Schedule:

7:30pm: Dave Matthews Band - American Family Insurance Amphitheater

With a career spanning more than 27 years, Dave Matthews Band is one of the most influential bands in rock history. In 1991, vocalist/guitarist Dave Matthews decided to put some songs he had written on tape and sought the assistance of drummer Carter Beauford and saxophonist LeRoi Moore, who were both accomplished jazz musicians in the local Charlottesville, VA music scene. 16-year-old bassist Stefan Lessard came on board shortly thereafter. Their infectious, distinctive sound garnered lots of early attention and a die-hard loyal fan base, catapulting the band into one of the most successful touring acts of the past three decades.

The group has since released nine studio albums and numerous live recordings, selling a collective 38 million CDs and DVDs combined since the 1994 release of its major label debut, Under the Table and Dreaming. The GRAMMY®-winning band's many hits include "What Would You Say," "Crash Into Me," "Too Much," "Everyday," "American Baby," "Funny The Way It Is," "Mercy" and "Samurai Cop (Oh Joy Begin)."

Founding member LeRoi Moore passed away in August of 2008 and the band paid tribute to him with 2009's Platinum-certified Big Whiskey and the GrooGrux King. Dave Matthews Band has since welcomed longtime collaborators/touring musicians Jeff Coffin (saxophone), Rashawn Ross (horns) and Tim Reynolds (guitar) into the lineup and -- most recently -- keyboardist Buddy Strong.

With 2018's Come Tomorrow, Dave Matthews Band became the first group in history to have seven consecutive studio albums debut at No. 1 on the Billboard 200. In a Critic's Pick review, The New York Times observed, "willed optimism fills the songs on 'Come Tomorrow,' while cynicism and irony are nowhere within earshot... each song notes the fears and sorrows it's determined to overcome. The music does that, with consolation in its melodies and a life force in its rhythms."

Renowned for their live performances, Dave Matthews Band has sold over 24 million tickets since its inception and ranked as the biggest ticket seller worldwide of the past decade. The group's Bama Works Fund, established in 1999, has raised more than $52 million dollars for humanitarian and environmental initiatives.

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Friday June 30, 2023 - American Family Insurance Amphitheater

7:30pm: Odesza

ODESZA returned with their fourth studio album, 'The Last Goodbye', released July 22, 2022. Symphonic, vast, and emotionally stirring, 'The Last Goodbye' is the duo's most ambitious album to date. A project rife with brightness and emotion, nostalgic yet rooted in the present, it serves as a sweeping sonic experience that speaks to themes of connection, reminiscence, and the impact we impart on one another. It's a vivid celebration of the people and moments that have left fingerprints on our existence, echoing throughout the record. The album features Bettye LaVette on the title track, in addition to collabs with The Knocks, Ólafur Arnalds, Julianna Barwick, Izzy Bizu, Charlie Houston, Låpsley, & MARO. As ODESZA, this is Harrison Mills' and Clayton Knight’s most personal record yet, recognized with a nomination for Best Dance/Electronic Album at the forthcoming 65th Annual GRAMMY Awards. It’s a brilliant collection which looks to interweave the past and the present in a euphoric way.

With over 5 billion total streams, ODESZA have masterfully reemerged to remind the world what has made Mills and Knight cornerstones of the modern electronic landscape. Their last album, ‘A Moment Apart’, which featured Leon Bridges, Regina Spektor, RY X among others, was not only a commercial success (going gold and debuting at no. 3 on the Billboard 200), but it also earned praise from the likes of NPR, Rolling Stone, Billboard and more.

ODESZA has cultivated a diehard fanbase of massive proportions: known for their groundbreaking, awe- inspiring and immersive live performance. ODESZA spent the summer of 2022 touring North America, with 450k+ tickets sold, which included three sold nights in their hometown Seattle, and two sold nights runs in LA, New York, Chicago, and San Francisco for 22,000 people a night. They also have had headline performances at the likes of Coachella, Lollapalooza and more, as well as performed on Jimmy Kimmel Live! and Conan, and launched their own music festival SUNDARA in Riviera Maya, Mexico.

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7:30pm: Bonobo

Fragments is a huge event, destined to be one of the crossover electronic records of the year, and it might very well be Bonobo's masterpiece. Certainly for Si Green, the man behind it all, it was the most emotionally intense record yet to create, and it shows. Its electronic sounds are more powerfully hypnotic, the beauty of acoustic instruments is more exquisitely realised, the two are interwoven more totally -- and the songs are unforgettable. Its structures are full of tension and release on both an intimate and an elemental scale, it manages to touch on the most delicate and fleeting of emotions but also on existential terrors and an unabashed celebration of life in the face of fear and uncertainty. It's truly a record for our times. But there were times when it felt it would never happen: where previously Green had always written on the move, this time he had to fight to get it out, in isolation, as the world changed around him.

Of course these last few years have been a wild ride for everyone, but for Green, it was more a case of the rollercoaster suddenly stopping. It's now been over 20 years since he started Bonobo as a solo project, and over a decade since it expanded to include an arena-filling live band plus a parallel DJ and remixing schedule that puts Green up there with the biggest names in dance music. That expansion and acceleration has been constant, from a small town rural upbringing, through the small, funky clubs of Brighton on the English south coast, living in NYC then LA to working with Erykah Badu, Ólafur Arnalds and Jon Hopkins (plus remixes for Michael Kiwanuka, Gorillaz, George Fitzgerald and London Grammar). He has received three GRAMMY nominations, played huge arenas (selling out London's Alexandra Palace three times, as well as Denver's legendary Red Rock Amphitheatre, not to mention Glastonbury, Coachella, Lollapalooza, Primavera Sound and Fuji Rock) and most recently landing a top ten album in multiple countries, top five at home in the UK and a Billboard dance album number one in the US, with 2017's Migration.

