ Y o u n g e r ” a n d “ S t a y , ” a n d t h e i r E P s H e S e e m s U p s e t ( 2 0 2 0 ) a n d A l i v e i n S t r a n g e W a y s ( 2 0 2 1 ) , T h e H a i l s c a m e t o r e p r e s e n t a n e d g y s o r t o f s l e e k n e s s t h a t c a n o n l y b e a t t r i b u t e d t o t h e c i t i e s t h e y c u t t h e i r t e e t h i n — G a i n e s v i l l e a n d M i a m i . M i r r o r e d i n t h e b a n d ’ s s o u n d , t h e r e ’ s a n u n d e r l y i n g g r i t t h a t c o m e s f r o m G a i n e s v i l l e ’ s a f f i n i t y t o w a r d D I Y ; w h e r e t h e b a n d p l a y e d c o u n t l e s s s h o w s a t t h e i n f a m o u s H i g h D i v e o v e r t h e y e a r s a n d h i j a c k e d t h e c o m m u n i t y s p i r i t o f a n e n t i r e c o l l e g e t o w n . B u t w i t h i n e v e r y t h i n g t h e b a n d d o e s , y o u c a n h e a r M i a m i ’ s q u a l i t y o f p e r f e c t l y r i d i n g t h e l i n e b e t w e e n t h e c u t t i n g e d g e a n d t h e n e o n - l a c e d n o s t a l g i a o f y e s t e r y e a r s . F u s i n g t h e i r v a r y i n g c u l t u r e s , u p b r i n g i n g s a n d i n f l u e n c e s , c o m e s a s o u n d t h a t ' s u n m i s t a k a b l y s i n g u l a r . F i r i n g t h e s t a r t i n g p i s t o l o f t h e i r c u r r e n t c h a p t e r , T h e H a i l s b e g a n r o l l i n g o u t s i n g l e s f r o m t h e i r d e b u t a l b u m i n O c t o b e r 2 0 2 2 . R e c e n t h i g h l i g h t s o f t h e r o a d i n c l u d e h o l d i n g c o u r t a t f e s t i v a l s l i k e I I I P o i n t s , W o n d e r S t r u c k a n d O k e e c h o b e e , i n t e r s p e r s e d b e t w e e n s o l d - o u t s h o w s a c r o s s t h e s t a t e o f F l o r i d a , a n d t o u r s u p p o r t f o r W I L L I S , T h e H a p p y F i t s , T h e B e a c h e s a n d t h e m o s s . N o w w i t h t h e i r d e b u t a l b u m W h a t ’ s Y o u r M o t i v e o u t i n t h e w o r l d , T h e H a i l s w i l l b r i n g t h e i r n e w m u s i c t o t h e r o a d o n t h e i r f i r s t e v e r h e a d l i n e t o u r . T h e k e y s t o t h a t t h i r d - f l o o r a p a r t m e n t h a v e t r a d e d h a n d s t o a n o t h e r f a m i l y , a n d a n e w w a v e o f o r a n g e - a n d - b l u e - c l a d u n d e r c l a s s m e n s h u f f l e i n t o t h e d i n i n g h a l l t o g r a b t h e i r h e a t - l a m p - w a r m e d m e a l s . B u t e v e n i n t h e s a m e s e t t i n g s , n o s t r i n g o f o c c u r r e n c e s w i l l e v e r h a p p e n a g a i n t o c r e a t e a b a n d q u i t e l i k e T h e H a i l s . S h o r t B i o F ollo wing a s tring of enc oun t er s t oo s tr ang e t o be c oincidence, R obbie Kingsle y , Fr anc o Solari, Dylan McCue, Andr e Esc obar and Z ach Le v y c ame t og e ther t o f orm The Hails . Despit e fir s t pla ying in an insular Miami high school music scene, the band of ficially f ormed a t the Univ er sity of Florida in Gaines ville, turning the t a t t er ed c arpe ting and beer bot tle lined shelv es of their shit ty c olleg e house in t o a dis tinct, r e fined sound tha t is no w s ynon ymous with their name. The Hails 2024 Bios - Press Version.pdf Aft er gr adua tion, the gr oup made the pilgrimag e back t o their home of Miami, the city tha t dir ectly in fluenced the sound of their early shimmering singles “ Y oung er ” and “ St a y , ” debut EP He Seems Up se t (2020), and the sub sequen t Alive in Strange W ays (2021). F i r i n g t h e s t a r t i n g p i s t o l o f t h e i r c u r r e n t c h a p t e r , T h e H a i l s b e g a n r o l l i n g o u t s i n g l e s f r o m t h e i r d e b u t a l b u m i n O c t o b e r 2 0 2 2 . R e c e n t h i g h l i g h t s o f t h e r o a d i n c l u d e h o l d i n g c o u r t a t f e s t i v a l s l i k e I I I P o i n t s , W o n d e r S t r u c k a n d O k e e c h o b e e , i n t e r s p e r s e d b e t w e e n s o l d - o u t s h o w s , a n d t o u r s u p p o r t f o r W I L L I S , T h e H a p p y F i t s , T h e B e a c h e s a n d t h e m o s s . N o w w i t h t h e i r d e b u t a l b u m W h a t ’ s Y o u r M o t i v e o u t i n t h e w o r l d , T h e H a i l s w i l l b r i n g t h e i r n e w m u s i c t o t h e r o a d o n t h e i r f i r s t e v e r h e a d l i n e t o u r , p l a y a t G o v e r n o r ’ s B a l l t h i s J u n e , a n d c o n t i n u e c r e a t i n g a n d r e l e a s i n g n e w m u s i c a l l t h e w h i l e .

