Black Tusk, Dysrhythmia
Saturday, September 2 · 7:30pm

Idiosyncratic instrumental trio Dysrhythmia was formed in Philadelphia, PA in August of 1998 by guitarist Kevin Hufnagel and original bassist Clayton Ingerson, who were joined six months later by drummer Jeff Eber. The band made their debut in early 2000 with their self-released album, 'Contradiction'. Shortly thereafter, the band re-entered the studio in 2001 to record the 'No Interference' record. This album helped to define and expand the band's sound, and was followed by extensive touring. In 2002, the band released two split albums, a 10" vinyl record with Thoughtstreams and a 7" split with Technician.

The band then signed to Relapse Records in October 2002. Entitled 'Pretest' their first album with Relapse was released in May of 2003 to positive critical acclaim. Metal Hammer Magazine named 'Pretest' one of the Top 10 Essential Mathcore albums of all time, while Revolver Magazine ranked the album among the top 20 albums of 2003 alongside of records by Radiohead, Metallica and others. The band began touring with bigger named acts such as Mastodon, High on Fire and The Dillinger Escape Plan and playing large music festivals including the 2003 and 2004 Relapse Contamination tour, the Relapse Records SXSW showcase in Austin, TX and the New England Metal and Hardcore festival, where the band was profiled by both MTV2 and Fuse. Bassist Clayton Ingerson left the group in November 2004.

To replace Ingerson, Dysrhythmia recruited Colin Marston, a member of the group Behold the Arctopus. The band then also decided to relocate to NYC. Dysrhythmia next embarked on tours with Isis, and These Arms Are Snakes. They recorded and released their fourth full-length album, 'Barriers and Passages' at B.C. Studios in Brooklyn with engineer Martin Bisi, who had previously worked with Swans and Sonic Youth. 'Barriers and Passages' was released in May of 2006. The band continued touring throughout 2006 and 2007, and released a split titled 'Fractures' with UK bass-drone trio Rothko in late 2007.

Dysrhythmia stayed relatively quiet in 2008 as Hufnagel and Marston pursued their own individual projects. Marston continued recording and touring with Behold the Arctopus and Krallice while Hufnagel released his first full-length solo record. Both Hufnagel and Marston also joined the long-standing technical death metal band Gorguts.

After the short break, Dysrhythmia entered their own Menegroth Studios in Queens, NY to record their fifth full-length release, 'Psychic Maps'. The album, darker in mood than any previous albums, was engineered and produced by Marston and was released in July of 2009 via Relapse. They began touring in October 2009 in support of the new album. Tours included their first European run in June and July of 2010, and a U.S. and Canadian tour following shortly after, supporting Cynic, and Intronaut. In May 2012 the band entered Marston's studio again to record their sixth full-length studio album entitled 'Test of Submission' released in August of 2012 on Profound Lore Records. Their seventh full-length album 'The Veil of Control' followed in 2016, also released on Profound Lore Records. The band embarked on their second European tour, this time with Gorguts, Psycroptic, and Nero di Marte, in addition to US dates with Sabbath Assembly.

2019 sees the band celebrating their 20th anniversary and returning with their eighth and most metallic album yet. Titled 'Terminal Threshold', the trio has this time summoned it's most aggressive tendencies to unleash an apocalyptic post-prog thrash instrumental masterclass, via Translation Loss Records.
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Zeta / Codefendants
Sunday, September 3 · 8pm

The group is defined by its strong emphasis on dense polyrhythmic percussion that sway from profoundly authentic Afro-Caribbean music mixed with the most visceral Punk beats. With atmospheric elements that are drawn from 70’s era psychedelia and Post-Rock to form a intense and unique listening experience.

Zeta is also known for touring relentlessly - and due to their nomadic nature they foster and adopt artistic communities of the places they visit.

The band was Founded in 2003 in a little town in the coast of the Caribbean Sea called Lecheria (the smallest municipality in Venezuela consisting of 7 square miles and 79 thousand inhabitants). They now reside in South Florida, USA. Zeta is comprised by the multi-instrumentalist and founders Juan Chi and Dani Debuto, with Chino Sandoval on Drums and Antonio Pereira on Bass. Zeta has played over a 1500 shows in their 20 year career and are set to keep on playing live shows for the next 10 years (at least)
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Quasi
Wednesday, September 6 · 8pm

Breaking the Balls of History is Quasi’s tenth record, landing ten years after their last record, on February tenth. Three tens, which aligns with the thirty years they’ve played together. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast— their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. But we were wrong to ever take Quasi for granted. For a while, they thought 2013’s intricate Mole City might be their last record. They’d go out on a great one and move on.

Then in August 2019 a car smashed into Janet’s and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it—the touring, the communal crowds, the sonic church of the dark club—would ever happen again. “There’s no investing in the future anymore,” Janet realized. “The future is now. Do it now if you want to do it. Don’t put it off. All those things you only realize when it’s almost too late. It could be gone in a second.”

Under lockdown, Portland’s streets fell still, airplanes vanished, wildlife emerged. And with the obliterated normal came an unexpected gift: uninterrupted time, hours every day, to make art. Quasi couldn’t go on the road, so they got an idea: they would act as if they were on tour and play together every single day. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet’s strength returned and rose to athlete-level stamina. “When you’re younger and in a band, you make records because that’s what you do,” Sam said. “But this time, the whole thing felt purposeful in a way that was unique to the circumstances.” They knew they would keep it to just the two of them playing together in a room. They knew they’d record the songs live and together, to capture a moment.

The incredible result of those sessions is Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet’s galloping drums and Sam’s punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they’ve crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart.

“A last long laugh at the edge of death” sings Sam at the album’s outset, and that gleeful defiance—which might as well be the logline of our present moment—sets the table for the songs to come. In “Gravity,” Quasi’s predilection for the absurd now tips into unnerving realism; in the post-facts era, the very thing that tethers us all to the earth is rendered meaningless (“you can walk on water if you so choose in your made-in-USA concrete shoes.”) Punchy warning verses about death and disarray swoon into the blissed-out, checked-out chorus of “Queen of Ears” (“But I, I float above it all, wizard of idleness, mistress of killing time.”) Janet’s voice floats sweet and eerie through the atmospheric suspended reality of “Inbetweenness.” Etch “Doomscrollers” onto the golden record and launch it into space as a precise time capsule of the incomprehensible present. “The Losers Win” is a tart arsenic nightcap to close out the record, and hell, the nation.

It sounds dark, and because it’s rising to the moment, it is. But this is also a record surging with energy and pleasure and joy. “It felt so life-affirming. I can hear in the music how happy I am to be there and to be playing at that level again,” Janet said. “I get to exist.”

I’ve been listening to this record for a few months now, and I can’t stop thinking about how as the world started to end, and then kept on ending in all kinds of surprising new ways, Sam and Janet returned to their practice space every day and made songs. Face to face, instrument to instrument, they decided to build something new. They did the work. They made their art. They’ve lived through enough to understand that nothing is permanent, and that when your faith in humanity sinks, you turn to the life force of what you can rely on: the people you trust, the community that claims you, and what you can create. You can’t control the time. But you can make a record of a time. And luckily for us, Quasi has again.
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Pile / Speedy Ortiz
Thursday, September 7 · 7:30pm

PILE

“I want to do what makes me feel like a kid: experimenting, having fun, and trying to discover new things about this work,” says Pile’s Rick Maguire about All Fiction. It’s his band’s eighth record, and one that finds the ambitious group assembling its most texturally complex material yet—despite the fraught inspiration underscoring its restive lyrics. Alongside the blistering drums and scorched-earth riffs that first galvanized Pile’s dedicated fanbase, the band has incorporated elegiac strings, mystifying vocal corrosions, and haunting synths. From the creeping fear of cinematic opener “It Comes Closer” to the euphorically ascending keys on ego-shattering closer “Neon Gray,” All Fiction is an ornate, carefully paced study on the subjectivity of perception, the data-shaping despotism of big tech, and the connections between anxiety and death. In its most vital moments, it’s also a resolute recommitment to the restorative significance of art and imagination.

For fifteen years, Pile’s evolving take on rock has earned the group one oft-repeated superlative: “your favorite band’s favorite band.” Ceaseless touring took its members from Boston’s basement circuit to international festivals, hitting loftier technical apexes with each new record. Maguire—the fastidious composer, evocative guitarist, and potent voice behind the solo-turned-punk project—gives musical body to his interior world in scream-along-able lyrics that skew surreal. Drummer Kris Kuss’s time-defying performances, layered over gnarled basslines, have garnered widespread acclaim. 2019’s Green and Gray took Pile’s thunderous noise to more intricate realms, thanks to new recruit Alex Molini’s work on bass and keyboards, and Chappy Hull’s dextrous interplay on second guitar. That record drew praise for its political directness and instrumental ferocity, but Pile’s seventh album was almost a wholly different endeavor—one on which Maguire would favor piano.

“I’ve been trying to get out of what I think is ‘the rock band format,’ and I was also tired of what I saw as our identity as a band,” explains Maguire, citing the profound impact he’s drawn from Mt. Eerie’s unusual timbres, Kate Bush’s ambitious singularity, and Aphex Twin’s irreplicable soundscapes. “The confusion about identity combined with existential anxiety led to exploring my imagination as a means of escape.” As far back as 2017, Maguire’s songwriting gravitated toward more obtuse influences, with a Prophet X synthesizer eventually replacing guitar as his primary composing tool. But when Pile’s lineup changed after his move to Nashville, Maguire was hesitant to stray far from the band’s established heavy sound, lest his newer bandmates take critical heat. Squirreling away that material for a later record afforded him time to explore deliberately. “I’ve been more drawn to recordings where it’s difficult to identify what’s happening,” offers Maguire of the albums that impacted All Fiction; the list is vast, touching on adventuresome heavy-hitters like Portishead, Broadcast, Penderecki and Tinariwen. “I also wanted to use different instruments and recording techniques to highlight the songs, rather than creating the visual of a band performing them,” he says.