This sounds dizzying, but the process of getting there was always so continuous, there was rarely any dramatic step change that made him take stock. His childhood was quietly cultured with his parents (his father a well regarded English folk musician) and sisters in Hampshire and Sussex. It was natural from there to gravitate to Sussex's party capital Brighton, where his eclectic tastes matched with the funky and exploratory club scene of the mid 90s, DJing jazzy, soulful global and electronic sounds in funky basements. Releasing on Brighton's own Tru Thoughts at the turn of the millennium led to signing to Ninja Tune, which gave him a global profile and let him build up a live band. And on it went... each step was logical and organic.

But as Green embarked on the Migration tour -- during which he and the band would play to two million people -- this constant acceleration combined with a feeling of the world in flux provided a feeling of uncertainty. He recalls the album dropping just as Trump took office in January 2017: heading to LAX for the start of the tour he saw it surrounded by protestors against the new travel ban. "It was deeply strange," he says, "There was very much a feeling of 'Oh well, here we go -- off into a weird new world,' not even knowing if we'd be allowed to come back." And touring was becoming gruelling. He had not long before had to deal with both his parents' passing, and that sense of "the madness intensifying out there in the world, especially in North America in that summer of 2017 -- it all got a bit much. I had a bit of a moment." He started to pull back into himself -- where previously he'd enjoyed and taken inspiration from the endless transit and crowds, now he felt like the constant cycle of cities and stop-offs was stifling. For the first time, crucially, he wasn't writing new music as he travelled.

And this sense of everything shifting and unravelling didn't abate when he got back: he arrived home after two years touring to find California on fire, and then the pandemic hit. His only way of processing this was to spend time in nature. Already on tour, he'd begun to take the scenic route. While the tour bus rolled on, he'd drive alone, and between cities "find the places that were alien and unique and awe inspiring, and just be there for a while, take pictures, get weird and be feral for a few days -- I'd literally walk into the venue to soundcheck in my muddy hiking boots." This continued: in 2020, his only escape from confinement was to go camping. He'd take a Jeep out into the Californian desert -- one time inadvertently visiting Death Valley on the hottest day in its history. With the temperature hitting 54.4°C, he found himself genuinely fearing he might not make it back to his vehicle, encountering a rattlesnake didn't help either.

Exhausted and wrung-out, Green was wrestling with feelings he found hard to express. He was unable to get home to the UK -- where formerly he'd been back and forth regularly -- but his vivid experience of heat and news footage of fires raging in California made him realise "the place I call home now might not be viable for life in the near future." The real and present danger of climate change was suddenly unavoidable. Yet at the same time, his abiding memories of the sheer scale of Canadian mountain ranges -- on tour, he'd driven solo through landscapes uninhabited for hundreds of miles -- was a reminder that life goes on, that nature is much bigger than any of us. Maybe in the green Utah valleys he camped in to escape the US election fever -- because as a Brit he couldn't vote -- he was harking back to his upbringing in rural England, yearning for the giddy innocence of teenagers drinking round bonfires. All of this was weighing on him: but with the need to make a new album looming, he was still struggling to get his ideas out.

The emergence of what would become Fragments from Green's psychic blank canvas came in phases. First was setting banks of modular synths in motion during lockdown in 2020. At first this was a diversion "from just pushing a kickdrum around on a computer screen, going off, making a cup of tea, then pushing it round some more" -- but then he became addicted to the complex undulations of sound that came from the machines. The fact that "it was chaotic but you could exert some degree of control over just how chaotic it should be" resonated with his deep feelings about elemental threats and human frailty: it was a way of interfacing with them and expressing them sonically. Also around this time, he dug out some recordings he'd made of harpist Lara Somogyi just pre-COVID, and found that these also fit his mindset.

The flowing, rippling tones of the modular synths and the harp working together set the tone of fluidity and cyclical patterns. Working with arranger and string player Miguel Atwood-Ferguson, musical themes began to rise out of the unconscious jamming and sample manipulation -- and recording orchestral musicians in actual studios helped bring the songs "out of the box" and into real, physical space. A rhythmic framework started to come together too: the structures of UK bass music and rave began to seep into beats that would become tracks like "Otomo" and "Sapien," some of the most hip-shaking grooves he's ever made. This was because Green, unable to return to the UK because of COVID and Visa issues, was obsessively listening to radio and DJ sets from back home and picking up on the future-retro rave, jungle and UK garage sounds he was hearing. Of course he retained his own connections to the UK scene -- notably overseeing the first in the prestigious fabric Presents DJ mix series in 2019, and launching his own dance-focused label OUTLIER in late 2020, writing a radio smash together with fellow Brit Totally Enormous Extinct Dinosaurs (and later signing Damon Albarn protege Poté).

Still, though, this wasn't a complete record yet. There were musical and psychological themes, but it wasn't connected, and -- aside from the "old school, Detroity, Moodymann and Theo Parrish inspired" "Shadows," recorded with friend Jordan Rakei -- there weren't songs. Once COVID hit, the vocalists Green reached out to, it seems, were struggling as much with creative block as he was. But finally, well into 2020, "right at the end when I thought everything was off the table, and I'd ground to a halt," Chicagoan singer and poet Jamila Woods sent back her vocal parts.

Green listened to the vocal back in the studio after an evening out and it was a magic moment. The last creative blocks dissolved: "I knew I had a centrepiece for the album, I knew how it was all going to sound." The track became "Tides," and all of the themes of ebb and flow, of the cycles of nature, of the inexorable nature of the elements fell into place around it. That moment became a figurative turning of the tide. The US was opening up from lockdown, and other vocals started coming in thick and fast, bringing new collaborative energy to the album. O'Flynn's co-production contribution on "Otomo" -- he effectively remixed it, turning Green's sample of the haunting Bulgarian choir 100 Kaba-Gaidi into a dramatic breakdown and beat drop -- also gave the process a boost, reminding Green of the sense of dancefloor abandon and surging crowds that by now he missed with a burning passion.