The Hails + Never Ending Fall

Mild Minds

Maude Latour is fulfilling her pop destiny. Born in Sweden, raised in London and Hong Kong as well as New York City, and now residing in Los Angeles, Latour began writing songs at 15 and released her first EP, Starsick, in 2019. Her ever-evolving catalog includes the viral lockdown-era hit “One More Weekend” plus four infectious EPs, which have won over critics from The New York Times to NPR, and earned performances at Lollapalooza, Governors Ball, Austin City Limits, and many more. Now, with her new debut album Sugar Water, the 24 year-old is doubling down on her formula of combining studio experimentation with undeniable cosmic-pop hooks and thoughtful lyrics, inviting her audience to come along for the ride, eyes and mind wide open, and stereo turned up as far as it can go.


Maude Latour

Rebecca Black is an artist who defines her own path. An undisputed icon of underground music, fashion, and queer art scenes, Rebecca Black’s wide-ranging creative output is unstoppable. Amid collabs with Slayyyter, MØ, bbno$, and more, Black released her first project “Rebecca Black Was Here” in 2021 which led to performances at the GLAAD Awards and Tamron Hall. Nearly a decade since her iconic cameo in Katy Perry’s video for “Last Friday Night,” Black continues to make pop-culture appearances in videos for Blu de Tiger, Amy Allen, and more. During NYFW, Billboard wrote “Rebecca Black, King Princess and Hayley Williams are the ultimate cool girls…” and it’s proof of the new era she’s having as a young adult.

Rebecca Black

Hazlett

We’re RARE AMERICANS—animated storytellers focused on the real and raw. We sing for the underdogs and don’t shy away from life’s toughest corners. Over the past five years, we’ve built a pretty dope community of kids around the world. In just a few years, we’ve racked up over 700 million streams, embarked on sold-out tours across North America and Europe, and even earned a Juno nomination for “Breakthrough Group of the Year”—Canada’s equivalent of a Grammy. But we’re just getting started. 2024 is shaping up to be our most ambitious year yet. Our sixth album in six years, “The Human Animal,” dropped on August 16— twenty-five tracks that explore the full spectrum of the human experience. From our most awe-inspiring inventions to the darkest aspects of our nature, and the vast emotions we grapple with daily, this album delves into the essence of humanity, a theme that has always captivated us. This year also marks the release of our 90-minute animated punk rock musical, “(S)kids.” The project premiered with two sold-out screenings at the prestigious Annecy Animation Festival in France and is currently making its rounds on the film festival circuit. Fans can expect to see it in the coming months. We’ve spent the last two years in the recording and animation studio, crafting our best work yet. We can’t wait to bring our new songs and animations to life on stage. Our Europe tour kicks off on September 27th in London, with more dates to be announced soon.

Rare Americans

GoldFish, the San Diego based live electronic duo, is thrilled to an- nounce the release of their highly anticipated sixth full - length stu- dio album, "If Summer Was A Sound." Known for their storied and trail - blazing career, which has seen them rise from two students in their Cape Town bedroom studio to seven - year residents in the top clubs in Ibiza, then moving to the USA to focus on their burgeoning North American scene, GoldFish has established themselves as a promi nent and enduring force in the Electronic Dance Music scene. "If Summer Was A Sound" captures the essence of summer through a sonic journey, evoking salty sea breezes, sunsets on the beach, and how music has the superpower to take the listener to a special time and place in their lives. Drawing inspiration from their love for the ocean as avid surfers, GoldFish masterfully com- bine their signature saxophone leads, warm pianos, and organic acoustic elements with carefully curated electronic beats, craf ting a sound that is uniquely their own. True to their reputation as boundary - pushing artists, GoldFish has collaborated with a diverse and impressive lineup of renowned art- ists that they have met from their travels around the globe. From Australian legen d Xavier Rudd and Los Angeles electronic upstarts Laszewo to UK - based multi - instrumentalist sensation Youngr and Rio - based duo Cat Dealers, the album features an exceptional range of talent. Staying true to their African roots, the duo also worked with lon g - time collaborators Sakhile Moleshe and Max Vi- dima, and other artists include a United Nations of electronic music talent: Malou, Julia Church, Dubdogz, Luisah, The Palms, Bruno Be, Dena Williams, Carstn, Anna Graceman, and Keanan Eksteen are all featured across this 22 track offering. "If Summer Was A Sound" embodies the quintessential GoldFish experience, blending uplifting chord progressions, cheeky sam- ples, and driving beats with masterful songwriting and production. This album is a testament to Dom a nd Dave ’ s unwavering dedica- tion to their craft, showcasing their mastery in every track - ranging from downtempo to high - energy house music. With this album, they solidify their position at the pinnacle of their career, captivat- ing their long - time fans and inviting new listeners to experience the magic that is GoldFish. For the latest news and updates from GoldFish, visit their official website at www.goldfishlive.com.

