Name: Sadie Jean
Start: 2026-6-1T19-19-00-00
End: 2026-6-1T23-23-00-00
Location: Bowery Ballroom

mon01jun7:00 pmmon11:00 pmSadie JeanEarly Twenties Tour7:00 pm - 11:00 pm Bowery Ballroom, 6 Delancey Street

Time

(Monday) 7:00 pm - 11:00 pm

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Sadie Jean is hitting the road with Early Twenties Tourture, turning her debut album into a live experience that feels more personal than ever before. Known for pop hooks, soulful vocals, and unguarded emotional insights, Sadie Jean and her band bring a set built for finding collective heartbreak and healing all in one night.

Leveraging the momentum of her viral breakthrough “WYD Now?”, Sadie sold out her first headline tour and appeared at major festivals across the globe; recently on tour with Lauren Spencer Smith and Rod Wave, now, she’s stepping into her next season with confidence.

With over 3 million monthly listeners on Spotify and more than 500 million total streams across hits like “Locksmith” and “Just Because,” Sadie has already made her mark on the pop landscape. But beyond the numbers, her ability to transform moments of heartbreak and self-discovery into timeless, emotionally resonant songs has become the primary hallmark of her artistry, continuing to attract fans around the world.

Early Twenties Torture, as she explains, captures exactly that: the messy, exhilarating, painful, joyful ride of falling headfirst into adulthood. Sadie Jean is never one to shy away from reality, and if her soul-baring debut ties her coming-of-age struggles up in a bow that seems conflicted, you’ll know one thing for certain — she’s telling you the truth.

tue02jun8:00 pmtue11:00 pmSadie JeanEarly Twenties Tour8:00 pm - 11:00 pm World Cafe Live - Philly, 3025 Walnut Street

Time

(Tuesday) 8:00 pm - 11:00 pm

Location

World Cafe Live - Philly

3025 Walnut Street

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Sadie Jean is hitting the road with Early Twenties Tourture, turning her debut album into a live experience that feels more personal than ever before. Known for pop hooks, soulful vocals, and unguarded emotional insights, Sadie Jean and her band bring a set built for finding collective heartbreak and healing all in one night.

Leveraging the momentum of her viral breakthrough “WYD Now?”, Sadie sold out her first headline tour and appeared at major festivals across the globe; recently on tour with Lauren Spencer Smith and Rod Wave, now, she’s stepping into her next season with confidence.

With over 3 million monthly listeners on Spotify and more than 500 million total streams across hits like “Locksmith” and “Just Because,” Sadie has already made her mark on the pop landscape. But beyond the numbers, her ability to transform moments of heartbreak and self-discovery into timeless, emotionally resonant songs has become the primary hallmark of her artistry, continuing to attract fans around the world.

Early Twenties Torture, as she explains, captures exactly that: the messy, exhilarating, painful, joyful ride of falling headfirst into adulthood. Sadie Jean is never one to shy away from reality, and if her soul-baring debut ties her coming-of-age struggles up in a bow that seems conflicted, you’ll know one thing for certain — she’s telling you the truth.

wed03jun6:00 pmwed9:00 pmJoshua Ray WalkerAin't Dead Yet Tour6:00 pm - 9:00 pm Mercury Lounge, 17 E Houston Street

Time

(Wednesday) 6:00 pm - 9:00 pm

Location

Mercury Lounge

17 E Houston Street

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Joshua Ray Walker is a honky tonk singer who has made a name for himself singing about honky tonks. A vocalist and songwriter with a rich, clear voice, Walker made his reputation with a cycle of three albums based on characters who spend their nights at the same rowdy Texas bar where he established his talent for often witty, sometimes poignant, and always relatable tales of ordinary folks looking to escape their surroundings. Walker is also a gifted guitar player whose style encompasses roadhouse country and raunchy rock & roll. Walker earned praise from critics and Americana fans with his solo debut, 2019’s Wish You Were Here, the first album in a trilogy that continued with 2020’s Glad You Made It and 2021’s See You Next Time.