So the album is the sound of both struggle and isolation -- personally and collectively -- and of a surging, joyous return. This falling-together of elements was rapid, and a huge relief, coinciding with a return to socialising and a return to dancing. While there is sorrow and introspection here -- see the beautiful melancholy of Joji's voice and the dense textures of the ballad "From You" -- there is just as much a sense of release, of going with the flow and freedom. It's about the dancefloor in many ways, about how "I remembered all over again how much I loved crowds and movement and people connecting with each other" -- but the positivity isn't just in the uptempo rhythms: even the most introspective and melancholic pieces have joy in them.

The beatless "Elysian," which follows "Tides," lets the fluidity of Somogyi's harp and Atwood-Ferguson's strings flow over the listener, enveloping you in bliss. And another ballad, the closing "Day by Day" with Kadhja Bonet -- the only vocal recorded in an in-person session -- glows with hope, with the sense that despite it all life goes on, and that even in small ways, individual action matters. Drawing all the threads together is the single "Rosewood" -- another nod to Detroit house, with a feeling of both celebration and a deep yearning, it both harks back to the small jazz, funk and soul clubs where Green cut his teeth but has the epic scale of the biggest festival stages too. Fragments isn't just a musical salve -- far from it, it has pain and fear and struggle shot through it -- but it is a gorgeous reminder of of how out of struggle and disillusionment, creativity and hope can emerge at the most unexpected moments.

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7:30pm: Drama

DRAMA is the multicultural collaboration between producer Na'el Shehade's chic Chicago house-infused production style, and vocalist Via Rosa whose soulful delivery is inspired by the improvisational nature of jazz and playful patterns of hip-hop and bossa nova. The duo play to the complementary dynamics of their unlikely pairing by blurring the lines between R&B and dance-pop, heartbreak and bliss.

Rosa grew up in a musical household; her parents played in a reggae band and toured as a family, homeschooling Rosa into her early teens and limiting her listening primarily to Sade, oldies, Brazilian and Afrobeat music. She kept poetry journals and by high school started writing songs and making beats. After moving to Chicago in 2010, Rosa connected with THEMPeople, a collective at the center of the city's sprawling hip-hop scene.

Meanwhile, Shehade inherited a strong work ethic from his immigrant parents. Born in Chicago, he fell in love with DJ culture as a kid and took up music production and engineering; his interest eventually led to professional opportunities, including early studio work with Chance the Rapper, Kanye West, and music projects for MTV and Bravo. Since a chance meeting in 2014 lead to the creation of DRAMA, the duo has bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit.

In early jam sessions the chemistry was clear; Rosa's soulful delivery interlocked with Shehade's chic Chicago house-infused production style. A lovesick sound emerged over two EPs, Gallows in 2016 and Lies After Love in 2018, and continued on to their debut album Dance Without Me in January 2020.

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7:30pm: Qrtr

Meagan Rodriguez is QRTR, a Brooklyn-based musician, DJ, and film composer flourishing within modern electronic music, recognized as one of New York's top rising indie artists. Building music of conceptual depth, the tonality of QRTR's productions pull from various ethos: the entrancing and pulsating waves of house rhythms, psychedelic scopes of space and layering, and immersive worlds of sound that utilize her vast film and field recording library. QRTR can activate the biggest of stages and can also immerse the mind into a menagerie of unfolding styles cascading over one another. A singular artist in this generation that has released two monumental works within a 24-month window: 2020's Drenched and 2021's infina ad nausea. The live resume and presentation of QRTR's music has become just as exemplary, making her presence known at prestigious festivals such as Coachella, HARD Summer, Electric Zoo, and Electric Forest, completing a full sold out tour opening for Luttrell, and performing at some of the most cutting edge underground shows around the globe. Most notable was her appearance at A2B2's sold out Night of Fire festival at the Knockdown Center in New York, featuring QRTR alongside Arca, Eartheater, Andy Morin, Machinegirl, and Kero Kero Bonito. Millions of plays across streaming platforms worldwide and a dedicated fan base that's expanded far outside of Brooklyn, QRTR has become an undeniable force within modern electronic music.

The origins of QRTR's love for modern electronic music coupled with sounds from the past is a culmination of the family she was raised by and the dance music communities she first had access to. Her mother is from Madeira, a Portuguese island off the coast of Morocco, and her father is from Puerto Rico, giving a distinctly unique lens on incoming sounds from the house she was raised in. Growing up in Massachusetts, she would get her first access to making music with a vital gift from her dad: a Sony computer with DAW Acid Pro installed. Wild excursions into any sound obtainable, these stepping stones led to Garageband and then Ableton with a Pioneer controller. It wasn't until she moved to New York for film school at NYU that she was able to really harness the full scope of the QRTR sound that we know of today. One that DJ Mag's Ben Murphy describes as "tapping into everything from deep house to mystical IDM atmospheres, touches of UK garage, full-pelt jungle and psychotropic techno." Intensive hours sound designing and editing video gave her not only a cinematic view point to how sound is constructed but it also gave her access to a vast and unique library of sample sources. Beyond the techniques and skills acquired through NYU, being in New York allowed QRTR to interweave herself into the nightlife of the city and expand on the ethos she was formulating with vision and sketches sonically. These experiences had a huge impact on her as an artist. Across both Drenched and infina ad nausea, the bookend worlds of 21st century NY club nights and modern experimental film composer culture are glued all over the low end, overtones, and midsections. This unique dynamic is an integral aspect of what her artistry represents as a whole.