All Fiction—a reference to “the lack of any objective reality,” and the worries that accompany parsing truth from tale—is a record Maguire views in some ways as Pile’s most vulnerable, despite his embrace of symbolic lyricism. In 2019, Maguire and Molini began demoing All Fiction in Nashville; Molini, an established producer, brought appreciated focus to the process. As the pandemic interrupted Pile’s planned touring, Maguire leveled up at production to accommodate his fascination with electronic textures. On 2021’s Songs Known Together, Alone, he rearranged Pile’s back catalog for solo performance. Later that year, improvisational record In the Corners of a Sphere-Filled Room empowered the group to push deeper into orchestrated strangeness. In September 2021, Molini and Maguire were joined by Kuss—who was living eighteen hours away in Boston—for a month-long rehearsal of the twenty songs in contention. Kuss’s versatility gave him insight into synth patterns and atypical percussion choices like rhythmic breathing. The band, now a three-piece after the departure of Hull, recorded at home until they’d gotten All Fiction right, then they headed into the studio proper to try it all again. Recording once more with engineer Kevin McMahon (Real Estate, Titus Andronicus) at Marcata Recording in upstate New York, Pile tracked fifteen songs for over a month—the project’s longest studio stint by far. A “mammoth period” of synths, resonant vocal re-processing, and nightly full band overdubs yielded layers like doubled drums, warped classical guitars, and triggered samples of air ducts. Finally, Pile was joined by a string quartet, adding magical last touches. It marked a triumphant chapter for Maguire: “Part of it felt like pulling out all the stops,” he says. “I never really treated a Pile record that way.”

For a record intended to abdicate rock’s throne, several of the ten tracks finally chosen for All Fiction number among Pile’s rockingest. “Loops” finds Maguire questioning his motives as a songwriter, scrutinizing the border between his lived experiences and the stressors he sings about. Concerns about self-awareness, substance use, and music’s environmental impact infected “Poisons,” which takes cues from the loud-quiet splendor of PJ Harvey. A trip to Big Bend in Texas inspired the Lynchian “Nude with a Suitcase”; “I really like Kris’ breaths, and what Alex did on the Rhodes and Omnichord. It added textures that give this song a lot of life,” Maguire effuses. While global perspectives and personal moments shaped the record’s narrative arc—climate injustice, the addiction crisis, American cultism, and capitalistic overwork, to name a few subjects—Maguire says he’s more confident than ever in letting poignant images speak for themselves: “If this combination of words does it for me, it doesn’t need to make sense to somebody else.”

After completing past records, Pile’s had goals bubbling on the backburner. Maguire poured all of those and then some into All Fiction, and this purity of intention unlocked a refreshed sense of joy and fulfillment in Pile’s music. “I like thinking art has the capacity to change things and the way people function. But the means to get that art out there and get people to connect to it can be draining—and I overcommitted, in a lot of cases, to trying to be an island,” Maguire admits. All Fiction was sparked by a beguiling sonic palette, but it’s also infused with love from the years of trust between Kuss, Molini, and Maguire. Proof’s in the aftermath: though they spent five years as a long distance project, post-All Fiction, all three members of Pile are once again living in the Northeast.

SPEEDY ORTIZ

“Rabbit rabbit” is a superstitious incantation repeated on the first of each month to bring good fortune—a belief practiced by Sadie Dupuis, the guitarist, singer and songwriter of the Philadelphia rock quartet Speedy Ortiz. As a child with OCD, she followed arbitrary rituals, a coping mechanism commonly triggered by early trauma, and “rabbit rabbit” was one that stuck. When Dupuis began to parse difficult memories for the first time in her songwriting, it felt like kismet to name her band’s resultant fourth record after an expression of luck and repetition: Rabbit Rabbit. Instead of re-treading old routines, the record finds Speedy Ortiz interrogating conventions, grappling with cycles of violence and destructive power dynamics with singular wit and riffs. Rabbit Rabbit finds Speedy Ortiz at its most potent: melodically fierce, sonically mountainous, scorching the earth and beginning anew.

Speedy Ortiz debuted as Dupuis’ home-recording outlet in 2011, but the solo project quickly blew up into a full-fledged band beloved around the world for its pointed lyrics, disarmingly hooky choruses, and musical ingenuity—as well as its activism. The group graced festival stages from Bonnaroo to Primavera, supported heroic artists from Foo Fighters to Liz Phair, and brought acts including Mitski and Soccer Mommy on some of their earliest tours. In 2016, the band relocated from Massachusetts to Philadelphia, with the lineup changing shortly thereafter to include sonically inventive guitarist Andy Molholt (Laser Background, Eric Slick), drivingly melodic bassist Audrey Zee Whitesides (Mal Blum, Little Waist), and heavy-hitting drummer Joey Doubek (Pinkwash, Downtown Boys). Rabbit Rabbit is the first Speedy album to feature the longtime touring members as full contributors, and Dupuis and her bandmates blaze with unpredictability, their intrepid playing thrusting songs in exhilarating new directions.

The gnarled guitars and imagistic lyrics that defined 2013’s Major Arcana, 2015’s Foil Deer and 2018’s Twerp Verse are still present, but Rabbit Rabbit’s recordings feel as vast as a desert landscape. “As I was channeling scenes and sentiments from decades past, I wanted to honor the bands I loved when I first learned guitar, ones that taught me to get lost in the possibilities of this instrument,” Dupuis recalls. Speedy Ortiz delved into its members’ most formative musical favorites—post-hardcore, the Palm Desert scene, alternative metal—pushing the agile complexity of the guitars and forceful rhythmic interplay between the drums and bass to unprecedentedly tricky extremes. “Every voice has a narrative,” offers Doubek of the arrangement process. “There is so much feeling and melody to interpret, and so much room to express it.”

The desert’s guidance extended to their choice of recording locales: Rancho de la Luna in Joshua Tree (Mark Lanegan, PJ Harvey) and Sonic Ranch in Tornillo, Texas (Sparta, Fiona Apple). They worked with engineer and co-producer Sarah Tudzin (Illuminati Hotties, Pom Pom Squad), who imbued the riff-heavy record with righteous heat. She also helped carve space for the electronic tones of Dupuis’ ornate pre-production, completed using a synesthetic constraint in which she immersed herself in a different color to arrange each song. Former bandmates Darl Ferm and Devin McKnight added overdubs to fill out the record’s already-teeming sound—an homage to Rancho’s sprawling, collaborative Desert Sessions project. David Catching (earthlings?, Eagles of Death Metal), Rancho’s owner, also added mesmerizing lap steel, a favorite moment for the whole band.

In her past few years of work as a writer and interviewer, Dupuis recognized a recurring thread among artists with parallel backstories to her own: music had provided escapism from childhood abuse, but those same turbulent circumstances had normalized the grimmest aspects of the music industry. These were flashbacks she’d shied from, and constant touring enabled that avoidance. But Rabbit Rabbit pulls no punches, either in its self-reflections or its call outs. With a Touch and Go-indebted maelstrom of distorted solos, lead single “You S02” trains its gaze on apologists, union-busters, and other ex-punks who don’t live up to their public ethos. Sing-song verses explode into a candy-tipped arrow of a chorus on the danceably off-kilter “Scabs,” a critique of those who cross picket lines. Jagged-cliff-dwelling riffs and thundering drums punctuate the kiss-off waltz of “Plus One,” while dry-lightning guitars and skewed bass groove turn “Ranch vs. Ranch” (a nod to Rabbit Rabbit’s two studios) into a vivid origin story for a horror movie hero. The darkly hued “Cry Cry Cry,” written about Dupuis’ inability to feel safe with tears, is a classically-composed tumble of contrapuntal riffs and electroclash timbres. And “Ghostwriter,” already a staple of Speedy’s live set, is a call to dismiss unproductive rage, delivered with the shimmering bash of the Y2K alt renaissance. “I hope we captured the total joy I get when I hear bands like that,” says Whitesides.

The record’s most scenic lyrics come from “Kitty,” an urban pastoral about the all-night noise on Dupuis’ block. “It felt important to ground the record in our shared location, especially since being at home and the friendship of my bandmates is what helped me reckon with this album’s themes,” says Dupuis. But a sense of fight is still at the forefront of Rabbit Rabbit; another catalyst was Speedy Ortiz’s efforts as community activists. Molholt and Dupuis are organizers with the Union of Musicians and Allied Workers and its Philly local, which has worked to place instruments in state prisons. The band has also collaborated with harm reduction organizations, Girls Rock Camps, and other grassroots groups while on tour. In addition to her production work with electropop project Sad13 (Backxwash, Lizzo), Dupuis is also a poet; her second book Cry Perfume was released in 2022, and its subject matters of grief and harm reduction put her in the frame of mind to write Rabbit Rabbit’s intimately nuanced lyrics—a confessionalism explored on the meta “Ballad of Y & S,” which teasingly ponders the market utility of semi-autobiographical art.