Joshua Ray Walker was born in Dallas, Texas in 1991. He grew up in the Casa Linda neighborhood on Dallas’ east side, a multicultural community where most of their neighbors were Hispanic and he was introduced to Tejano music. Walker’s grandfather was a bluegrass enthusiast who taught Joshua to play the banjo when he was just four years old. By the time he turned six, Walker was also playing acoustic guitar, and he taught himself to play country, blues, bluegrass, and classical styles. At 11, he got his first electric guitar, and was playing shows when he was still in junior high, with more adventurous sounds making their way into his repertoire after he discovered the White Stripes when he was 12.

Always a stocky youngster, Walker struggled with depression and bullying in his teens, often changing schools before he dropped out. As he struggled to make a living as a musician, he was often homeless, sleeping in his car or crashing on the couches of friends. He often worked part time at the bars where he played, getting a crash course in honky tonk life, and he began writing songs inspired by the people who showed up night after night. In addition to playing out as a headliner, Walker was also gigging frequently as lead guitarist with the Ottoman Turks, a band whose sound was a rowdy mix of garage punk, blues, and roots rock. Between the two projects, Walker was keeping up a busy schedule, playing over 280 gigs in 2017. While working with the Ottoman Turks, Walker crossed paths with John Pedigo, a musician, songwriter, and producer who offered to help him record some solo material. Before long, Pedigo was encouraging Walker to cut an album of his own, and Joshua got the idea to write and record a trilogy of albums inspired by honky tonk life and the often eccentric people he met from working and playing in bars, tied together by setting the stories in a bar about to go out of business.

Walker drew up a plan to release the albums in three consecutive years. The first, 2019’s Wish You Were Here, was produced by Pedigo and released by the Dallas-based indie label State Fair Records, though Walker chose not to tell listeners about the concept, letting fans figure it out for themselves. The album got good reviews and word of mouth began to spread. The second installment, Glad You Made It, came out on schedule, though it arrived at a difficult time — the COVID-19 pandemic cost him his primary income from playing gigs, he fought a respiratory infection, and after a pipe burst at his home and destroyed most of his possessions, he ended up spending close to a year living in a cheap hotel. However, the reaction to the album was enthusiastic, and Rolling Stone named it one of the year’s best country releases. Despite his troubles, Walker met his self-imposed deadline for the final LP in the honky tonk trilogy, and See You Next Time arrived in October 2021. – Biography by Mark Deming

wed03jun8:00 pmwed11:00 pmBuilt To Spill8:00 pm - 11:00 pm Asbury Lanes, 209 4th Avenue

thu04jun5:30 pmthu9:00 pmLeah KateThe Genius Tour5:30 pm - 9:00 pm Mercury Lounge, 17 E Houston Street

thu04jun8:00 pmthu11:00 pmGracie and RachelIt We Could, We Would Tour8:00 pm - 11:00 pm MilkBoy, 1100 Chestnut Street

thu04jun9:00 pmthu11:59 pmParlour Magic9:00 pm - 11:59 pm Mercury Lounge, 17 E Houston Street

thu04jun(jun 4)9:30 pmfri05(jun 5)12:00 amGLOMAs Above, So Below Tour9:30 pm - 12:00 am (5) Baby's All Right, 146 Broadway

fri05jun7:00 pmfri10:00 pmKobie Dozier7:00 pm - 10:00 pm Public Records, 233 Butler Street

Time

(Friday) 7:00 pm - 10:00 pm

Location

Public Records

233 Butler Street

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Born on the East Coast, raised in the West. Growing up in LA, Kobie Dozier enjoyed music from all over the city as he developed as a young saxophone player. Throughout his development he played often with musicians from the Leimert Park community. There, he received private lessons from Ricky Washington and had the honor of knowing legends like Reggie Andrews, who were responsible for shaping popular jazz artists like Kamasi Washington and Terrace Martin.