In 2017, QRTR put forth her first public works in the self-released EP Absinthe Party. Forging an integral relationship during this time was the addition of sound engineer Ryan Schwabe and the work completed mastering QRTR's maiden voyage. Schwabe brings sonic clarity, buoyancy, and lush dynamics, known for adding engineering to pivotal works by Oneohtrix Point Never, RJD2, Tierra Whack, and Shamir. It's an empowering and important part of her sound that's threaded through many of the QRTR releases, including the latest batches of remixes launched from the infina ad nausea LP and the sophomore album itself. In early 2017 at a Sundance premiere for a documentary she was working on, QRTR played demos that would eventually be on her first EP to the series composer Khari Mateen. It was suggested by Mateen that she connect with Ryan Schwabe for engineering assistance on a public release over this material. QRTR would eventually meet Schwabe after her work was completed at Sundance and arrange for work on Absinthe Party. Around this same time, QRTR would begin to really lay her roots down across the changing music landscapes occurring in Brooklyn and neighboring cities on the east coast with standout live performances/DJ gigs, and the bubbling nature that occurred with the first EP. Two singles would quickly release right after, including "Driver" and "RUN OUT THE BACK." Both are conceptually and sonically rich tracks that further added to QRTR's rise in the public sphere.

The process of writing and recording Absinthe Party was the catalyst in putting together her first proper full-length album, Drenched. Released with Los Angeles-based indie label Dome of Doom in March of 2020, the limited edition cassette version quickly sold out, with press around the the world praising the album for its deep sense of allure and sonic weight. QRTR was ushered into the sight of Dome of Doom on the strength of her artistry. No weighted connections or after event hand shakes were needed to establish how special and unique she was to the LA-imprint. Label owner Wylie Cable expands, "I met QRTR online originally. I was in a phase where I was looking for new artists to sign to the label and in my searching, QRTR stuck out as someone I felt had a unique and original sound. All of my most meaningful curation for the label comes from a very intuitive place. At this point in my career I feel like I can pretty much know within a few minutes of meeting a new artist whether or not they have the kind of potential and creative spark I look for in artists I work with. I immediately got that sense as soon as I found QRTR's music and just followed my intuition and cold call reached out to her online asking if she had heard of the label and that I was interested in working on a debut full-length."

Drenched is a record QRTR describes as her love song to the ocean's depth and the type of experiences she gained when encountering these spaces with her family. "My father was born in Puerto Rico and my mother was born and raised in Madeira, a Portuguese island off the coast of Morocco," QRTR adds. "Waves and dance music have a lot in common, the way they provide release through repetition. In Madeira, the people have an intimate relationship with the ocean, one of both respect and fear. The island is mountainous, with rocky beaches along the sides of cliffs. It beckons you, and when you've succumbed, the high tide comes in and pushes you back out. This LP is my love song to the ocean's depths. The way we look toward its vastness and accept that we will never fully know what's underneath. To be drenched, you must allow yourself to submerge completely, while being careful not to be consumed." Further blends of influence would include the dystopian worlds of Haruki Murakami, the meta-cognitive dissertations of Jia Tolentino's surrounding music, along with music visionaries such as Miike Snow, Crystal Castles, Jamie XX and Jacques Greene. Summation of many paths, all driven by the overall sensation to inspire people and give them a drive to pursue the worlds that give them the deepest sense of life. Reception percolated across the global press and radio grids, with Tom Ravenscroft of BBC6 taking a measured sense of interest in her works that has resulted in repeated plays across the influential radio platform and a unique mix for the 99 year-old platform. Paste Magazine, XLR8R, Magnetic Magazine, Bandcamp Daily, and many other influential platforms also saw the vision early. A half-year after the release of Drenched and QRTR would expand further into the ethos of Dome of Doom, contributing a remix for Daedelus' "Fettle" piece, with original sample material sourced from the What Wands Won't Break LP. This remix would appear on the What Wands Remixes comp on Dome of Doom, quickly becoming a sold out cassette shortly after launch.

A year after the release of Drenched and the "Fettle" remix with Daedelus, QRTR followed up with the enthralling and highly-celebrated work, infina ad nausea. Released with Dome of Doom in August of 2021, it's the first record in her catalog to receive a vinyl pressing and was met with journalistic recognition and radio love from outlets such as Pitchfork, Bandcamp Daily, DJ Mag, BBC6, Mixmag, The Wire, Paste Magazine, XLR8R, KCRW, Magnetic Magazine, Audio Femme, Electric Hawk, Saint Audio, Beatportal, and Dancing Astronaut. Pitchfork's Eric Torres states, "Rodriguez's propulsive production, ornamented with samples, murmured vocals, and various percussive elements, makes for a brisk, euphoric trip through the mind." A perfect summation on the sonic intention of the music and the affects the music took on QRTR while ruminating on past experiences and creating in response. QRTR notes, "infina ad nausea is a play on latin terms "ad infinitum" and "ad nauseum." I was trying to create a phrase to describe growing sick of a false feeling of permanence, as though you're living in a never ending loop. I was steeping in the concept of "spiral" which is a theme I've been coming back to constantly in my art and life since 2011. I always felt as though I was living within a series of full circles overlapping on each other (creating the illusion of a spiral). I have a tattoo on my arm that I designed in an effort to visually express the idea. The concept of this album feels a little larger than life to me and difficult to describe and that is exactly what I was trying to encompass sonically. I arranged the track order in a way that felt like the act of spiraling internally (mentally and emotionally). It starts off bright and playful and becomes more frenzied until suddenly you've reached "the point" -- which is ever moving and evolving and thus unreachable."