The record’s cover is Dupuis’ mixed-media painting of a fire-engulfed pickup truck, an image inspired by the trucks on fire she drew compulsively as a kid in therapy. Drawing from literary influences that include workplace apocalypses, magical realist family dramas, and artists’ biographies, Rabbit Rabbit is Speedy Ortiz’s most ambitious and expansive record to date. “I turned 33 while writing this album, a palindrome birthday and a lucky number associated with knowledge,” explains Dupuis. “I wanted to mark how I was making better choices as I got older, letting go of heedless anger even when it’s warranted.” The album’s stirring immediacy owes much to the band’s strength as a collective, working together toward a better future—or, as Molholt puts it, “constantly surfing the highs and lows in search of a stable place to land.” With considered muscularity, captivating earworms, and genuine solidarity, Speedy Ortiz is equipped to confront the world’s indignities—with or without a good luck charm.
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The Smiths Tribute NYC
Friday, September 8 · 8pm

THE SMITHS TRIBUTE NYC
"Head back to the '80s with the ultimate indie rock band...and jam out to a guy who acts and sounds just like Morrissey" - Thrillist (2023)

In 2022 members of The Sons & Heirs regrouped as The Smiths Tribute NYC. For 14 years, The Sons & Heirs built a extensive following through sold-out shows from Tel Aviv to Austin to Nashville to LA, with press acclaim from the New York Times, New Yorker, New York Post, Jerusalem Post, The Daily Beast and Rolling Stone’s Rob Sheffield.

The band has shared the stage with many special guests including Morrissey’s long-time drummer Spencer Cobrin, Doug Gillard (Guided By Voices), and late Smiths’ bassist Andy Rourke, who told a reporter “these guys love the band, and they’re really passionate about it."

The band is thrilled to return to Connecticut to play Space Ballroom.

“Almost as good as the real thing! They do it seriously, but without taking themselves too seriously. Lots of fun!” - Ticketmaster review of Bowery Ballroom show (2023)
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Jeff Rosenstock
Saturday, September 9 · 8pm

JEFF ROSENSTOCK
Jeff Rosenstock makes increasingly chaotic albums for an increasingly chaotic world. With each passing year, it feels like the temperature of the universe boils five degrees hotter, and with each new album, Rosenstock’s music grows more unwieldy and lawless. Louder, faster, more feral.

Which brings us to 2023—a planet on fire, a mere 90 seconds to midnight on the doomsday clock, and the release of Rosenstock’s appropriately titled, anarchic record, HELLMODE.

“To me, the album feels like the chaos of being alive right now,” Rosenstock says of HELLMODE. “We’re experiencing all these things at the same time that trigger our senses, and emotions that make us feel terrible. We’re just feeling way too much all at once!” But for all its textured turmoil, there are also surprising glimpses of clarity and grace to be found in HELLMODE, when Rosenstock deliberately slows things down in places that are prettier and more delicate, rare moments of shelter in the storm. Which only makes it more rewarding when these moments unexpectedly unravel and spiral back into extreme, manic chaos, like abruptly being flung into a Nintendo game on level 99.

HELLMODE marks the fifth studio album the prolific Rosenstock has released in the last ten years under his own name, following the dissolution of his beloved cult projects Bomb the Music Industry! and The Arrogant Sons of *******. Also tucked into his rapidly expanding catalog is a live record, a ska reimagining of his 2020 album NO DREAM, and various dumps of stray songs and loose singles. And somewhere on the side, he has found time to score the Emmy-nominated animated series Craig of the Creek.

Rosenstock’s rising profile and critical acclaim over the last decade have been something of an anomaly. He’s a proud torchbearer of the punk sonics, aesthetics, and ethos of his youth, leaning into pop punk and ska sensibilities that were deemed Decidedly Uncool by the gatekeepers of the time. (On any given day at a big outdoor music festival, he is likely the only musician who will bust out a saxophone solo.) But when Rosenstock celebrates these styles, he somehow ends up getting praise from tastemakers and landing on prominent year-end lists. Maybe it’s because his appreciation doesn’t feel like cheap nostalgia or surface-level cosplay. Everything he does is just so damned sincere.

That success is something Rosenstock has been conflicted about, and fuels some of the anxiety that runs through HELLMODE. “It’s weird feeling success at the worst possible time, while the world falls apart,” he says. “These things I’ve been unintentionally working towards for the last two decades have come to fruition now, when everything is on fire.”

To record HELLMODE in the summer of 2022, Rosenstock once again enlisted his longtime studio collaborator, Jack Shirley, the Grammy-nominated master of heaviness who has recorded all of Rosenstock’s studio albums. But this time, they took a slightly more ambitious approach, booking time at the legendary EastWest Studios in Hollywood. They recorded to tape in Studio 2, the same hallowed ground where System of a Down recorded Toxicity, and where Whitney Houston laid down vocal tracks for The Bodyguard soundtrack. The newfound studio resources produced the biggest and most expansive Jeff Rosenstock record to date.

“I looked at it like: Well, we’re never gonna make a major label debut record. But I really like the sound of a lot of those records from the 90s—the Rob Cavallo stuff, the Jerry Finn stuff,” Rosenstock says. “So what would we do if we were in the studio trying to make that kind of record? It’s funny, I feel like in 2023, you can write an unabashedly poppy punk song and it’s probably not gonna be on the radio anyway, so it doesn’t feel like a sellout move. We felt free to make something that just kicks as much *** as possible.”
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Low Cut Connie
Tuesday, September 12 · 8pm

LOW CUT CONNIE
“Sometimes you gotta rip **** up, kids”...Adam Weiner, the eccentric wild-eyed frontman of Low Cut Connie says with dark intensity, staring over the top of his mostly damaged brown piano. The piano is named Shondra, named after an elderly stripper from Atlanta; she is covered in graffiti and has an American flag draped over her side. He points at all the boys and girls in the room, staring down these disheveled men and women of 2017 America, all gathered in this bar, drenched in sweat and hysterical eruptions. Weiner and Shondra begin the opening strains of the new Low Cut Connie song “Revolution Rock n Roll”. It’s a chunky Chuck Berry groove with slow, ominous overtones. The crowd starts to move their ***** and lift their hands. These kids have been depressed and angry and they are ready to fully unload. “The time has come, pals...let’s get weird.”

Low Cut Connie was recently called “the essence of what rock n roll should be” by Greg Kot (Sound Opinions / NPR) and the New York Times has said “their live show is a phenomenon.” They have been a rolling DIY caravan with an explosive live act bubbling under the surface of the music industry for five years, building an obsessive fanbase from all walks of life - white and black, straight and gay, young and old - salty lunatics of every persuasion. Even former President Barack Obama is a fan. He chose their anthem of low-brow American life “Boozophilia” for his Spotify Playlist and met with Weiner at the White House in 2016.

But with Dirty Pictures (part 1), Low Cut Connie moves beyond the drunken bar boogie they have become associated with into a deeper, darker, dirtier American life.

“We’ve been thought of as a great party band by so many people, and we wear that as a badge of honor, but I really wanted to go deeper with this record,” says Weiner. “We’ve been travelling this country now for a number of years, meeting people of all stripes, entertaining them in their bars and sleeping on their couches, laughing hard, holding them tight and sweating it out with them. I wrote this record really thinking about how people are feeling and living in this country these days... It’s a wild scene out there.”

And what is it that best brings Americans together in such wild and dirty times? Weiner has a simple answer: “Rock n roll. Nothing moves people more. It’ll make the most unsuspecting citizen hot, *****, angry, weepy and emotional and ultimately open to life like never before. I’ve seen it happen. That’s what we do. We change the molecules in the room.”

Low Cut Connie began with 2011’s casually tossed-off Get Out the Lotion record, featuring songs by New Jersey-born Weiner and British songwriter Dan Finnemore, both collaborating with producer / guitarist Neil Duncan. The record was recorded in a 3-day blitz in Gainesville, Florida and Weiner printed 200 CD-R’s to give to friends. He sent the album to Robert Christgau, aka the Dean of American Rock Critics, who was the first to rave about what he called their “scuzzballing, resolute rock n roll”, which led to major reviews at NPR’s Fresh Air and Rolling Stone who described their wild sound as a “chugging scuzzbucket boogie.” Their song “Rio” struck a pungent chord with fans who connected with its amped-up, sexually-confused, overloaded grind.

Over the next few years, Low Cut Connie featured a revolving door of members as they barreled around America’s dive bars schlepping Weiner’s beloved 400-pound Shondra to every gig. 2012 brought the album Call Me Sylvia, which featured the earlier-mentioned “Boozophilia”, which caught the ears of many radio programmers as well as President Obama, and was named in Rolling Stone’s top singles of the year. The Connie boys collaborated with renowned producer Thomas Brenneck, former guitarist of Sharon Jones & the Dap Kings, for 2015’s Hi Honey. The album was chosen by Jim DeRogatis as the #2 album of the year on Sound Opinions / NPR and featured the single “Shake It Little Tina” (whose video has a 3 second cameo from Jamie Foxx).

By Spring 2016, with Finnemore recently out of the band and no other original members, Weiner had assembled a tough young crew of degenerates, all living and rehearsing in Philadelphia. James Everhart (lead guitar), Will Donnelly (rhythm guitar), Larry Scotton (drums) and Lucas Rinz (bass) made up a heavier sound that Weiner describes as “a new boogie for all mankind.” As the crowds at Low Cut Connie shows grew, the sound and scope of the band expanded and as Weiner says, “The tent started to throb with existential tension and orgiastic release.” He decided to try to capture the vibe quickly on analog tape at the famous Ardent Studios in Memphis TN, home of Big Star. With the assistance of engineers Adam Hill and Dave Chale, Weiner produced the sessions, attempting to keep things moving fast. An explosion of material generated a pair of LP’s: Dirty Pictures (part 1) and its sequel, Dirty Pictures (part 2), slated to be released later this year.