Fast forwarding to today, Kobie has completed his undergraduate in Contemporary Music at the New School. Kobie is now making waves as one of the new rising artists from LA. He recently finished his debut EP “For The People” followed by a nearly sold out concert at the renowned venue, Public Records. He has grown exponentially as an artist in the music scene. He recently completed his “For The People” tour that took place in both his hometown of Los Angeles and new home New York City selling out multiple venues and garnering hundreds of people in attendance. Alongside his tour Kobie also took part as a saxophonist in Kamasi Washington’s 100+ member ensemble of “Harmony of Difference” at the Los Angeles County Museum of Art’s (LACMA) new David Geffen Galleries.

Kobie has also performed and collaborated with many notable musicians including Reggie Workman, Kamasi Washington, Jason Moran, Esperanza Spalding and many more in premiere venues such as LACMA, NUBLU, Tea At Shiloh, Umbra, Panama and the John Coltrane Jazz festival.

Kobie performs all over NYC and Los Angeles with his Quintet. His music genres ranging from the roots of jazz, rap, r&b and funk. With the goal to become one of the leaders of the west coast music scene, Kobie’s trajectory is on the rise to become a musician presence with a message to self determination and unity.

fri05jun7:00 pmfri11:00 pmAnjimileYou're Free To Go Tour7:00 pm - 11:00 pm Union Pool, 484 Union Avenue

Time

(Friday) 7:00 pm - 11:00 pm

Location

Union Pool

484 Union Avenue

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Based in Boston, enigmatic singer/songwriter Anjimile occupies a unique niche where folk, bedroom pop, and indie rock merge with African influences and strong LGBTQ themes. After building up his profile with several highly regarded independent releases during the latter half of the 2010s, he signed with Father/Daughter Records and made his full-length debut with 2020’s Giver Taker. Three years later, he channeled all his anger and frustration regarding acceptance of race and sexuality into a powerful sophomore effort, The King, released by 4AD. Anjimile’s third album, 2026’s You’re Free to Go, was more relaxed in tone, though still emotionally potent.

Born in Dallas, Texas, to Malawian immigrants, Anjimile Chithambo was drawn to music at an early age, singing in the church choir and absorbing a wide range of artists from Madonna and Michael Jackson to Ladysmith Black Mambazo and Oliver Mtukudzi. He began playing guitar as a teenager and discovered indie artists like Sufjan Stevens and Iron & Wine, which influenced his guitar playing and songwriting styles. As a queer youth of African parentage growing up in the Dallas suburbs, Anjimile suffered his share of homophobia and racism, and these themes crept into his deeply introspective songs. He found more common ground while attending college in Boston and began to build up a reputation gigging around the city. Early projects like 2015’s Human Nature and 2016’s Good Boy found a small but fervent fan base, though struggles with alcohol abuse threatened to overwhelm his budding career.

Anjimile’s life changed when a rehab stint in Florida helped him get sober. During this reflective time, he also came to understand that he was transgender and began the transition process. Creatively, he began to thrive and his major life changes played out over releases like 2018’s Colors EP and 2019’s Maker Mixtape. Seeking to expand his audience beyond the East Coast, he signed with eccentric indie Father/Daughter and made his proper debut with Giver Taker, a lush and exploratory meditation that funneled his many musical facets into a unique whole. Anjimile inked a deal with 4AD the following year and issued Reunion, an EP consisting of orchestral versions of songs from Giver Taker with guest spots from Jay Som, SASAMI, and Lomelda. Early 2023 saw the release of “The King,” which serves as the title cut from his sophomore effort of the same name. Released later that September, The King saw Anjimile deliver a potent set of songs inspired by the political and social discord of the 2020s and the struggles of being a Black trans person in America. A year later, he took part in the Red Hot organization’s Grammy-nominated TRANSA project, collaborating with Bartees Stange and Kara Jackson on the track “Wolf Like Me.” After a pair of stand alone singles, “Auld Lang Syne II” and “Marcie,” Anjimile began building up to his next full-length with the 2026 singles “Like You Really Mean It” and “Waits For Me.” Produced by Brad Cook (Waxahatchee, Hurray For the Riff Raff), the full-length You’re Free to Go bore a more intimate and emotionally direct sound. – Biography by Timothy Monger

fri05jun7:30 pmfri11:00 pmGLOMAs Above, So Below Tour7:30 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street

fri05jun8:00 pmfri11:00 pmModest Mouse8:00 pm - 11:00 pm Starland Ballroom, 570 Jernee Mill Road