The fluidity and range of infina ad nausea has been the perfect slate for expansion, with inclusion on the Dome of Doom 10-year compilation Decade of Doom, radio support all over the world, continuous placement from Spotify, Apple, Amazon Music, Beatport, Bandcamp and other worldwide music services, and a cycle of shows that continues to fuel the enigma of the music. QRTR's also expanded the music of her sophomore LP with remixes collected from electronic musicians of every walk and life. Launched through packs and one-offs over the last six months (Astral Club Pack, Global Magic Pack, Miami Rave Pack, International Disco Pack), the inclusion of Daedelus in these remixes is a full-circle moment, following up on the work QRTR contributed to the What Wands Remixes. In an interview with self-titled magazine, Daedelus reveals: "QRTR immediately struck as someone who had an ear for a tune. Where an onstage persona is no different then what you'd hear in her production. A rare, wonderful feat! Grateful to get a remix that exemplifies this on my album and how could I not try to reply in return. Taking a kaleidoscope approach on my remix of her interlude, going noisy where she'd sublime, dance-y against her ambiance. Not trying to be contrary -- rather a heartfelt affirmation of what the song meant to me on first listening."

The packs, one-off singles, and unreleased material have been collected in the 18-track epic remix compilation infina ad nausea: the remixes. Revisionists/remixers include (in order of appearance): BAILE, Breaka, Nikka Nair, Liebknecht, VNSSA, Proper Villains, Mirin Doja, Daedelus, CSLTY, Paperwater, Coffintexts, Digitalism, Baby Weight, Lawrence Hart, Panooc, mayari., Supertaste & Sasha Rome, and The Micronaut & Architect. From Japan to her hometown of Brooklyn and far beyond, artists from all over the world put a unique lens on QRTR's sophomore opus, celebrating the work with an attention to detail that very few remix compilations achieve. QRTR's continued state of releasing music prolifically has elevated even more in 2022, launching the stunning Snowfall EP on Rules Don't Apply Records and contributing sublime remixes for Justin Martin and Lawrence Hart & Ryan Winters.

With QRTR producing a wealth of material this quickly into her career, some of the steam that was first generated around her music was infused with the presence of her feline companion ambientkitty. QRTR's usage of unique samples wasn't only restricted to film source material, with the inclusion of ambientkitty walking on top of controllers and creating spur of the moment ambient symphonies. Some of this material has made its way onto Drenched and infina ad nausea. With many of the core aspects of QRTR's music revolving around dynamic spacing of melody and beautiful rhythms, the usage of sample work has become just as critical and also ties directly back to her days in NYU collecting sample libraries and sourcing her own field recordings. Just as important to the overall makeup of the music as any drum tone or synth layer, most notable are field recordings taken from Notre Dame, Paris in 2018, as well as Catskills, New York in 2020. Used across infina ad nausea, they transport and transmute the tonality of the album and give it an essence that feels like time is stretching far back. Intros and outros all over both her debut and sophomore works take deep dives into QRTR's library, adding blends you won't find anywhere else.

Over the last three years, QRTR has shown the world what artistic merit and unfiltered vision can do in the realm of the dance community and beyond. Euphoric DJ experiences and mind opening listening experiences have taken her music to beautiful heights and she's only just found her footing. Global awareness has recently allowed her catalog to expand outside of music's DSP and physical pressing market, with soundtrack work now included in Hulu's new exclusive film from Searchlight Pictures, Fire Island. From the biggest of platforms to the smallest, the core values rest in the positive connections the music makes with the listeners while tapping into some of the deepest spaces of life. "The further I push the boundaries of this project, the closer I feel to reaching what I know is an impossibly difficult objective: making sense of pain. The world feels heavier than ever, and I can't think of anything more beautiful than working toward giving people some kind of joy. Whether that means through dance, emotional catharsis, or the act of making love to music that resonates with you -- it has the potential to create meaning in a time when a lot of things feel meaningless. To make a living doing this is a dream come true."

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7:30pm: Olan

"Where do I fit in?"

OLAN is sometimes troubled by this question. A multi-instrumentalist, singer-songwriter, producer and DJ, her music is as intriguing and hard to categorise as she is. Born Luzana Flores in Columbus, Georgia to a Dominican mother and Puerto Rican father, OLAN cites church as the place where her musical foundations were laid. In between orchestra classes and worship bands, her youth was spent listening to Paramore while honing her bass, guitar and songwriting skills.

Her tastes changed, as teenage tastes do, and after a move to Atlanta, she joined a songwriting camp for J.Cole's Dreamville Records, which led to her co-writing 'Buss It' for Ari Lennox. At 21, OLAN moved to Las Vegas, where she delved deeper into the electronic music scene and launched her OLAN project; then a combination of sprawling DJ sets and electric guitar-based live shows.

A stint in Belgium with her family followed, before OLAN started sending "really bad acoustic singer-songwriter" music to British producer Mat Zo. His 2013 Grammy-nominated album Damage Control, released on Anjunabeats, had expanded her understanding of what electronic music could be. "He was doing so many different styles of music, I didn't even know you were allowed to do that as an electronic producer!"

A friendship blossomed and OLAN became Zo's main collaborator on his 2020 album Illusion of Depth. 'In Motion,' a collaboration with fellow rising star Nourey followed, and in 2022 OLAN announced her debut album Contra, set for release on renowned electronic label Anjunadeep.

Written during the pandemic, Contra sees OLAN grappling with self-acceptance while honing her unique sound, informed equally by her love of electronic music as it is by her songwriting background. Inspired by an eclectic melting pot of influences ranging from R&B to Christian rock to drum & bass, OLAN also drew creative inspiration from the cult video game Outer Wilds, which helped her "come to terms with not having any reason to make music other than my own enjoyment of the experience."