With raunchy instrumental work from all the Connie boys pushing the envelope, the material on Dirty Pictures (part 1) delights and wallows in the seedy life of America 2017. “Revolution Rock n Roll” calls to arms our perverse and noble youthful instincts with Weiner screaming “Come on children, rip it up...let the ****-offs clean it up.” “Death & Destruction” simply sums up our dirty American life under the Trump Administration by proclaiming, “Everybody’s acting like an *******.” “Dirty Water” channels Keith Richards and Jimmy Reed with Everhart’s perfectly unsanitary guitar work. And with the deaths of so many musical luminaries looming on Weiner’s mind, he offers us the stately “Forever”, as well as a bracing cover of Prince’s “Controversy”. Speaking of the recent passing of his hero Prince Rogers Nelson, Weiner said “It will take time for us to understand what we have lost.” Closing the record is the show-stopping “What Size Shoe”, with the appropriately angry and impotent opening line “Well I feel like a schmuck.”

Whether they succeed or not, Low Cut Connie always attempts to make us feel something real, something very raw. With Dirty Pictures (part 1), this little rock n roll band from Philadelphia attempts to undress America, laughing and crying real tears with us all night long.
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Blue October: Spinning The Truth Around (Part II) Tour
Wednesday, September 13 · 8pm

BLUE OCTOBER
Rather than lean on destiny for direction, Blue October invents and inhabits a future all their own. The platinum-certified alternative quartet from Houston, TX—Justin Furstenfeld [vocals, guitar, songwriter], Jeremy Furstenfeld [drums], Ryan Delahoussaye [violin, mandolin, piano], and Matt Noveskey [bass]—consistently evolves with an outlier perspective. For their eleventh studio album and first double-LP, Spinning The Truth Around: Part I & II, Blue October unlocks another creative renaissance.

“We feel like we’re at the height of our craft,” states frontman Justin Furstenfeld. “The album is romantic as ****. The lyrics are universal and poignant, but we’re showing the songs can stand alone instrumentally. We know the sound we want.”

The original creative core of Blue October found some new inspiration, as Justin immersed himself in the work of J Dilla. He wrote at a feverish pace at his own Up / Down Studios in San Marcos. Similar to the early days, the record is a band collaboration.

“Ryan is such a great string arranger,” Justin notes. “I’d sample strings and detune them on the Akai. If you have a great drummer like Jeremy, Matt on bass, two overhead mics and a SM57 in the kick drums, add strings, some romantic piano and profound lyrics, you can find yourself some magic.”

Such magic courses through the first single “Spinning the Truth Around.” Keyboards glimmer beneath a glitchy beat as his voice echoes with longing on the hook, “I don’t want change, we both want more.”

“The feeling of the song is bittersweet like a sunset,” he observes. “It’s beautiful when it’s shining and sad when it’s gone. You’re grateful that you got to be a part of it.”

A lifelong theater student, Justin began studying at the “Fame” high school of Houston, HSPVA, where he met bandmate Ryan Delahoussaye. In September 2023, Furstenfeld will make his feature film debut in the action movie, Section 8 (in theaters and AMC+), alongside Dolph Lundgren, Mickey Rourke, Dermot Mulroney, and Ryan Kwanten. He recently wrapped his second film Lights Out, featuring Frank Grillo, Mekhi Phifer, Scott Adkins and Dermot Mulroney.

Elsewhere on Spinning the Truth Around Part 1, warm strings wrap around a piano-laden groove on “How Can You Love Me If You Don’t Even Like Me.” The cinematic soundscape offsets Justin’s biting lyrics with oddly sweet whimsy. Alternating tempos in a hip-hop cadence, his delivery barely cracks a whisper, preserving the mood. On the other end of the spectrum, “Where Did You Go I’m Less Of A Mess These Days” recalls a flurry of memories starring an old friend over an upbeat bounce with candid lyrics, “You said you love the way I sing ‘cause it’s depressing as ****.” Then, there’s “The Girl Who Stole My Heart.” Sparse orchestration sets the tone for a heavenly catharsis punctuated by a swooning refrain.

The album culminates on “Big Love.” It holds a special place in Justin and Jeremy’s heart, as their father listened to it during his chemo treatments. The song’s crescendo unfolds with a lush and luminous last word, “Just keep your face turned to the sun. We’re proud of all that you have done.”

“Love, for me, has been set on high standards,” he admits. “When my father passed away during the pandemic, we were allowed in the room for twenty minutes. I watched my mom comfort him. In his final moments, I could see him relax. For three years, she took him to chemo. He listened to ‘Big Love’. The only thing my brother Jeremy and I could do was write a song for him and send him messages. A love like what my parents had is what I hope for everyone. They could communicate openly. They showed me how easy it should be. There’s a loss, but there’s a spirit that says, ‘Hey, hey, you’re good’.”

In the end, Blue October might just remind you of the same thing.

“This album is about boundaries and love—selfless love,” Justin leaves off. “You know that even if you did love someone it’s okay if you both fall out of love. It’s the story about a loving relationship that changed, when the world was falling apart. Nobody had a rule book. You don’t have to end a relationship and hate each other. Life is so short. There is love out there.”

Blue October History

Since 1998’s The Answers, Blue October has been touring the world with a boundless approach, generating north of 1 billion total streams and charting 16 hits. In 2006, Foiled earned a platinum certification and yielded signature anthems “Hate Me” and “Into The Ocean,” kicking off a prolific streak. In addition to six consecutive Top 30 album debuts on the Billboard Top 200, they scored three straight #1 entries on the Top Alternative Albums Chart with Any Man In America [2011], Sway [2013], and Home [2016].

Speaking to their sustained influence, 2018’s I Hope You’re Happy has become one of Blue October’s seminal albums. The title song “I Hope You’re Happy” vaulted all the way to #14 on the Alternative Chart, and is still one of their most popular streaming songs. 2020’s This Is What I Live For bowed in the Top 20 of the Top Rock Albums Chart and spawned a radio hit with “Oh My My,” garnering a Top 10 single at Alternative Rock Radio their first Top 10 since 2009 with over 10 million-plus streams.
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Florry
Wednesday, September 13 · 8pm


FLORRY
After some folk/country directions on their 2021 EP, Big Fall, Philadelphia country band rock band Florry is back with their Dear Life debut, the four song Sweet Guitar Solos. Whoever gave them those directions did a pretty good job because on their new EP they definitely seem like they’ve gotten to where they needed to be.

Culled from various outtakes recorded between 2021 and 2022, the band slips and slides from a four-piece lineup to a seven-piece band with two- three guitars, fiddle, pedal steel, and vocal accompaniment. The band does a lot of things, such as raggedy alt country, cowpunk, and country rock, but mostly they have fun.

On an electric version of 2021 track Big Fall is frontwoman Francie Medosch, bassist Jared Radichel, second guitarist John Murray, and drummer Joey Sullivan. When I Kicked You Out of the Band (I Wasn’t Kicking You Out Of My Life) sees the band add vocal accompanist/acoustic guitar player Victoria Rose and fiddle player Will Henriksen, with Murray on lap steel. The band finally lands on their current lineup with Cowgirl in a Ditch, with Murray back on guitar and Sam Silbert on pedal steel. The band also covers Lisa’s Birthday from the Drive-By Truckers.
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Ilana Glazer Live!
Thursday, September 14 · 8pm

ILANA GLAZER
llana Glazer is a creator and comedian who co-created and co-starred in the critically acclaimed series BROAD CITY. Her debut stand-up comedy special, THE PLANET IS BURNING is on Amazon Prime, and her film FALSE POSITIVE which she co-wrote and starred in, was produced by A24 and available on Hulu. Most recently, you can see her in THE AFTERPARTY for Apple TV+. Ilana is also the co-founder of the non-profit Generator Collective, which was founded in 2016. Generator Collective defines minimal civic engagement and aims to humanize policy through people-powered stories on social media.
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Superchunk
Thursday, September 14 · 8pm

SUPERCHUNK
Like every record Superchunk has made over the last thirty-some years, Wild Loneliness is unskippably excellent and infectious. It’s a blend of stripped-down and lush, electric and acoustic, highs and lows, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up, Here’s to Shutting Up, and Majesty Shredding. After the (ahem, completely justifiable) anger of What a Time to Be Alive, this new record is less about what we’ve lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude. I’ve been a huge Superchunk fan since the 1990s, around the same time I first found my way to poetry, so the fact that I’m writing these words feels like a minor miracle.)

On Wild Loneliness, it feels like the band is refocusing on possibility, and possibility is built into the songs themselves, in the sweet surprises tucked inside them. I say all the time that what makes a good poem—the “secret ingredient”—is surprise. Perhaps the same is true of songs. Like when the sax comes in on the title track, played by Wye Oak’s Andy Stack, adding a completely new texture to the song. Or when Owen Pallett’s strings come in on “This Night.” But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on “Endless Summer.” It’s as perfect a pop song as you’ll ever hear—sweet, bright, flat-out gorgeous—and yet it grapples with the depressing reality of climate change: “Is this the year the leaves don’t lose their color / and hummingbirds, they don’t come back to hover / I don’t mean to be a giant bummer but / I’m not ready / for an endless summer, no / I’m not ready for an endless summer.” I love how the music acts as a kind of counterweight to the lyrics.