GoldFish

DENM first made an impactful splash while dropping his Slum Beach Denny LP- DENM’s sparkling debut album which hit the scene in 2021.  Garnering out of the box recognition from coveted playlists including the cover of Spotify’s “Beach Vibes.” Today, Slum Beach Denny has tallied over 25 million streams, and counting! The genre-bending, SoCal musician, songwriter, and producer blends a unique recipe of hazy daze optimism and suburban beach influence into a modern- day melting pot of hip-hop beats, dubby rhythms, and catchy vocal hooks with a bonafide street mentality.   DENM possesses the edge and wit of an artist aware of the realities of society, while addressing his own personal values and tongue in cheek commentary on the quest for the American Dream.   Quickly and deservedly, he’s become a coveted, go-to producer amongst his core constituents, helming the Grammy-winning Best Reggae Album of 2022, SOJA’s Beauty in the Silence, as well as a co-write and production on HIRIE’s top- scoring single, “Respect,” plus his high flight collaboration on “Rage,” with Dirty Heads, Travis Barker, and The Interrupters.  DENM also flexes his production skill set on out of the box Bounce phenom Big Freedia on the song “Strut.” DENM’s 2nd release Slum Beach Posse Vol. 1, a seven-song collaborative EP with special guests Slightly Stoopid, Landon McNamara, Jesse James, and Benny Ranks, dropped in 2023 spawning the unmistakable single “Wild Trip” recorded during a surf and studio bender on Oahu’s North Shore with creative conspirator and big wave surfing legend Landon McNamara.” DENM’s music has commanded notable synchs on several hit series, including Netflix’s Outer Banks, and All-American, and FOX’s Rescue: HI-Surf, and Prime’s Surf Girls Hawai’i. All of this comes ahead of a series of new singles preceding his forthcoming sophomore LP and a U.S. tour that has DENM hitting over 30 outdoor amphitheaters with likeminded cohorts, Pepper and Iration on the ‘Daytrippin in Paradise Summer Tour.’ “It’s all becoming more of what I had originally envisioned,” DENM says.  “Everything is manifesting into part of this really cool trajectory to take the listener to places that I like to go.” Denm has been known to create music in unique places, from Hawaii’s North Shore paradise of Oahu, hanging with Landon McNamara and friends, making music with the Slum Beach Posse between surf sets, or in the urban low-rider landscape of B- REAL from CYPRESS HILL’s Smoke-box studios in the alleys of Downtown Los Angeles. You may also find him behind the board and microphone at Rock Mafia Studios, with producers, Tim James and Antonina Armato, down the coast in Santa Monica, CA or in the Pacific, on a fishing boat drinking brews and writing tunes with Pepper’s Kaleo Wassman, such as the new album’s first single “Where I’m Going,” released on July 26, 2024. Places where days-long, beats-making all-nighters in the studio are routine.  And where autobiographical references in his songwriting, reflecting, if not celebrating the seedier side of life, are the standard. “My songs are about healing from past traumas.  Coming of age.  Honest songs about struggles with addiction.  Songs about tweakers walking down the street really fast.  The highs and lows of life, and love, and fatherhood,” DENM says.  “Also, just being a mouthpiece for art and my surroundings, with songs about mental health, and the struggle to keep your vision clear and your head straight.  It’s a little bit of everything.” DENM spent his youth as an admittedly troubled teen bouncing from beach town to beach town in Southern California, teaching himself guitar at 14.  His itinerant residencies in San Diego, Santa Barbara, and Isla Vista marked a challenging personal narrative full of life’s harshest lessons.  They also fostered deeply genuine and eclectic sources of inspiration for his multifaceted talents. Whether it’s crafting his own scintillating repertoire, or collaborating with a host of admiring peers like Slightly Stoopid, Dirty Heads and SOJA, DENM brings a relentless, undeniable vibe of authenticity to his work.  Just three short years since his debut, he has risen to the upper tier of the SoCal scene, volleying his time between sought- after producer and songwriter, cutting edge recording artist, and magnetic live performer.  Now, he just wants to keep rolling. “I want to make music that makes the world move and groove,” says DENM. “If I just stay in that flow state, it’s only going to get better and more fun from here.” For more info, visit www.denmdemndenm.com