OLAN emerges from lockdown and the album writing process revitalised and now finds herself performing on the world's most iconic stages, from London's Printworks and Red Rocks in Colorado to Ultra Miami. On stage, her raw energy and distinctive fusion of singing, playing guitars, and live electronic programming stand out, as does her presence as a queer woman of colour in a space often occupied by straight white men.

"Where do I fit in?"

A question often asked by artists who are just discovering that standing out is the best thing they can do.

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Saturday July 1, 2023 - American Family Insurance Amphitheater

7:30pm: A Boogie wit da Hoodie

The Bronx-bred artist Artist Dubose, better known as A Boogie Wit Da Hoodie, first hit the rap scene with the breakout hit "Still Think About You" which was featured on his 2016 debut mixtape, ARTIST. A Boogie quickly proved himself to be one of the game's newest heavyweights after XXL dubbed him as "one of the hottest and newest up-and-comers in hip-hop" and included him in the 2017 Freshman Class. The young star also went on to release the 5x platinum single "Drowning feat. Kodak Black" and 4x platinum "Look Back At It," along with the 2x platinum certified single "Jungle" and platinum certified “Timeless.” During the fall of 2017, A Boogie went on to release his highly anticipated, now gold certified, debut album, THE BIGGER ARTIST, which quickly sprung into the Top 5 on Billboard’s Top 200. He also became the top emerging acting in the U.S. as he simultaneously sprung to #1 on Billboard’s Emerging Artists chart. It is easy to see why The New York Times named A Boogie “the most promising young rapper the city has produced in some time.” A Boogie earned a BET Award Nomination for “Best New Artist” at the end of 2018 in addition to releasing his 2x platinum sophomore album, HOODIE SZN, which made its debut at #2 before spending three nonconsecutive weeks at #1 and maintaining a stunning 17-week streak within the top 10 on the Billboard Top 200 chart. The album also soared on streaming, garnering over 83 million streams the week it went #1. After embarking on his sold out “A Boogie vs. Artist” Tour, A Boogie released his third studio album, Artist 2.0, and its subsequent deluxe edition which boasted collaborations with Young Thug, Roddy Ricch, Gunna, DaBaby, Summer Walker, Khalid, Lil Uzi Vert, and more, and debuted at #2 on the Billboard 200 with over 120,000 album equivalent units, topping HOODIE SZN’s debut week. Following the album’s release, A Boogie made a stunning debut on The Tonight Show Starring Jimmy Fallon, performing the fan-favorite track, “Me and My Guitar,” accompanied by H.E.R.. In 2021, A Boogie reemerged with his latest single, “24 Hours” with rapper, Lil Durk.

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7:30pm: Trippie Redd

Michael Lamar White IV, better known as Trippie Redd, is a rapper from Canton, Ohio. After working on mixtapes like 2016's Beast Mode and Awakening My InnerBeast, Trippie Redd delivered his most involved work with 2017's A Love Letter to You, which reached the Top 100 of the Billboard 200. He soon relocated from Ohio to Atlanta as his fame grew. A Love Letter to You 2 followed, and debuted in the Top 40 of the Billboard 200 albums chart. That same month, Trippie joined with Lil Wop for the EP Angels & Demons. Before the end of the year, he scored his first Hot 100 entry with the Travis Scott-assisted single "Dark Knight Dummo." In 2018, Trippie Redd issued several singles in anticipation of his debut studio album, Life's a Trip. The LP placed the artist's voice at the center of many songs, highlighting his unique vocal style as both a rapper and singer. Just a few months later, he returned with the mixtape A Love Letter to You 3, another chapter of depressive and angsty lyrics on both sung and rapped tracks. His second studio album, !, arrived in 2019. Its title was inspired by the album ? by the late rapper XXXTentacion and continued Trippie's emo rap musings. Trippie released his third studio album, A Love Letter To You 4, on November 22 2019. With features from Juice WRLD, Lil Mosey, YNW Melly, YoungBoy Never Broke Again and more, the album earned Trippie his first #1 on the Billboard 200 chart.

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7:30pm: City Girls

City Girls, hailed by Rolling Stone as being the hottest duo in rap, the City Girls has successfully claimed their stake as being the most notorious power players in female Hip Hop. Yung Miami (Caresha Romeka Brownlee) and JT (Jatavia Shakara Johnson), known for being authentic, uncensored and unapologetic, took the world by storm with their first two projects Period and Girl Code, followed by their contribution on Drake's number one pop hit In My Feelings. The first ladies of Quality Control Music, Yung Miami and JT's knack for storytelling mixed with their infectious personalities are responsible for empowering a cult following of women who not only have something to say but aren't afraid to say it.

City Girls’ presence and ascent, as their lyrics suggest, are attributable to their resilience, pride and just a little bit of finesse. From “Take Yo Man,” multiplatinum and gold-selling single “Twerkulator,” and their latest release “Top Notch,” there’s no shortage of bravado, pleasures (both carnal and material), or pursuit of opportunities in their songs, which brim with a buoyant nonchalance, as if begging for someone to challenge them. This ownership over who they are—without shame or pause—that oozes from their music, carrying the proud, sex-positive hustler’s DNA of the Florida rap that preceded them.

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7:30pm: Kia Rap Princess

Born in Milwaukee,WI Female Hip-Hop Artist Kia Rap Princess impresses with her versatility -- she's a singer, a rapper, and songwriter to say the least showcasing all of the above with her music catalog. With Her witty lyrics, Unique Sound and Impeccable flow, KRP brings a different element to the music industry. KRP has performed in many states and stages. She is especially known in her hometown Milwaukee,WI as one of the most influential artist of their hiphop/music community. This Artist/Songwriter has an extensive catalog ranging from Hard Bass hitting Club Anthems, to melodious r&b records. Check out KRP's contagious afro-beat part starter,  "Issa Vibe" (You Wont be disappointed).