Because of COVID, Mac, Laura, Jim, and Jon each recorded separately, but a silver lining is that this method made other long-distance contributions possible, from R.E.M.’s Mike Mills, Sharon Van Etten, Franklin Bruno, and Tracyanne Campbell of Camera Obscura, among others. Some of the songs for the record were written before the pandemic hit, but others, like “Wild Loneliness,” were written from and about isolation.

I’ve been thinking of songs as memory machines. Every time we play a record, we remember when we heard it before, and where we were, and who we were. Music crystallizes memories so well: listening to “Detroit Has a Skyline,” suddenly I’m shout-singing along with it at a show in Detroit twenty years ago; listening to “Overflows,” I’m transported back to whisper- singing a slowed-down version of it to my young son, that year it was his most-requested lullaby.

Wild Loneliness is becoming part of my life, part of my memories, too. And it will be part of yours. I can picture people in 20, 50, or 100 years listening to this record and marveling at what these artists created together—beauty, possibility, surprise—during this alarming (and alarmingly isolated) time. But why wait? Let’s marvel now.
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Modern English
Friday, September 15 · 8pm


MODERN ENGLISH
Simply put, "I Melt With You" by the legendary British rock band Modern English is one of the most iconic songs of the New Wave era. It garnered heavy rotation on the then-thriving Modern Rock radio format, MTV and dance clubs across the globe, and was prominently featured in the classic 1983 film Valley Girl, starring a young Nicolas Cage.

On 1982's After the Snow, the band's sound evolved from the dark, moody and challenging post-punk found on its debut, Mesh & Lace, to a more commercial and radio friendly mix of synthesizers, guitars, catchy drum beats and singer Robbie Grey's unmistakable vocals. As the title suggests, the icy sound featured on Mesh & Lace melted away on After the Snow to reveal more concise and potent songs, highlighted by "I Melt With You” which brought the band up from the underground to the mainstream. It's a song so popular that the band was honored with a Lifetime Achievement Award at the 2020 BMI Awards for seven million plays on radio. After the Snow was produced by the acclaimed Hugh Jones whose production credits include albums by Echo and the Bunnymen, Simple Minds, The Damned and many more, and the LP was released on the legendary 4AD Records in the UK and licensed to Sire Records in the U.S.

Formed in Colchester, England, the band self-released its first single on its own Limp Records label prior to signing to 4AD, home to such like-minded acts as Bauhaus, Cocteau Twins and Dead Can Dance. Laying the foundation for future musical movements such as goth and industrial, Modern English would gain the attention of renowned BBC DJ John Peel, who featured the band twice on his program.

Modern English would record various records over the years, with its latest being 2017’s Take Me To The Trees, an album that reconnected the band to their youth, in the fervent and fecund world of late 1970s/early 1980s post-punk Britain. Given Modern English’s roots were post-punk icons Wire and Joy Division – dark and austere while still melodic and passionate – Take Me To The Trees is a return to the sound and vision of their very early work that even James Murphy of LCD Soundsystem has described as “a sneaky secret that everyone writes off, because they just think it’s going to be a ‘I Melt With You’ but it sounds way scarier than any Joy Division record [Mesh & Lace].”

Most recently, Modern English issued After the Snow: Live From Indigo at the O2, a 40th anniversary live collection featuring the songs from the album on CD, CD/DVD and digital, with a vinyl version that was made available exclusively on Record Store Day 2022. Extensive touring throughout the U.S. on various legs would lead to the band making its late-night television debut on The Tonight Show Starring Jimmy Fallon as well as a performance on The TODAY Show in October 2022.

Recorded at Clubhouse in Rhinebeck, NY in the fall of 2022, directly after months of touring, Modern English’s highly anticipated forthcoming album that will see a 2023 release was produced and mixed by Mario McNulty, who is best known for his work with David Bowie, Lou Reed and Laurie Anderson. Performed and recorded together in live sessions, the new album’s aim is to capture the energy of the band’s live show and harks back to the sounds, raw energy and post-punk passion of the band’s Mesh & Lace days. With a touch of subtle themes lifted from After the Snow and Ricochet Days that include the environment, aging, failed relationships, love and more, the upcoming album finds the legendary band delving into nostalgia but, as always, exploring new creative territory.
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Digable Planets: Reachin’ 30th Anniversary Tour
Friday, September 15 · 7pm


DIGABLE PLANETS
Digable Planets burst onto the music scene in 1993 with their Grammy-winning single, “Rebirth Of Slick (Cool Like Dat)”. Made up of Ishmael Butler (“Butterfly”), Craig Irving (“Doodlebug”) and Mary Ann Vieira (“Ladybug Mecca”), the trio carved out a unique style of jazz-informed Hip Hop. Shortly after, Digable Planets followed up with their debut album, Reachin’ (A New Refutation of Time And Space), an ambitious offering that Pitchfork praised as “a world within a world, complete with its own language and monuments.” The group celebrates the 30th Anniversary of Reachin’ in 2023.

Melding Jazz samples, and complex rhymes that touched on everything from the nuances of city life (Where I’m From) to abortion rights (La Femme Fetal), Reachin’ was a rich and vibrant artistic statement as well as a huge commercial success (RIAA certified gold).

Digable Planets immediately followed up with Blowout Comb, a bold and colorful meditation on Black liberation. While the album did not initially reach the immediate commercial successes of Reachin’, the album has aged beautifully, influencing future generations of Hip Hop heads, young Jazz musicians and Afrofuturists. The trio spent the 2000s establishing their own individual creative voices with Butler’s Cherrywine and Shabazz Palaces projects, Mecca’s work with BROOKZILL! and Irving as “Cee Knowledge” leading Cee Knowledge & The Cosmic Funk Orchestra.

In 2015, the group embarked upon a string of wildly successful live shows and has been very active as a tight touring unit ever since. In 2017, they released Digable Planets Live, a live album that showcases many gems from the group’s catalog as well as the trio’s skill at rocking the crowd with a live band. A pioneering act that continues to cast a wide-ranging, genre-bending influence, Digable Planets have left an indelible mark on music. More than 30 years after their debut, their music still shines, and the iconic group continues to bring their celebrated stage show to excited crowds around the world.
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The Lemonheads - "Come On Feel The Lemonheads" 30th Anniversary
Saturday, September 16 · 7pm

‎The Lemonheads
Come On Feel was home to some of his best, sharpest writing – fabulous sunny powerpop and beautiful ballads” - The Guardian

In the 90’s, Evan Dando’s Lemonheads produced hit after hit, pure genius filling the radio waves and taking the stage. Some 30 years on; Evan is still knocking that songwriting thing out of the park and Come On Feel The Lemonheads sounds as fresh and perky as it ever did, with a string of undoubtedly catchy singles: "Big Gay Heart", "Into Your Arms", "It’s About Time", and "The Great Big NO”, among many other unforgettable songs. Evan knows a good song when he hears it, as Come On Feel The Lemonheads certainly proved.

“’Come On Feel The Lemonheads’ is all it purports to be: a chance to dip into Evan’s jumbled-up, dope-smoking love-buggy of a life and celebrate it” - NME
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Glaive: i care so much that i dont care at all
Saturday, September 16 · 8pm

GLAIVE
glaive is a vocalist, songwriter and producer from the mountains of North Carolina who began making music at the beginning of the Covid-19 pandemic, releasing his first song on Soundcloud in April 2020. His rise since has been meteoric, supported by a steady stream of new music that has quickly earned him acclaim and a devoted following. He shared his debut EP cypress grove in 2020, with The FADER and The New York Times naming the single "astrid" one of the best songs of the year. 2021 saw him play his first ever live shows, and his project all dogs go to heaven earned him spots on year-end Best Of lists from the The New York Times (critic Jon Caramanica's favorite song of the year), Los Angeles Times, The FADER and more.
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Depths of Wikipedia
Sunday, September 17 · 7pm

DEPTHS OF WIKIPEDIA
Join @depthsofwikipedia creator Annie Rauwerda on a journey through Wikipedia’s most interesting corners. You’ll have the time of your life [citation needed].
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Icon For Hire: Emo Dreams Tour
Tuesday, September 19 · 7pm
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Murphy's Law
Wednesday, September 20 · 8pm
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Sponge
Thursday, September 21 · 8pm

SPONGE
Sponge has proven to be one of the Motor City's heaviest hitters after gaining international notoriety with their debut album "Rotting Piñata” (Sony). Emerging from Detroit with hits like "Plowed" and "Molly (16 Candles)," Sponge received massive airplay on radio stations from coast to coast and were in heavy rotation on MTV. Both “Plowed” and “Molly” hit #5 on Billboard’s Modern Rock Charts, catapulting “Rotting Piñata” to Gold, and ultimately Platinum status.

Sponge's follow up album, the critically lauded “Wax Ecstatic” (Columbia) scored additional top ten Billboard hits including "Wax Ecstatic" and "Have You Seen Mary?" The band’s music was also featured in popular movies “The Craft,” “Chasing Amy,” “Mall Rats,” and “Empire Records.” Sponge’s star continued to rise with network appearances on The Late Show with David Letterman and the Conan O’Brien Show.

Sponge’s subsequent releases “New Pop Sunday,” “For All The Drugs in The World,” “The Man,” “Galore Galore,” and “Destroy the Boy” showcased the band’s swirling sonic attack rooted in 70's glam, and of course, the Motor City influences of The Stooges, The MC5, and Motown—but still sounding distinctly like no one else.