DENM

L i k e t h e t o w e r i n g m o u n d s o f t o x i c w a s t e f r o m w h i c h i t g e t s i t s n a m e s a k e , t h e m u s i c o f O k l a h o m a C i t y n o i s e r o c k q u a r t e t C h a t P i l e i s a s u ff o c a t i n g , g r o t e s q u e e m b o d i m e n t o f t h e e x i s t e n t i a l a n g u i s h t h a t h a s d e fi n e d t h e 2 1 s t C e n t u r y . I t fi g u r e s t h a t a b a n d w i t h t h i s a b r a s i v e , u n r e l e n t i n g , a n d o u t l a n d i s h o f a s o u n d h a s s t u c k a s s t r o n g o f a c h o r d a s i t h a s . D r e a d h a s r e p l a c e d t h e A m e r i c a n d r e a m , a n d C h a t P i l e ’ s m u s i c i s a p o i g n a n t r e m i n d e r o f t h a t s h i f t – a p o r t r a i t o f a n A m e r i c a n r o c k b a n d m o l d e d b y a s o c i e t y d e fi n e d b y i t s c o l d a n d c r u e l p o w e r s y s t e m s . B e s i d e s b e i n g t h e n a m e o f a l a r g e l y f o r g o t t e n ( a n d p a n n e d ) 9 0 s fi l m , C o o l W o r l d m a k e s f o r a n a p t t i t l e o f C h a t P i l e ’ s s o p h o m o r e f u l l - l e n g t h r e c o r d . I n t h e c o n t e x t o f a C h a t P i l e r e c o r d , t h e w o r d s a r e s t e e p e d i n a g r i m d o u b l e e n t e n d r e t h a t n o t o n l y e v o k e s i m a g e r y o f a d y i n g p l a n e t b u t a p r o g r e s s i o n f r o m t h e b a n d ’ s p r e v i o u s w o r k , m o v i n g t h e s c o p e o f i t s d e p i c t i o n o f m o d e r n m a l a i s e f r o m j u s t “ G o d ’ s c o u n t r y ” t o t h e e n t i r e t y o f h u m a n k i n d . “ C o o l W o r l d c o v e r s s i m i l a r t h e m e s t o o u r l a s t a l b u m , e x c e p t n o w e x p l o d e d f r o m a m i c r o t o m a c r o s c a l e , w i t h t h o u g h t s s p e c i fi c a l l y a b o u t d i s a s t e r s a b r o a d , a t h o m e , a n d h o w t h e y a ff e c t o n e a n o t h e r , ” s a y s v o c a l i s t R a y g u n B u s c h . T h o u g h v e r y m u c h o n - b r a n d w i t h C h a t P i l e ’ s s i g n a t u r e fl a v o r o f c a c o p h o n o u s , s l u d g y n o i s e r o c k , t h e b a n d ’ s s h i f t t o a g l o b a l t h e m a t i c f o c u s o n C o o l W o r l d n o t o n l y c o m p l i m e n t s t h e b r o a d e r e x p e r i m e n t a t i o n s i t e m p l o y s w i t h t h e i r s o n g w r i t i n g b u t a l s o h o w t h e y d i s s e c t t h e a l b u m ’ s c o r e t h e m e o f v i o l e n c e . M e l d e d i n t o t h e b a n d ’ s t w i s t e d f o u n d a t i o n a l s o u n d a r e t r a c e s o f o t h e r e c l e c t i c g e n r e s t y l i n g s , w i t h e x a m p l e s o f g a z y , g o t h - t i n g e d d i r g e s t o a b r a s i v e y e t a n t h e m i c a l t / i n d i e - e s q u e h o o k s a n d o ff - k i l t e r m e t a l g r o o v e s o n l y s c r a t c h i n g t h e s u r f a c e o f w h a t c a n b e h e a r d i n t h e a l b u m ’ s t e n t r a c k s . “ W h i l e w e w a n t e d o u r f o l l o w - u p t o G o d ’ s C o u n t r y t o s t i l l c a p t u r e t h e i m m e d i a t e , u n c o m p r o m i s i n g e s s e n c e o f C h a t P i l e , w e a l s o k n e w t h a t w i t h C o o l W o r l d , w e ’ d w a n t t o s t r e t c h t h e d e fi n i t i o n o f o u r “ s o u n d ” t o r e fl e c t o u r t a s t e s b e y o n d j u s t n o i s e r o c k t e r r i t o r y , ” r e fl e c t s b a s s i s t S t i n . “ N o w t h a t w e h a d s o m e f o r m o f c r e a t i v e c o m f o r t z o n e s i n p l a c e a f t e r h i t t i n g t h a t m i l e s t o n e o f p u t t i n g o u t a f u l l - l e n g t h r e c o r d , a l b u m # 2 f e l t l i k e t h e p e r f e c t o p p o r t u n i t y t o c h a l l e n g e t h o s e l i m i t s . ” B e s i d e s s t y l i s t i c a l l y s t r e t c h i n g t h e b o u n d a r i e s o f t h e C h a t P i l e s o u n d , C o o l W o r l d i s a l s o t h e b a n d ’ s fi r s t r e c o r d t o h a v e s o m e o n e e l s e h a n d l e m i x i n g d u t i e s , w i t h B e n G r e e n b e r g o f U n i f o r m ( A l g i e r s , D r a b M a j e s t y , M e t z ) c a p t u r i n g a n d f u r t h e r a m p l i f y i n g t h e q u a r t e t ’ s u n m i s t a k a b l y o u t s i d e r a n d f o l k - a r t e d g e . T h e p r o v e r b i a l t h r e a d t y i n g a l l o f t h e e x p e r i m e n t a t i o n o n C o o l W o r l d t o g e t h e r i s t h e d e p t h t o w h i c h C h a t P i l e d i s s e c t s t h e a l b u m ’ s t h e m e o f v i o l e n c e . W h e t h e r i t b e t h e c y c l e o f c r e a t i n g a n d p a s s i v e l y c o n s u m i n g l i t e r a l a n d fi g u r a t i v e v i o l e n c e o n s i s t e r t r a c k s “ C a m c o r d e r ” a n d “ T a p e ” , t h e d i m i n i s h m e n t o f c r i m e s a g a i n s t h u m a n i t y b y w a y o f f o r e i g n p o l i c y a n d c o l o n i a l i s m o n “ S h a m e ” , o r t h e m e n t a l a n g u i s h o f h o p e l e s s n e s s o n “ T h e N e w W o r l d ” , C o o l W o r l d i s a n a p o c a l y p t i c a l l y b l e a k r e c o r d . S u r e , C h a t P i l e ’ s d e b u t a l b u m w a s p l e n t y d i s t u r b i n g w i t h i t s B - m o v i e - i n s p i r e d i n t e r p r e t a t i o n o f a “ r e a l A m e r i c a n h o r r o r s t o r y ” ; w h a t C h a t P i l e d e p i c t s o n C o o l W o r l d i s u n s e t t l i n g n o t j u s t f r o m i t s v i s c e r a l n o i s e r o c k o n s l a u g h t , b u t f r o m d e p i c t i n g h o w a l l s o r t s o f a t r o c i t i e s a r e p r e t t y m u c h s t a n d a r d p a r t s o f m o d e r n e x i s t e n c e . I n Chat Pile - Cool World bio.pdf fi l m t e r m s , t h i n k s o m e t h i n g l i k e a C r i t e r i o n a r t h o u s e fi l m b y w a y o f s c h l o c k y g r i n d h o u s e s p l a t t e r f e s t : u n d e n i a b l y g r a t u i t o u s a n d t h r i l l i n g i n t h e m o m e n t b u t l e a v i n g a l o o m i n g d r e a d i n t h e b a c k o f o n e ’ s m i n d f o r h o w c l o s e t h e h o r r o r s d e p i c t e d m i r r o r r e a l i t y . “ I f I h a d t o d e s c r i b e t h e a l b u m i n o n e s e n t e n c e , ” e x p l a i n s B u s c h , “ I t ’ s h a r d n o t t o b o r r o w f r o m V o l t a i r e , s o I w o n ’ t r e s i s t – C o o l W o r l d i s a b o u t t h e p r i c e a t w h i c h w e e a t s u g a r i n A m e r i c a . ” C o o l W o r l d w i l l b e r e l e a s e d v i a T h e F l e n s e r o n O c t o b e r 1 1 , 2 0 2 4 C h a t P i l e i s : R a y g u n B u s c h - V o c a l s L u t h e r M a n h o l e - G u i t a r S t i n - B a s s C a p ’ n R o n - D r u m s