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Friday July 7, 2023 - American Family Insurance Amphitheater

7:30pm: Zach Bryan

"I would say true love of anything is supposed to rip your heart out and put it back together all in the same go round. This album to me is all the trials we face day-in and day out and I wrote all the stories on it hoping someone, somewhere might relate or some kid might pick up an instrument and replicate it in an effort to be an artist. Some songs are sad, some are happy, some are hopeful, and some are hopeless, all of them mean something different to me and I pray they mean something to someone else. American Heartbreak is my effort at trying to explain what being a 26-year-old man in America is like. There's love, loss, revelry, resentment, and forgiveness all wrapped into one piece of work. Thank you, guys, for listening, always."

Oklahoma born and bred Zach Bryan has been making an impact on the underground country music scene for the past few years even while he was still actively serving in the US Navy. He released a pair of independently recorded and released albums, DeAnn (2019) and Elisabeth (2020) that provided the spark that would ignite his arrival. New songs and videos would appear via socials and YouTube all fueled by a voracious word-of-mouth community that would ascend into a dramatic trajectory that continuously draws millions of new country and rock fans into his orbit week after week.    

His 2019 breakthrough single “Heading South” garnered 90 million global Spotify streams and over 15 million YouTube views and soon the Billboard Hot Country Songs and Hot Rock Songs began to chart his moves.

Without the aid of extensive touring or commercial radio, his impact upon the new Americana culture skyrocketed purely on the strength of his deeply personal, relatable songs gaining a seemingly unstoppable momentum that is resonating with music fans around the world. Upon his release from service, he traveled from base directly to the stage of the Grand Ole Opry. Soon after, in 2021, shows in New York City and Nashville – at prestigious The Ryman Auditorium, no less, sold out in minutes without fanfare.

Each of the tracks released prior to the full 34-song AMERICAN HEARTBREAK album, “Something In The Orange,” “Highway Boys,” “Late July,” “Open The Gate,” and “From Austin,” have become fast fan-favorite audience sing-alongs at his spirited live shows. “From Austin” claimed #1 Country Song on Apple Music, debuted at #4 on Spotify’s Global Country chart, along with making a spectacular first day impression at #38 Overall Song on Spotify US Top 200, and #63 Overall Song on Apple US. The track was added to numerous flagship streaming playlists, including Spotify’s All About Country, Hot Country, and Just Good Music; Apple Music’s Today’s Country, Country Risers, and Future Hits; and Amazon Music’s Fresh Country. His most recent single “Something In The Orange,” commanded 9.6 million global streams and debuted on the Billboard Hot Country Songs charts at #11, #4 on the Hot Rock Songs chart, and rose to the #1 on Billboard’s Country Songwriter chart. On the strength of “SITO” deeply personal story, the track has garnered over 34 million global streams. To date, Bryan has surpassed 1 billion combined global streams with 4 million monthly Spotify listeners. All unprecedented terrain for a new artist completely free from any music industry influence or outside assistance.

His recent blistering set at Southern California’s Stagecoach Festival debut was the most talked about event of the weekend and left an indelible impression that will challenge perceptions of modern country music.  To date, every show of his first extensive US tour has found him connecting with fans in a Springsteen-esqe communal experience thanks to music and attitude that is simple, undiluted, genuine, and captivating.

Zach Bryan is a true artist who believes in letting the music do the talking as the songs themselves take centerstage. He embodies the Outlaw attitude of legends like Johnny Cash and Willie Nelson while drawing in young alternative fans and new country purists alike. The bond he shares with his audience is something special to witness live. He tells his story through the songs, delivering them with raw emotion and pure passion, generating a mutual respect in an authentic way very few can and do.

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7:30pm: Charles Wesley Godwin  

A native of West Virginia, Charles Wesley Godwin makes cinematic country-folk that's as gorgeous and ruggedly raw as his homeland. It's Appalachian Americana, rooted in Godwin's sharp songwriting and backwoods baritone. With 2021's How the Mighty Fall, he trades the autobiographical lyrics that filled Seneca — his acclaimed debut, released in 2019 and celebrated by everyone from Rolling Stone to NPR's Mountain Stage — for a collection of character-driven songs about mortality, hope, and regret, putting an intimate spin on the universal concerns we all share.

"I started a family around the time Seneca came out," he remembers. "After my son was born, I remember sitting in the hospital, thinking about how that very experience would eventually become one of those life moments that flash before my eyes when I'm old. I realized that time is passing, and my time will pass, too. Becoming a father made it all sink in."

Those realizations quickly found their way into his writing. If Seneca painted the picture of a southern son in the middle of American coal country, then How the Mighty Fall — produced once again by Al Torrence — zooms out to focus on wider themes of time, transience, and the choices we make.

Songs like "Strong" "Bones" and "Blood Feud" are roadhouse roots-rockers, driven forward by fiery fiddle, lap steel and plenty of electric guitar. Godwin does most of his painting with more subtle shades, though, often waiting until How the Mighty Fall'ssofter moments to make his biggest impact. On "Cranes of Potter," he delivers a murder ballad with finger-plucked acoustic guitar and elegiac melodies, unspooling the narrative with a storyteller's restraint. Meanwhile, "Temporary Town" finds him returning to West Virginia after spending five years in the midwest, celebrating his homecoming not with barely-contained enthusiasm, but with measured excitement, light percussion, and a steadily-building arrangement.

"I try to write with a sense of place," he explains. "Up until now, that setting has always been my home, but I don't think this new album is as locally-focused as my previous release. I hope these songs will connect with people wherever they live."