“Plowed” continues to be the band’s signature rock track, having been spotlighted on Guitar Hero’s “Warriors of Rock – 90’s Rock Track Pack” – and on the Paper Jamz Guitar Series 2, in addition to the soundtrack for the Gerard Butler surf movie “Chasing Mavericks.”
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Bully
Friday, September 22 · 8pm

BULLY
Lucky For You is Bully’s most close-to-the-bone album yet. It’s an album that’s searing and unmistakably marked by its creator’s experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on—and it’s all soundtracked by Bognanno’s rock-solid melodic sensibilities and a widescreen sound that’s impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno’s put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them.

Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. “Authenticity is always on my mind, without even knowing it,” she explains while discussing their recording process together. “If I’m doing something that doesn’t feel natural or right, I’m quick to shut it down. So it was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what’s actually good about my writing instead of changing it. I could tell how much he cared about the project and it meant alot to me.” The album came together over the course of seven months, the longest gestation process for a Bully record to date: “I was freaking out about it at first, because taking my time was so new for me. But a few months in, I realized how crucial that time ended up being. I got songs out of it that I wouldn’t have had otherwise.”

“With every record, I feel more and more secure in terms of doing what I want,” Bognanno continues. “For this one, I wanted to be as creative as possible with these songs.” She got her wish: A kaleidoscopic rock record spanning punk’s grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for, Lucky For You’s thematic focus also zooms in on grief and loss. The record is largely inspired by Bognanno’s dog Mezzi passing away, at a time when her life already felt as if in metamorphosis.

“Mezzi was my best friend,” she explains. “She made me feel safe and empowered, she showed me that I was worth loving and never judged me or viewed me as a let down. I always felt accepted, understood and so much less alone. Mezzi was living, breathing proof that I was worthy of being loved.” And the oceanic first single “Days Move Slow” was written shortly after Mezzi’s passing, reflecting the persistence of Bognanno’s incisive wit even while facing adversity. “There was nothing else I could do except sit down and write it, and it felt so good.”

“Hard to Love” stomps and lurches with awesome abandon, resembling one of the most sonically left-field tunes Bognanno’s put to tape as Bully; and then there’s the passionate opening track “All I Do,” which kicks in the door Bully-style with huge riffs atop her lyrical reflections on three years of sobriety. “I’ve been living in this house for seven years,” she says while discussing her current Nashville abode. “Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it’s still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I’ve moved on from?”

In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. “I’m so overly emotional and sensitive, it’s a blessing and a curse” she says with a laugh, but there’s no downside to her expressions of vulnerability on this record; it’s the latest bit of evidence that nothing can hold Bognanno back.
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The Mars Volta Tour
on Saturday, September 23 · 8pm

THE MARS VOLTA
Breaking a decade of omertà, The Mars Volta reawaken from their lengthy hiatus with an eponymous album that radically reshapes their paradigm.

Formed by guitarist/composer Omar Rodríguez-López and singer/lyricist Cedric Bixler-Zavala, The Mars Volta rose from the ashes of El Paso punk-rock firebrands At The Drive-In in 2001. On a mission to “honour our roots and honour our dead”, The Mars Volta made music that fused the Latin sounds Rodríguez-López was raised on with the punk and underground noise he and Bixler-Zavala had immersed themselves in for years, and the futuristic visions they were tapping into. The albums that followed were one-of-a-kind masterpieces, their songs of breath-taking complexity also possessing powerful emotional immediacy. After the group fell silent, a legion of devotees (including Kanye West) kept up an insistent drum-beat for their return.

Now – a year after La Realidad De Los Sueños, a luxurious 18-LP box-set compiling their back catalogue, sold out its 5,000 print run in under 24 hours – the duo are back, accompanied this time by keyboard-player Marcel Rodríguez-López, bassist Eva Gardner and drummer Willy Rodriguez Quiñones. The new album shakes loose some of The Mars Volta’s long-standing shibboleths, fearlessly defying all expectations and categorisations.

Instead, The Mars Volta pulses with subtle brilliance, Caribbean rhythms underpinning sophisticated, turbulent songcraft. This is The Mars Volta at their most mature, most concise, most focused. Their sound and fury channelled to greatest effect, The Mars Volta finds Rodríguez-López’s subterranean pop melodies driving Bixler-Zavala’s dark sci-fi tales of the occult and malevolent governments. Distilling all the passion, poetry and power at their fingertips, The Mars Volta is the most exciting and accessible music the group have ever recorded.
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Marcus Rezak Guitar Head
Saturday, September 23 · 8pm

MARCUS REZAK GUITAR HEAD
Get ready to have your musical senses ignited by the sheer brilliance of guitar virtuoso Marcus Rezak! With an illustrious career spanning decades, Marcus has established himself as a true force to be reckoned with in the music industry. His extraordinary guitar playing has graced the recordings of renowned artists across various genres, earning him a reputation as one of the most sought-after session guitarists in the business. From collaborating with rock legends to sharing stages with jazz luminaries, Marcus Rezak's diverse musical journey is a testament to his unparalleled talent and adaptability. With each note he plays, Marcus effortlessly combines technical precision with heartfelt expression, transcending musical boundaries and touching the depths of your soul. Prepare to be amazed as his fingers dance across the fretboard, weaving intricate melodies and jaw-dropping solos that will leave you in awe. Join us on this monumental tour, where Marcus Rezak's unparalleled guitar prowess meets the stage, creating an unforgettable experience for all music enthusiasts. Get ready to witness the magic unfold before your eyes and ears, as Marcus Rezak and our incredible lineup of legendary musicians take you on an extraordinary sonic adventure across the US. This is a tour that will forever resonate in your heart and soul!
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Crowbar
Sunday, September 24 · 7pm

CROWBAR
The moment you hear it, you know it’s CROWBAR. Praised by Pitchfork, VICE, and Metal Hammer. Twice immortalized by MTV’s Beavis and ****-Head. The group is worshipped by the heartbroken and downtrodden - those who exorcise their demons in smoke-covered riffs of mournful devastation. A genuine band’s band, with a wide-ranging influence across multiple genres, Crowbar “helped draw up the sludge metal blueprints” (Kerrang!). Celebrating a recent 30th anniversary, Crowbar is led by one of the most beloved figures in heavy metal, riff overlord Kirk Windstein. His menacing bellow and smooth drawl put resilient, unrepentant strength behind even the most somber odes to suffering.

Crowbar songs are unapologetic emotional outpourings, with a bare-knuckle resolve alongside its soul-searching vulnerability, reliably delivered with crushing heaviness. Zero and Below, which cements the band’s dense catalog as exactly one dozen studio albums deep, is the most unforgivably doomy Crowbar record since their landmark 1998 effort, Odd Fellows Rest. Zero and Below is reverently old-school, counterbalanced by a resonant melodicism that’s stunningly mature. Songs like “Chemical Gods,” “Bleeding from Every Hole,” and “It’s Always Worth the Gain” demonstrate what Crowbar does better than any other band: powerful, evocative, and crushingly heavy music.

Gargantuan-sounding career-resurgence slabs Sever the Wicked Hand (2011), Symmetry in Black (2014), and The Serpent Only Lies (2016) sits mightily alongside Crowbar classics like Time Heals Nothing (1995), comprising a robust catalog worthy of examination, dedication, and repeat listens. Songs like “Planets Collide,” “Existence is Punishment,” and “All I Had (I Gave)” are anthems as demonstrative of the sludge sound as early songs by Metallica, Slayer, and Megadeth represent thrash.

Sever the Wicked Hand introduced guitarist Matt Brunson and drummer Tommy Buckley to the Crowbar faithful. Symmetry in Black began a partnership with producer Duane Simoneaux. Rolling Stone named it one of the 20 Best Metal Albums of 2014; Pitchfork praised it as well. Exclaim! honored The Serpent Only Lies as “another worthy album to add to Crowbar’s influential and highly revered catalog.” Rounded out by bassist Shane Wesley, Crowbar and Simoneaux work their magic repeatedly on Zero and Below. As Metal Hammer astutely observed, Crowbar “exists in a genre of one.”
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YES: Classic Tales of YES
Sunday, September 24 · 8pm

YES
Steve Howe: guitars, backing vocals (1970 –1981, 1990–1992, 1995–present)

Geoff Downes: keyboards (1980–1981, 2011–present)

Jon Davison: lead vocals, acoustic guitar (2012–present)

Billy Sherwood: guitar, backing vocals ((1994, 1997–2000), bass guitar, backing vocals (2015–present)

Jay Schellen: drums and percussion

Formed in 1968 by Jon Anderson and the late, and much-missed, Chris Squire, YES have been one of the most innovative, influential and best-loved bands in rock music history. Their 1970s albums The Yes Album, Fragile, Close To The Edge, Yessongs (a triple live album set), Tales From Topographic Oceans, Relayer and Going For The One were ground-breaking in musical style and content. Their music also became synonymous with artist Roger Dean whose distinctive YES logo design and artwork adorned the lavish gatefold presentation sleeves of many YES albums.

With sales of over 50 million records, the Grammy-award winning YES were inducted into The Rock And Roll Hall Of Fame in 2017 where they performed Roundabout from the album Fragile and the FM radio-friendly Owner Of A Lonely Heart from the 1985 album 90125.