Chat Pile

25-year-old Cincinnati native Jack Kays is celebrated for his raw, emotive vocals and introspective songwriting. Beginning his musical journey at just three years old with the drums, Jack has since developed into a multi-instrumentalist blending his punk, folk, alternative and hip-hop influences into his music. His 2021 debut EP MIXED EMOTIONS, and the collaborative EP MY FAVORITE NIGHTMARES with Travis Barker showcased his exploration of themes like mental health, isolation, and addiction. Jack released his latest single “Tether” off Disc 2 of his debut album DEADBEAT, which will be released in Fall 2024. Disc 1 of the album was released August 23 and featured hit songs such as “The Rug”, “Blow It" and “Caffeine”. To date, Jack Kays has accumulated over 400 million streams worldwide, including his 2023 hit "Caffeine", which marked his first radio airplay and earned him Spotify's ‘New Noise’s Artist To Watch 2024’, as well as the most recent single “Blow It” which was the lead single off DEADBEAT—Disc 1 and has been added to SiriusXM’s Alt Nation. So far in 2024, Jack has made festival appearances at Riot Fest (Chicago, IL) and Bottlerock (Napa, CA). Through several sold-out tours, and now entering the 2nd year of his hometown festival Jack’s Jam, Jack remains dedicated to his mission: making people feel less alone.