Time

(Friday) 8:00 pm - 11:00 pm

Location

Starland Ballroom

570 Jernee Mill Road

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Capable of punkish rawness, simmering atmosphere, and light-hearted pop, Modest Mouse is an American indie rock institution, shaping the sound of the scene at the turn of the 21st century and enjoying mainstream success in the years that followed. On their early singles and albums, like 1997’s The Lonesome Crowded West, they proved there was more to the Pacific Northwest underground than grunge. Coupled with Isaac Brock’s wild-eyed yelp and sketches of small-town life, their mix of emo, folk, post-rock, and prog won critical acclaim. Their major-label debut, 2000’s moody, sprawling The Moon and Antarctica, showed just how grandly ambitious their music could be, while 2005’s platinum-selling, Grammy-nominated commercial breakthrough, Good News for People Who Love Bad News, and its smash hit “Float On” revealed their flair for anthemic pop singles. On later albums like 2007’s chart-topping We Were Dead Before the Ship Even Sank (which featured legendary guitarist Johnny Marr) and 2021’s The Golden Casket, Modest Mouse gave their music arena-sized proportions without sacrificing their idiosyncratic outlook.

Modest Mouse was founded in 1992 in Issaquah, Washington by guitarist and vocalist Isaac Brock, bassist Eric Judy, and drummer Jeremiah Green. Brock, who met Judy while working at a local video store and Green at a heavy metal concert, was only 18 and living in a shed next to his mother’s trailer home when Modest Mouse began working together. The shed became their rehearsal space and base of operations as they forged a nervy sound inspired by bands such as Pixies, XTC, and Pavement. In 1994, Modest Mouse recorded their debut 7″, “Blue Cadet-3, Do You Connect?” at Calvin Johnson’s Dub Narcotic Studio in Olympia, Washington, and Johnson released it on his K Records label later that year. Following the 1996 single “Broke,” which was recorded with Steve Wold (who found fame a few years later as grizzled blues hobo Seasick Steve) and a few other short-form releases, Modest Mouse signed with Up Records for their April 1996 debut album This Is a Long Drive for Someone with Nothing to Think About. Co-produced with Wold, its tales of emotional and geographic isolation earned strong reviews.

The band reunited with Johnson to make May 1997’s EP The Fruit That Ate Itself and that November’s sophomore full-length The Lonesome Crowded West (which also featured production by Scott Swayze). Adding more range and nuance as well as ecological and political themes to the band’s music, The Lonesome Crowded West earned more strong reviews and eventually became known as one of the era’s definitive indie rock albums. The singles and rarities collection Building Nothing Out of Something followed in 1999, and for their next album, Modest Mouse moved from Up to Epic Records. Arriving in June 2000, the band’s major-label debut The Moon and Antarctica was a dark, expansive effort that reflected Brock’s introspective state of mind as well as the band’s five months working with Califone’s Brian Deck at his Chicago studio. Along with critical acclaim, the album also found commercial success, reaching number 120 on the Billboard 200 Albums chart and earning gold certification from the RIAA. In 2004, a remastered version of the album with different artwork and selections from a BBC Radio 1 session appeared.