YES released their 22nd studio album in 2021, The Quest, produced by Steve Howe and which went to No. 1 in the UK Rock Albums Chart and entered the Official UK Album Chart at No. 20. In 2022 came the sad news that drummer Alan White, ever-present in the YES line-up for 50 years, had passed away. The news came shortly before the band embarked on their classic, genre-defining album Close To The Edge 50th Anniversary Tour which they dedicated to Alan.

In February 2023, ahead of the news of the new studio album Mirror To The Sky, YES confirmed Jay Schellen as the new permanent drummer with YES,hand-picked to step into his mentor and friend Alan White’s role. “I had done the 2016 tour on my own for Alan,” says Jay. “From late 2017 onwards, we had a beautiful partnership. I learned and discovered so much about Alan’s style.His passion and creativity was phenomenal. The new album has Alan’s presence all over it. It is inside of us. So, this is still, in my heart, Alan just being present and with us, and with me, in a big way.”
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Bearings / Just Friends
Tuesday, September 26 · 7pm

BEARINGS
Born in college dorm rooms in Canada's capital city, Bearings are the latest in a long line of emotionally-driven rock groups to make their way out of the great white North. Following the acclaim for their Pure Noise Records debut, "Nothing Here Is Permanent" in Fall of 2017, the band landed tours with the likes of State Champs, Four Year Strong and Less Than Jake, lifting them to new heights and captivating audiences with their expertly crafted sound made up of influences new and old.

Building on their reputation for skillful songwriting and emotive storytelling, Bearings are gearing up for the release of their debut Pure Noise Records LP, "Blue In The Dark." The new album is a collection of songs that will whet the appetite of current fans while showing off the group's ability to grow as artists and not simply stick to their laurels. "Blue In The Dark" will be available everywhere in October 12, 2018.
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Old 97's
Wednesday, September 27 · 8pm

OLD 97'S
“Rock and roll’s been very very good to me,” Rhett Miller sings on “Longer Than You’ve Been Alive,” an epic six-minute stream-of-consciousness meditation on his life in music. It’s a rare moment of pulling back the curtain, on both the excesses and tedium of the world of a touring musician, and it’s the perfect way to open the Old 97’s new album, ‘Most Messed Up.’

“I wrote that song very quickly and didn’t rewrite one word of it,” Miller explains. “It’s sort of a thesis statement not just for this record, but for my life’s work.”

To say that rock and roll has been good to the Old 97’s (guitarist/vocalist Miller, bassist/vocalist Murry Hammond, guitarist Ken Bethea, and drummer Philip Peeples) would be an understatement. The band emerged from Dallas twenty years ago at the forefront of a musical movement blending rootsy, country-influenced songwriting with punk rock energy and delivery. The New York Times has described their major label debut, ‘Too Far To Care,’ as “a cornerstone of the ‘alternative country’ movement…[that] leaned more toward the Clash than the Carter Family.” They’ve released a slew of records since then, garnering praise from NPR and Billboard to SPIN and Rolling Stone, who hailed the band as “four Texans raised on the Beatles and Johnny Cash in equal measures, whose shiny melodies, and fatalistic character studies, do their forefathers proud.” The band performed on television from Letterman to Austin City Limits and had their music appear in countless film and TV soundtracks (they appeared as themselves in the Vince Vaughn/Jennifer Aniston movie ‘The Break Up’). Breaking Bad creator Vince Gilligan told The Hollywood Reporter that he put the band on a continuous loop on his iPod while writing the show’s final scene.

‘Most Messed Up’ finds the Old 97’s at their raucous, boozy best, all swagger and heart. Titles like “Wasted,” “Intervention,” “Wheels Off,” “Let’s Get Drunk And Get It On,” and “Most Messed Up” hint at the kind of narrators Miller likes to inhabit, men who possess an appetite for indulgence and won’t let a few bad decisions get in the way of a good story.

“A few people in my life said, ‘You can’t sing ‘Let’s get drunk and get it on,'” Miller remembers. “I said, ‘What do you mean? I’ve been singing that sentiment for 20 years! I was just never so straightforward about it.'”

It was a trip to Music City that inspired Miller to throw away his inhibitions as songwriter and cut right to the heart of things.

“For me, this record really started in Nashville on a co-write session with John McElroy,” he says. “I really admired his wheels off approach to songwriting, And I liked the idea he had for how he thought I should interact with my audience. He said, ‘I think your fans want you to walk up to the mic and say ****.’ It was liberating.” It reminded me that I don’t have to be too serious or too sincere or heartfelt. I just have to have fun and be honest. I felt like I kind of had free reign to go ahead and write these songs that were bawdier and more adult-themed.”

The magic in Miller’s songwriting lies in the depth that he lends his characters. Upon closer inspection, the hard partying and endless pursuit of a good time often reveals itself to be a band-aid covering up deeper wounds and emotional scars.

“There’s a lot of darkness hidden in this record,” he explains. “One of the big Old 97’s tricks is when we write about something kind of dark and depressing, it works best when it’s a fun sounding song. So it’s not until the third or fourth listen that you realize the narrator of this song is a complete disaster.”

If that description calls to mind The Replacements, it’s no coincidence. Miller is a fan of the Minneapolis cult heroes, and now counts Tommy Stinson among his own friends and fans. Best known as bassist for the Mats and more recently Guns ‘n’ Roses, Stinson joined the Old 97’s in the studio in Austin, Texas, to lay down electric guitar on ## tracks, elevating the sense of reckless musical abandon to new heights and lending the album an air of the Rolling Stones’ double-guitar attack. It’s a collaboration Miller never would have even imagined in 1994 when the band released their debut

“We didn’t think we’d last until the year 1997,” Miller laughs. “We thought the name would get a little weird when it became 1997, but we decided none of our bands had ever lasted that long, so let’s not even worry about it. But as it all started to unfold, we realized we could maybe make a living doing this, and we were all really conscious of wanting to be a career band. It was way more important to us to maintain a really high level of quality, at the expense, perhaps, of having hit singles or fitting in with the trends of the time, and I’m glad we did that.”

Twenty years on, it’s safe to say rock and roll has indeed been very, very good to the Old 97’s.
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Hot Tuna: Final Electric Run
Wednesday, September 27 · 8pm

HOT TUNA
The name Hot Tuna invokes as many different moods and reactions as there are Hot Tuna fans — millions of them. To some, Hot Tuna is a reminder of some wild and happy times. To others, that name will forever be linked to their own discovery of the power and depth of American blues and roots music. To newer fans, Hot Tuna is a tight, masterful duo that is on the cutting edge of great music.

All of those things are correct, and more. For more than four decades, Hot Tuna has played, toured, and recorded some of the best and most memorable acoustic and electric music ever. And Hot Tuna is still going strong — some would say stronger than ever.

The two kids from 1950s Washington, D.C. knew that they wanted to make music. Jorma Kaukonen, son of a State Department official, and Jack Casady, whose father was a dentist, discovered guitar when they were teenagers (Jack, four years younger, barely so). They played, and they took in the vast panorama of music available in the nation’s capital, but found a special love of the blues, country, and jazz played in small clubs.

Jorma went off to college, while Jack sat in with professional bands and combos before he was even old enough to drive, first playing lead guitar, then electric bass.

In the mid-1960s Jorma was invited to play in a rock‘n’roll band that was forming in San Francisco; he knew just the guy to play bass and summoned his old friend from back east. The striking signature guitar and bass riffs in the now-legendary songs by the Jefferson Airplane were the result.

The half-decade foray into 1960s San Francisco rock music was for Jack and Jorma an additional destination, not the final one. They continued to play their acoustic blues on the side, sometimes performing a mini-concert amid a Jefferson Airplane performance, sometimes finding a gig afterwards in some local club. They were, as Jack says, “Scouting, always scouting, for places where we could play.”

The duo did not go unnoticed and soon there was a record contract and not long afterwards a tour. Thus began a career that would result in more than two-dozen albums, thousands of concerts around the world, and continued popularity.

Hot Tuna has gone through changes, certainly. A variety of other instruments, from harmonica to fiddle to keyboards, have been part of the band over the years, and continue to be, varying from project to project. The constant, the very definition of Hot Tuna, has always been Jorma and Jack.

The two are not joined at the hip, though; through the years both Jorma and Jack have undertaken projects with other musicians and solo projects of their own. But Hot Tuna has never broken up, never ceased to exist, nor have the two boyhood pals ever wavered in one of the most enduring friendships in music.

Along the way, they have been joined by a succession of talented musicians: Drummers, harmonica players, keyboardists, backup singers, violinists and more, all fitting with Jorma and Jack’s current place in the musical spectrum. Jorma and Jack certainly could not have imagined, let alone predicted, where the playing would take them. It’s been a long and fascinating road to numerous, exciting destinations. Two things have never changed: They still love playing as much as they did as kids in Washington, D.C. and there are still many, many exciting miles yet to travel on their musical odyssey.
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Boygenius
Thu Sep 28, 2023 - 7:00 PM

Once, when boygenius was on a road trip in Northern California, Phoebe asked Julien and Lucy to listen to a very important song, and pushed play, and got on the freeway headed in the wrong direction. The song was “Trapeze Swinger” by Iron & Wine—about a dead person telling the living how he wants to be remembered. It was impossible to interrupt this ten-minute-long song. Because of how the exits were spaced, “Trapeze Swinger” added an hour to their travel time. Phoebe felt like an idiot. Lucy turned that drive into the song “Leonard Cohen.

Nurse Blake: Shock Advised Tour
Thursday, September 28 · 8pm

NURSE BLAKE
Blake Lynch, aka Nurse Blake is a nurse, creator, internationally touring comedian, healthcare advocate, and keynote speaker.