Jack Kays

Fiji Blue

HAYLA

Beauty and a Beat - Justin Bieber vs. Nicki Minaj!

Sandrider - Farewell Show

‘Paradise Pop.10’ feels like you have found an unpublished collection of short stories, scrawled hastily on the sides of airsickness bags and cocktail napkins, each one detailing the life of the unwitting passenger fortunate enough to be seated next to Christian Lee Hutson on their flight to Fort Worth. Anyone who has had the good fortune of falling in love with his first two records know that he is a keen observer of both himself and the world. From the first line of the first song on this new album, “Tonight your name is Charlotte / In a play within a play,” he reminds the listener that he is again weaving a web of autobiographical fiction. However, this time he has somehow both simplified and sharpened his style. On ‘Paradise Pop. 10’ you will visit the CC Club in Minneapolis, a San Francisco stage production of a Tom Stoppard play, a bowling alley at the Jersey Shore, and a 2003 Subaru where two dads consider kissing each other after a game of pick-up basketball. Despite how broad the world Hutson creates is, the album gives you the impression that you are at an airport gate of sorts, and all these characters are gathered together, waiting for their lives to begin. They make light conversation with each other as their flight continues to be delayed…just another 15 minutes. Recorded at Figure 8 in Brooklyn NY, the lifelong Los Angelino and his frequent collaborators Phoebe Bridgers, Marshall Vore, and Joseph Lorge ventured east to make ‘Paradise Pop. 10’ and picked up some friends along the way. Maya Hawke co-wrote and sang harmony on the sharp and shoegaze-y earworm “Carousel Horses.” This song is a spiritual sequel to “Age Difference,” a single from Christian’s last record, which depicts the crumbling of an unbalanced love affair. “You shouldn’t feel stupid/ I just knew before you did/ Now I’m sitting here spinning my wheels/ I bet you know how that feels.” Accompanied by Shahzad Ismaily’s synths, Hutson’s voice shines most clearly on “After Hours.” He sings from a condominium in a corporatized Heaven to the woman he misses back on earth. “Big budget productions of the lives of your loved ones / The good stuff is behind a paywall”. Though the citizens of this Heaven are offered daily glimpses into life on Earth, our narrator prefers to imagine the minutiae of his love’s routine while he waits for her to join him. One of the albums most sparse tracks, “Flamingos,” finds Hutson at the piano backed by Phoebe Bridgers singing harmony. In this song we catch a glimpse of an anxious traveler, fresh off a flight from Tokyo, as he weaves and bobs through a crowd to reunite with a girlfriend. “I’m taking the red eye over the dateline / A sea of slow walkers all taking their sweet time.” As he describes what he sees in her, we see him struggle to resist the urge to point out the differences between them, always reminding her of the score. “Losers remember the people who won / Winners are never afraid to lose / You only think about falling in love / I only think about you”. The listener is left with the question; if you love someone as they are, could you ever really lose? The record is somehow both literary and unpretentious, maybe best exhibited in the final track, “Beauty School”. Katy Kirby sings backing vocals on this surprising pop-punk tinged dose of poolside folk rock. “In a mirror universe / Time is moving in reverse / I’m gonna turn my life around / everything is different now.” The lyrics to this chorus call back to that of another song from the record; “Candyland.” “Dismantling my time machine / I’ll probably put back together for the final scene.” Again, Hutson gives the keen listener the impression that he is actively re-narrativizing his life. That he has wound up somewhere he never thought he would be and is trying to wrap his head around how not to ruin it. ‘Paradise Pop. 10’ takes its name from a real life “town” set deep in the woods of Parke County, Indiana, near where Hutson spent some of his childhood. There, just past the population sign, you’ll find a row of 5 houses on one side of the road and a cemetery on the other. It could feel like a limbo of sorts, like time is frozen; leaving room for your mind to wander either backward into your regrets of the past or forward into the future, into the unknown. But if you can learn to quiet these thoughts, you might realize, you aren’t waiting at all. There is no delay. You are living. You are here.

Christian Lee Hutson

Wallice is an indie pop wunderkind who has swiftly become one of Gen Z's most exciting new voices, known for her tongue-in-cheek, self-effacing anthems. After picking up her first instrument at age 6, Wallice started writing songs in middle school and later played in her high school band, inspired by the lyricism of Thom Yorke, Lana Del Rey and the punky irreverence of Weezer and No Doubt. She also modelled and acted (once appearing in an episode of Frasier) throughout adolescence, with her former actress mother supporting all creative pursuits. A proud college dropout, she attended the New School in New York City for Jazz Vocal performance for a year before moving back to California and connecting with childhood friend marinelli, who helped her hone the wistful indie pop style that led to her rise. A breakout 2021 culminated in the release of her debut EP Off the Rails, her signing to Dirty Hit, her first sold-out headline shows and support tours. Her second EP 90s American Superstar pushed Wallice even further, chronicling the rise and fall of a fictional version of herself. She wrapped up 2022 on a very high note with a gorgeous autobiographical song and video titled "Japan" and a sold out US headline run. Now about to tour Asia and Australia as direct support for the 1975, Wallice is rolling out her third EP while on the road. She'll then roll into a headline US tour this summer before heading to the UK for Reading and Leeds. She has found champions in the likes of Vogue, New York Times, The FADER, BBC Radio 1, Pigeons & Planes, Steve Lamacq, Zane Lowe and NME, where she was named as part of the 'NME 100' for 2022.