Modest Mouse followed The Moon and Antarctica’s success with consistent touring and 2001’s Everywhere and His Nasty Parlour Tricks, a collection of demos and outtakes from the album’s sessions. That year also saw the release of Sad Sappy Sucker, a collection that included the band’s first attempt at their debut album. The following year, Brock released an LP with his side project Ugly Casanova. In 2003, Green stepped away from the band, with the Helio Sequence’s Benjamin Weikel becoming the group’s temporary percussionist and keyboardist and Murder City Devils’ Dann Gallucci — who had been a guest guitarist on the sessions for Sad Sappy Sucker and The Lonesome Crowded West — joining as an official bandmember. Both appeared on Modest Mouse’s next album, April 2004’s Good News for People Who Love Bad News. Recorded with Dennis Herring at Oxford, Mississippi’s Sweet Tea Studio, it was a more exuberant collection of songs that became the band’s commercial breakthrough. A Top 20 hit in the U.S. (where it was certified platinum) and a Top 40 hit in the U.K., it spawned the hit singles “Float On” and “Ocean Breathes Salty” as the band began headlining arenas. In addition, Good News for People Who Love Bad News was nominated for the Grammy Award for Best Alternative Music Album, while “Float On” was nominated for Best Rock Song. Around the time of Good News’ release, Modest Mouse also issued the live album Baron Von Bullshit Rides Again.

By the end of 2004, Green had returned to Modest Mouse, and more lineup changes followed. After Gallucci left the group in 2006, the band recruited Johnny Marr to play guitar on their next album. Arriving in April 2007, the nautically themed We Were Dead Before the Ship Sank was recorded at Sweet Tea Studio and Portland, Oregon’s Audible Alchemy and also featured backing vocals by the Shins’ James Mercer. The album debuted at the top of the Billboard 200 and was eventually certified gold in the U.S. and Canada. Marr’s involvement with the band included playing on the lengthy tour supporting We Were Dead Before the Ship Sank; he departed to join the Cribs, with Jim Fairchild (who had worked with Grandaddy and All Smiles) stepping in on guitar by the time Modest Mouse hit the road for August 2009’s collection of outtakes and non-LP single sides, No One’s First, And You’re Next. The band’s cover of “That’ll Be the Day” appeared on the 2011 tribute compilation Rave on Buddy Holly, while their touring extended into 2012. That year saw the departure of Judy and percussionist Joe Plummer; taking their places were former Man Man member Russell Higbee and Davey Brozowski. Percussionist Ben Massarella, who’d performed on The Moon and Antarctica, and multi-instrumentalist/vocalist Lisa Molinaro also joined the fold.

Modest Mouse’s live dates kept them busy into 2014, and that year the band reissued This Is a Long Drive for Someone with Nothing to Think About and The Lonesome Crowded West on Brock’s Glacial Pace label (which he named after his painstaking creative process). Work on the band’s next album coincided with the construction of their own Ice Cream Party studio, shelved collaborations with Outkast’s Big Boi and Nirvana’s Krist Novoselic, and the recording of two albums’ worth of songs. The first of those arrived in March 2015: Strangers to Ourselves was a moody, sprawling effort that reached number three on the Billboard 200 in the U.S. and spawned the single “Lampshades on Fire,” which topped the Alternative Airplay chart. In 2019, the band issued a trio of stand-alone singles, “Poison the Well,” “I’m Still Here,” and “Ice Cream Party,” and toured with the Black Keys before delivering the follow-up to Strangers. Issued in June 2021, The Golden Casket was recorded at Ice Cream Party and in Los Angeles with producers Dave Sardy and Jacknife Lee. Opting for an electronic-tinged sound that reflected the more optimistic outlook on the themes of fatherhood, technology, and mortality they explored on Strangers, it was not only the last to feature Fairchild and Molinaro, who amicably left the band days before the album’s release, but also the final recording with drummer Jeremiah Green, who died on December 31, 2022 just days after he went public with his diagnosis of Stage IV cancer. He was 45 years old. Brock and the band forged ahead, touring with Weezer, Pixies, and the Flaming Lips in the years that followed.