Hailed as a "genuine phenomenon" by The New York Times, Blake worked in trauma centers around the country before his career in comedy. As a way to cope with the stress of his nursing job, Blake started posting original comedy videos aimed at his profession. His lighthearted videos connected with nurses, nursing students, and healthcare workers around the world gaining Nurse Blake 3.5M followers on social media and over 300M views. He now takes his comedy to stages around the world bringing nurses together through his humor and inspiration. Nurse Blake's sold out 2022 PTO Comedy Tour began as a 14 show run and grew to 55 shows due to demand. Nurse Blake will follow that with his massive Shock Advised Comedy Tour which hits 100 cities across North America in 2023.

Blake is also the is the creator of NurseCon at Sea, one of the largest and most popular nursing conferences, and the NurseCon App which provides the free continuing nursing education courses. He previously managed several large programs including The Banned4Life Project, which ended an outdated FDA blood donor policy, and Nurses Support Their Young which promotes healthy work environments. Blake is also the author of the best-selling children's book "I Want To Be A Nurse When I Grow Up" available online and at bookstores everywhere.
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Frankie and the Witch Fingers
Thursday, September 28 · 8pm

FRANKIE AND THE WITCH FINGERS
Over the course of five years and five LP’s, L.A. veterans, Frankie and the Witch Fingers, have been mutating and perfecting their high-powered rock n’ roll sound. After savagely touring the USA and Europe, this four-headed beast has shown no signs of relenting—appearing like summoned daemons and dosing crowds with cerebral party fuel.

The main attraction of Frankie and the Witch Fingers is their explosive performance. With their rowdy and visceral approach to live shows, each member brings their own devilry to induce an experience of bacchanal proportions.

Using absurd lyrical imagery—soaked in hallucination, paranoia, and lust—the band’s M.O. strikes into dark yet playful territory. This sense of radical duality is astir at every turn, in every time signature change. Airy vocal harmonies over heavily-serrated riffs. Low-key shamanic roots under vivid high-strangeness. Rambling stretches and punctuated licks. Cutting heads and kissing lips. All this revealing a stereophonic schizophrenia that has flowed throughout their body of work: an ebb & flow of flowery-poppy horror.

The band’s latest incarnation is primed to break new sonic ground, edging into the funky and preternatural. Just when you think the trip couldn’t get any weirder, Frankie and the Witch Fingers cranks up the dial, shatters the mundane, and summons new visions.
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T!LT
Friday, September 29 · 8pm


T!LT
Oh, look who's back in the spotlight, it's the oh-so-"special" band T!LT, promoting their brand-new EP Luminol. Remember them? Yeah, the ones who stumbled onto the music scene thinking they were the second coming of rock. They're still at it, apparently. Watch as they churn out their "groundbreaking" music, desperately trying to recapture that spark they think they had. But hey, if you're into bands that never quite make it, then T!LT is your golden ticket. Maybe one day they'll finally realize that the world has moved on, leaving them stuck in their own delusional past. Enjoy the show, or whatever's left of it.
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Royal Blood
Friday, September 29 · 8pm

ROYAL BLOOD
Brighton duo Royal Blood channel the blues-rock dynamism of the likes of the White Stripes, the Black Keys, and Two Gallants, yet they amp up the ferocity and volume with scuzzy riffs and blustering energy. Following their Mercury Prize-nominated/Brit Award-winning debut, 2014's Royal Blood, they consolidated their success with 2017's How Did We Get So Dark? and its 2021 sequel Typhoons.

Comprising drummer Ben Thatcher and bassist/vocalist Mike Kerr, the two-piece formed at the beginning of 2013 when Kerr returned from a trip to Australia and Thatcher picked him up from the airport. They managed to play their first show the very next day and continued to write new material throughout the year. Although constrained to just two instruments, they made their presence known with pounding drums and heavily distorted bass guitar that drove the melodic intensity of their songs, alongside Kerr's emotive vocals. They were championed by the BBC on their Sound of 2014 list, as well as Arctic Monkeys' Matt Helders, who wore their T-shirt during the Monkeys' headlining 2013 Glastonbury performance and invited them to open their huge Finsbury Park shows. The duo then released the single "Out of the Black" and signed to Warner Bros. later that year. A second single, "Little Monster," appeared in February of 2014, while a four-song EP, Out of the Black, came a month later in March, collecting the A- and B-sides of the two singles. Their debut self-titled full-length was recorded at Rockfield Studios in Wales and released later that year, reaching number one in the U.K. and Ireland. Tours with Iggy Pop and Foo Fighters followed, and in early 2015, Royal Blood won Best British Group at the Brit Awards, receiving their trophy from an admirer, none other than Led Zeppelin guitarist Jimmy Page. Royal Blood returned in June of 2017 with their sophomore LP, How Did We Get So Dark? Buoyed by the songs "Hook, Line & Sinker" and "I Only Lie When I Love You," the album hit number one in England and number 25 on the Billboard 200.

Royal Blood launched the campaign for their third album with "Trouble's Coming," a single that went to the top of Billboard's Mainstream Rock charts in the fall of 2020. Its accompanying album Typhoons was produced by Josh Homme of Queens of the Stone Age and appeared in April 2021. ~ Scott Kerr, Rovi
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Explosions In The Sky: The End Tour 2023
Saturday, September 30 · 8pm

EXPLOSIONS IN THE SKY
Hailing from the sultry metropolitan landscape of Austin, TX, Explosions In The Sky are some of the most sincere folks you will ever meet. Aside from being nice guys, they play some of the most passionate, powerful instrumental music you will ever hear. Equal parts romance and tragedy, their beautiful melodies have the tendency to ignite into head-spinning walls of noise. Easily one of the most intense live bands ever, their sound proves to be every bit as triumphant as their name implies.
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[ FULL SHOW CALENDAR ]

WESTVILLE MUSIC BOWL

09/10/23 The Postal Service / Death Cab for Cutie SOLD OUT

09/28/23 boygenius

 
COLLEGE STREET MUSIC HALL

09/09/23 Jeff Rosenstock

09/13/23 Blue October

09/14/23 Ilana Glazer Live!

09/23/23 The Mars Volta

09/24/23 YES

09/27/23 Hot Tuna

09/28/23 Nurse Blake

09/29/23 Royal Blood

09/30/23 Explosions In The Sky

10/07/23 The Roots

10/10/23 Eric Nam

10/12/23 Muscadine Bloodline

10/15/23 Violent Femmes

10/21/23 The Wonder Years

10/27/23 Bad Religion

10/28/23 Tennis

11/01/23 Everglow

11/03/23 Anthony Jeselnik (Early Show)

11/03/23 Anthony Jeselnik (Late Show)

11/14/23 Dexys Midnight Runners

11/15/23 GZA and The Phunky Nomads / Fishbone

11/16/23 Chris Distefano

11/18/23 Laurie Berkner (Children's Holiday Concert)

11/18/23 In Conversation with The Sopranos

11/28/23 Andrew McMahon in the Wilderness

11/29/23 The Jinkx & DeLa Holiday Show

12/28/23 Joe Gatto (Impractical Jokers)

 
SPACE BALLROOM

09/01/23 Mystic Dead

09/02/23 Black Tusk / Dysrhythmia

09/03/23 Zeta / Codefendants

09/06/23 Quasi

09/07/23 Pile / Speedy Ortiz

09/08/23 The Smiths Tribute NYC

09/12/23 Low Cut Connie

09/13/23 Florry

09/14/23 Superchunk

09/15/23 Modern English

09/16/23 glaive

09/17/23 Depths of Wikipedia

09/19/23 Icon for Hire

09/20/23 Murphy's Law

09/21/23 Sponge

09/22/23 Bully

09/23/23 Marcus Rezak Guitar Head

09/24/23 Crowbar

09/26/23 Bearings / Just Friends

09/27/23 Old 97's

09/28/23 Frankie and the Witch Fingers

09/29/23 T!LT

10/01/23 Helmet

10/02/23 Magnitude

10/03/23 Amythyst Kiah

10/04/23 Sheer Mag / Hotline TNT

10/05/23 Futurebirds

10/06/23 O.N.E The Duo

10/07/23 Wolves In The Throne Room

10/10/23 That's Messed Up Live

10/12/23 The Lemon Twigs

10/13/23 With Honor (Album Release show)

10/14/23 Quarters of Change

10/15/23 Madison McFerrin

10/17/23 The Brook & The Bluff

10/18/23 Messa / Maggot Heart

10/20/23 Halloween Prom Night

10/21/23 The Slackers

10/22/23 Judge

10/23/23 Xiu Xiu

10/24/23 TOLEDO

10/26/23 Every Avenue

10/27/23 Mudhoney

10/28/23 Vagabon

11/01/23 Pigsx7

11/02/23 Eric Neumann

11/03/23 Sun June / Runnner

11/04/23 Black Lips

11/09/23 LaMP

11/11/23 Ty Segall

11/12/23 Under The Rug

11/17/23 Full of Hell

11/25/23 Presence CT: Led Zeppelin Tribute

12/01/23 The Alpaca Gnomes

12/02/23 DURRY

12/06/23 Darlingside

12/07/23 Pokey LeFarge

12/08/23 Pianos Become The Teeth

12/16/23 Latrice Royale

 

HARBOR PARK - MIDDLETOWN

09/15/23 Digable Planets

09/16/23 The Lemonheads

10/20/23 The Pharcyde