Wallice

A wildly innovative producer, artist and songwriter fusing melodic electronic dance music with pop, blues, rock and other genres, Elephante (American musical artist Tim Wu) has garnered hundreds of millions of streams across his two indie EPs: I Am The Elephante (2016), a ninetrack exploration of progressive house, synthpop and trap; and Glass Mansion (2018), which shot to #1 on iTunes’ U.S. Dance chart. His upcoming project, Heavy Glow, represents his first full-length studio album, a largely solo effort further pushing the boundaries of dance music, featuring the debut single, the high-energy “Dopamine.” Elephante has headlined two sold-out national tours, played nightlife residencies including those at Hard Rock and Wynn Las Vegas, and appeared at such major music festivals as Lollapalooza, EDC Las Vegas and Electric Zoo.

Elephante

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Balcony Bridge - Benefit Concert for Youth Care

In late May 2022, Dhruv Sharma reached a new nadir. Things had been going so well. He dipped out of Yale just two years into his degree, the music career he had been pursuing since he was a teenager in Singapore suddenly catalyzed by the runaway hit “double take,” as Dhruv. But at the start of 2022, he went to California for the first time, hoping to write his debut album with a slew of select songwriters there. Over five months, he participated in maybe eighty sessions, all abject failures. He felt both too guarded and exposed, the slickness of California and the machinery of music overwhelming his once-insular process. He flew to New York without a single song, hoping a visit with an ex-boyfriend might pick him up. He was so nervous he scratched the stains from his hoody on the way to rendezvous. And that’s where he learned that his partner of two years had already moved on, that any possibility of redemption had vanished. He felt that his personal and professional lives were crumbling, that he’d been dropped into an episode of the worst sitcom ever without a clear exit. So Dhruv went home to London and sat in his apartment with his little Yamaha keyboard. He brooded over those months in the States and slowly started to sing about them—“feeling like the main character,” he offered, “but in my own tragedy.” The song that emerged, “Tragedy,” became the cornerstone upon which he began to build Private Blizzard, an album that explores his season of despair with perfect candor and finds the hooks, the spirit, and the sound to move on. Its title borrowed from “The City Planners,” a Margaret Atwood poem he treasured as a closeted queer teenager in Singapore, Private Blizzard confronts self-doubt, loneliness, rejection, and malaise with a dozen shimmering neo-soul anthems and classic ballads that feel like Dhruv’s own cures, extended here to whomever else may need them. Though Dhruv began writing Private Blizzard in London, it truly took shape in a place that still surprises even him: Nashville, Tenn. A friend had told him about JT Daly, a producer there whose unlikely résumé spanned Noah Kahan, Bully, Benson Boone, and k.flay. They might have chemistry? As spring arrived in Nashville in 2023, so did Dhruv. He had written versions of several songs back in London and partially regained his confidence there, as if falling back in love with his real passion. Daly empowered him by demanding he actually doubt himself, to question what exactly his songs should contain. Dhruv thought, for instance, he knew how “Tragedy” would work, but Daly told him to consider removing several sections, to lessen the load on the listener. He was right. By week’s end, “Tragedy”—now a beautiful and seemingly effortless reflection on a very difficult time—was done. Dhruv realized he had found the musical partner he’d sought his entire life, since he was a songwriter sequestered in his Singapore bedroom. Over the next several months, Dhruv returned repeatedly to Nashville, ultimately cowriting every number on Private Blizzard with Daly. Those cursed days from a year prior faded into a memory that also provided artistic fodder. Though it feels like a classic summary of unreciprocated love, its piano hook bouncing off a classic boom-bap beat, “How?” documents Dhruv’s worry that his potential career was losing momentum, that he’d lost some spark by submitting himself to music industry machinations. With strutting bass and psychedelic keyboards, “California” flashes back to those uncertain few months. Dhruv finds strength in real time by realizing he is in the act of overcoming lifetime odds with every new note he sings. The city itself became an inspiration, too, with a late-night solo stroll down Nashville’s boulevard of bacchanalia, Broadway, prompting the gorgeous “Lonely City Waltz.” Daniel Tashian—the producer behind one of Dhruv’s favorite albums, Kacey Musgrave’s The Golden Hour—wrote and played with Daly and Dhruv. A small but mighty clutch of Nashville aces, like keyboardist Joshua Blaylock and multi-instrumentalist Kelly Pratt, helped the pair build the record’s cozy but urbane soundworld. What’s most surprising about Private Blizzard is how accessible and winning Dhruv is able to make his own hell sound. Opener “Ode to Boredom” is a brief triumph about lying to those around you, about telling them everything is fine while you suffer in secret; it is an anthem for recognizing delusion—and suddenly letting go of it. “Speed of Light” captures the romantic betrayal he experienced through the lover who swore forever only to run away with the quickness; in his hands, though, the story is a lithe funk number, harmonies and vocals swiveling like they’re on the dancefloor. A summary of the lessons we learn when someone disappoints us, “Illusions” is cool and comfortable, Dhruv seeming to smile as he relates this hard but helpful tale of growth. Even the somber songs here—the arching piano ballad “Grieving,” the acoustic confession “The Morning”—sound earned and instructive, Dhruv gliding above the hurt with wisdom. Most of us have our version of a “private blizzard,” the tumultuous things we conceal in order to function in this world, to get by as best we can. The gift of art is that someone shares theirs, extending it so that we might all feel less alone, crazy, or depressed. That is precisely what Dhruv has done with his Private Blizzard. He has shown us the inner workings of one of the lowest periods of his life by singing the very songs that were not only his map of those hardships but his map out of them, too. PrivateBlizzard is, at least, a welcome clearing.