In March 2026, Modest Mouse issued their first single in five years, “Look How Far…” – Biography by Marcy Donelson

fri05jun8:00 pmfri11:00 pmGail Ann Dorsey8:00 pm - 11:00 pm World Cafe Live - Philly, 3025 Walnut Street

Time

(Friday) 8:00 pm - 11:00 pm

Location

World Cafe Live - Philly

3025 Walnut Street

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American singer, songwriter, and multi-instrumentalist Gail Ann Dorsey is one of contemporary rock’s top session bass players and background vocalists. Following the release of a pair of early solo albums — The Corporate World in 1988 and Rude Blue in 1992 — Dorsey continued to attract acclaim with her imaginative playing and lush vocals. In addition to working with Gang of Four, The The, and Tears for Fears, Dorsey made important contributions to the music of the Indigo Girls, Dar Williams, and Jane Siberry, as well as being an integral part in David Bowie’s turn-of-the-millennium era. In 2003, she released her third album, I Used To Be.

A native of West Philadelphia, Dorsey grew up eight blocks from the Tower Theater, where Bowie recorded an influential live album in 1974. Playing guitar from the age of nine, she cites Mark Farner of Grand Funk Railroad, the late Terry Kath of Chicago, Jimi Hendrix, and Nancy Wilson of Heart as early influences. Although she acquired a bass shortly after her 14th birthday, she didn’t consider herself a bass player until she was 20. Although her earliest aspirations were to become a screenwriter and she studied film at CalArts, a small arts-oriented college in Santa Clarita, CA, Dorsey turned to music after realizing the difficulties of earning a living in film.

Moving to London, she cut some demos, composed, and collaborated with Boy George, Donny Osmond, Charlie Watts, Eric Clapton, and others. She also released her two solo efforts — 1988’s The Corporate World and 1992’s Rude Blue — before returning to the U.S. in 1994. It was at this time that she was recruited by David Bowie for his Outside Tour and would be a crucial part of his team for almost a decade.

She was featured on his 1997 album Earthling, 2002’s Heathen, 2003’s Reality, and 2013’s The Next Day. She also remained part of his touring lineup from 1995 to 2004. Outside of her work with Bowie, she worked with Sophie B. Hawkins, Zucchero, Dar Williams, Joan Osborne, the B-52s, Michael Hutchence, and many more. In 2003, she released her third solo set, I Used To Be, over a decade since her last release. – Biography by Craig Harris

fri05jun(jun 5)10:00 pmsat06(jun 6)4:00 amMarten Lou10:00 pm - 4:00 am (6) Knockdown Center, 52-19 Flushing Avenue

Time

5 (Friday) 10:00 pm - 6 (Saturday) 4:00 am

Location

Knockdown Center

52-19 Flushing Avenue

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German DJ, producer, and songwriter MARTEN LOU has become one of the most recognized rising talents in the deep and melodic house music scene. Known for tracks like “Another Life” and “My Love For You (Yebba’s Heartbreak)”, his music has earned support from notable names such as Keinemusik, Adriatique, Bedouin, BLOND:ISH, and Camelphat.

From an early age, Marten had a clear passion for music, pursuing it straight out of high school without seriously considering other paths. His sound has been shaped not only by his German roots but also by the time he has spent in Paris. Immersed in the city’s culture and energy, he developed a style that blends melodic depth and emotional resonance, which has resonated with audiences around the world.

Marten’s career took off with the release of “My Love For You (Yebba’s Heartbreak)”, a pivotal track that opened the door to many opportunities. Since then, he has performed at major festivals and venues including Coachella, Burning Man, Bedouin Saga, and clubs across Ibiza, New York, São Paulo, Paris, Dubai, Istanbul, and Mykonos. Among these, New York holds a special place in his heart for its unmatched energy and vibrant music scene.

With releases on major labels like Drake’s OVO, FFRR, Warner Music, and Atlantic Records, Marten Lou has reached millions of listeners worldwide. His music has been highlighted on influential platforms such as Pete Tong’s BBC Radio 1 show and Tomorrowland’s One World Radio. Tracks like his “Another Life Remix” have become crowd favorites, consistently energizing his sets.