The son of a coal miner father and a schoolteacher mother, Godwin began forging those musical connections in 2013, while studying abroad in Estonia. He'd learned the acoustic guitar several years earlier, looking for a diversion after failing to secure a spot on the West Virginia University football team. Halfway across the world in Estonia, he started strumming songs in his apartment, summoning the sights and sounds of West Virginia for a group of new friends who'd never laid eyes on the state. Fans were made, gigs were booked, and Godwin launched his full-time music career shortly after graduation.

Marriage soon took him to Ohio, where his wife worked as a fundraiser. Even so, West Virginia remained at the forefront of Godwin's mind, and he saluted the area's influence with his 2019 debut. Seneca was a hit, with Billboard praising the album's "the vivid language and scenic ambience," and Rolling Stone enthusing, "His voice, with its tight, old-world vibrato, is perfect." Godwin hit the road in support of its release, touring domestically one minute and selling out shows in European destinations like Stockholm the next. When the global pandemic brought his touring to a halt, he set his sights on How the Mighty Fall, creating the album during a period that also witnessed the arrival of his son and the migration of his growing family back to West Virginia.

Charles Wesley Godwin has never been afraid to blur the lines, and How the Mighty Fall proudly straddles the borderlands between several genres. It's a country album by an Appalachian-borne folk singer and blue-collar believer, laced with enough electricity to satisfy the Saturday night

revelers and enough scaled-down acoustic balladry to soundtrack the slow, gentle pace of Sunday morning. For every "Lyin' Low" — a driving folk anthem, its larger-than-life melodies flanked by banjo

— there's a softly sweeping song like "Lost Without You," which finds Godwin's voice echoing between stretches of pedal steel and symphonic strings. This is music for campfires and car rides, for pool halls and mountain peaks, for big-city diehards and small-town loyalists. It's Charles Wesley Godwin at his best, diving into character studies and richly-created fiction while still offering glimpses of the man behind the music.

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Saturday July 8, 2023 - American Family Insurance Amphitheater

7:30pm: Imagine Dragons

Since making their full-length debut with 2012's multi-platinum Night Visions, Imagine Dragons have drawn worldwide adoration for their anthemic yet moody alt-rock. On their third album Evolve, the Grammy Award-winning band shift perspective and take on a brighter but more layered emotional outlook. "The last year's been the healthiest year of my life, and I think that's very much reflected in the music," says lead vocalist Dan Reynolds, whose bandmates include guitarist Wayne Sermon, bassist Ben McKee, and drummer Daniel Platzman. "There's definitely some moments of sadness on this album, but there's also moments of real celebration."

Despite the minimalistic approach of Evolve, Imagine Dragons achieve a rich complexity partly informed by their taking time out to recharge. After much soul-searching during a year-long break from touring, the band arrived at a new mindset and ultimately brought a greater sense of openness to their music. "Smoke + Mirrors was a very introspective time for the band, where we were questioning spirituality and its meaning in our lives," says Reynolds. Sermon continues: "With that album we were struggling to come up with the answers, and with this one we're satisfied not to have the answers at all."

Formed in 2009, Imagine Dragons first revealed their emotionally charged and inventive sensibilities with a series of independently released EPs that earned them a grassroots following. Signed to KIDinaKORNER/Interscope by hitmaking producer Alex Da Kid, the band greatly expanded their fanbase with the release of their multi-platinum breakthrough single "It's Time" (featured on the 2012 EP Continued Silence). With their past hits also including "Radioactive" (a diamond-selling smash that won Best Rock Performance at the 2014 Grammy Awards), Imagine Dragons went on to see Smoke + Mirrorsdebut at #1 on the Billboard Top 200 album chart upon its release in early 2015.

For Imagine Dragons, one of the greatest achievements of Evolve is its unfettered honesty. "Instead of hiding behind metaphors, I was able to be more direct in my lyrics," says Reynolds. "I really focused on searching deeper for lyrical value." Along with giving the album untold emotional depth, honesty cuts through everyday chaos to reveal a luminous truth. "Right now the world can seem like a very dark and daunting place," says Reynolds. "We wanted to create something like a lot of the records we grew up on, where it feels like you're escaping into a world that's much more vibrant. Our hope is that the album helps people focus on the beauty of each moment, and really see all the brilliance and color of life.

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7:30pm: AJR

Re-envisioning what pop can be in the 21st century, AJR unassumingly emerged as a ubiquitous hit-making outlier and one of the biggest indie bands in the world. Since 2012, the multiplatinum indie pop trio - Adam [bass, vocals], Jack [vocals, guitar], and Ryan [ukulele, piano, vocals] - have generated billions of streams and earned one triple-platinum single, one double-platinum single, four platinum singles, and one platinum album. 2019’s Neotheater marked their biggest first-week debut, bowing at #8 on the Billboard Top 200, #1 on the Top Alternative Albums Chart, and #1 on the Top Rock Albums Chart. Cemented as part of the modern zeitgeist, Spotify touted “Sober Up” [feat. Rivers Cuomo] among the “Best Rock Songs of the 2010s,” while Apple Music included “Weak” on its “Best Alt Songs of the 2010s.” Not to mention, they remain one of the “500 Most-Listened to Artists” on Spotify. On the heels of Neotheater, they dropped the 2020 platinum blockbuster “BANG!”, which they performed on TODAY, The Ellen DeGeneres Show, and even at the Macy’s Thanksgiving Day Parade. The bands latest single “DJ Is Crying For Help” is out everything November 18, 2022.

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Date: Thursday June 29, 2023 - Saturday July 8, 2023

Location: American Family Insurance Amphitheater - 100 N Harbor Dr, Milwaukee, WI 53202

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