Dhruv

Copenhagen - based Trentemøller has, over the last 25 years, achieved critical acclaim for his unique soundscapes and memorable melodies. Trentemøller's music represents a constantly evolving series of themes and ideas, with each release representing the next chapter of his artistic jou rney. He explores contrasts and paradoxes in his work and acknowledges these themes in his albums. Trentemøller's music often revolves around reminiscence and remembrance, yet he avoids nostalgia by infusing his tracks with contemporary elements. His debut full - length album, The Last Resort, was released in 2006 after a run of EPs. It topped several end - of - year polls and exposed Trentemøller's music to a broader audience. Trentemøller released his brand new studio album „Dreamweaver“ to critical acclaim. The latest work weaves together 10 mesmeri s ing songs , including the singles "A Different Light“, "Dreamweaver“, and „Nightfall“. In recent years, Trentemøller has also remixed music by artists like Tricky, Savages, Depeche Mode, Franz Ferdinand, The Knife, A Place To Bury Strangers, Soft Moon, UNKLE, adding to a list of over a hundred previously released remixes.

Trentemøller

Cowboy Carter - A KNTRY Beyonce Dance Party!

Born and raised in SoCal's surf-rock scene, Sun Room, quickly went from getting the cops called on them for playing too loudly at house shows to performing their music in sold out rooms across dozens of countries. After a series of unexpected viral moments, two of their songs were included on the hit Netflix series, Outer Banks, which continues the wave of excitement online. So within just six months of the band forming, Sun Room went on to sell out a run of shows across the US, support Louis Tomlinson's North and South American tour, and support Inhaler in Europe. Making their way back to the US in Fall 2022, Sun Room embarked on their first headline tour across North America, selling over 13,000 tickets. Getting back on the road in Spring 2023, the band toured the US with Inhaler, then went straight into their own headline run. After returning home to San Diego for the summer, Sun Room finished their latest EP "At Least I Tried" - A 4 track EP produced by Zac Carper from FIDLAR, one of the band's biggest influences growing up in the California DIY scene. The project was met with great responses from the public, scoring playlist covers across DSPs, a highlight from Iggy Pop on BBC 6 and DIY Mag describing them as "a band so unashamedly indebted to the garage rock'n'roll of decades past..." The project dropped as the band kicked off their second headline tour across all of North America, playing in over 30 cities, before finally jetting off to Australia for a headline tour and series of festivals for December 2023 - January 2024. Coming off a headline run and festival circuit in Spring 2024, Sun Room is gearing up to release their latest EP on August 9th with the first singles "Hate It When You Call" and "Get Me Outta New York City" out now. Watch the music video for "Hate It When You Call" HERE. This EP drops, just before the band joins Dayglow on his fall headline tour for 20+ dates across the US before jumping into their own biggest West Coast tour yet. In 2023, Sun Room gained over 500k followers across social media with a steady flow of global listeners that continues to grow as they experiment with their sound, play in new cities, and pull influences from the unique experiences they have encountered in just three years of being a band.

Sun Room

STICKY - playing Tyler, the Creator, SZA, and more!

Porridge Radio are a London based band from the UK, formed in Brighton in 2015 around band leader Dana Margolin. The band’s powerful live performances and rawly emotive lyrics have garnered a dedicated following, with their previous 2 albums Mercury Prize shortlisted ('Every Bad') and entering the Top 40 ('Waterslide...'). In October 2024, Porridge Radio - with keyboardist Georgie Stott, drummer Sam Yardley and bassist Dan Hutchins alongside Margolin - released their critically acclaimed fourth album, 'Clouds In The Sky They Will Always Be There For Me', on label Secretly Canadian. Produced by Dom Monks (Big Thief, Laura Marling) and recorded live, 'Clouds…' delves even deeper into themes of love, loss, and personal growth.

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