Marten finds inspiration in a wide range of artists, from Keinemusik to WhoMadeWho, as well as lesser-known talents across genres. If given the opportunity, he would love to collaborate with artists like Justin Bieber, bringing together contrasting musical styles.

Outside of music, Marten enjoys cooking and playing soccer, which keep him both active and relaxed during his downtime. Seeing people dance and connect with his music remains one of his most fulfilling experiences.

As Marten Lou continues to release new music and perform internationally, his passion for his art and influences from both Germany and Paris shine through, making him an artist to keep your eyes on.

Photo credit Pascal Behring

sat06jun5:30 pmsat8:00 pmJoshua Ray WalkerAin't Dead Yet Tour5:30 pm - 8:00 pm MilkBoy, 1100 Chestnut Street

Time

(Saturday) 5:30 pm - 8:00 pm

Location

MilkBoy

1100 Chestnut Street

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Joshua Ray Walker is a honky tonk singer who has made a name for himself singing about honky tonks. A vocalist and songwriter with a rich, clear voice, Walker made his reputation with a cycle of three albums based on characters who spend their nights at the same rowdy Texas bar where he established his talent for often witty, sometimes poignant, and always relatable tales of ordinary folks looking to escape their surroundings. Walker is also a gifted guitar player whose style encompasses roadhouse country and raunchy rock & roll. Walker earned praise from critics and Americana fans with his solo debut, 2019’s Wish You Were Here, the first album in a trilogy that continued with 2020’s Glad You Made It and 2021’s See You Next Time.

Joshua Ray Walker was born in Dallas, Texas in 1991. He grew up in the Casa Linda neighborhood on Dallas’ east side, a multicultural community where most of their neighbors were Hispanic and he was introduced to Tejano music. Walker’s grandfather was a bluegrass enthusiast who taught Joshua to play the banjo when he was just four years old. By the time he turned six, Walker was also playing acoustic guitar, and he taught himself to play country, blues, bluegrass, and classical styles. At 11, he got his first electric guitar, and was playing shows when he was still in junior high, with more adventurous sounds making their way into his repertoire after he discovered the White Stripes when he was 12.

Always a stocky youngster, Walker struggled with depression and bullying in his teens, often changing schools before he dropped out. As he struggled to make a living as a musician, he was often homeless, sleeping in his car or crashing on the couches of friends. He often worked part time at the bars where he played, getting a crash course in honky tonk life, and he began writing songs inspired by the people who showed up night after night. In addition to playing out as a headliner, Walker was also gigging frequently as lead guitarist with the Ottoman Turks, a band whose sound was a rowdy mix of garage punk, blues, and roots rock. Between the two projects, Walker was keeping up a busy schedule, playing over 280 gigs in 2017. While working with the Ottoman Turks, Walker crossed paths with John Pedigo, a musician, songwriter, and producer who offered to help him record some solo material. Before long, Pedigo was encouraging Walker to cut an album of his own, and Joshua got the idea to write and record a trilogy of albums inspired by honky tonk life and the often eccentric people he met from working and playing in bars, tied together by setting the stories in a bar about to go out of business.

Walker drew up a plan to release the albums in three consecutive years. The first, 2019’s Wish You Were Here, was produced by Pedigo and released by the Dallas-based indie label State Fair Records, though Walker chose not to tell listeners about the concept, letting fans figure it out for themselves. The album got good reviews and word of mouth began to spread. The second installment, Glad You Made It, came out on schedule, though it arrived at a difficult time — the COVID-19 pandemic cost him his primary income from playing gigs, he fought a respiratory infection, and after a pipe burst at his home and destroyed most of his possessions, he ended up spending close to a year living in a cheap hotel. However, the reaction to the album was enthusiastic, and Rolling Stone named it one of the year’s best country releases. Despite his troubles, Walker met his self-imposed deadline for the final LP in the honky tonk trilogy, and See You Next Time arrived in October 2021. – Biography by Mark Deming

sat06jun6:00 pmsat9:00 pmTurnpike TroubadoursWild America Tour6:00 pm - 9:00 pm The Stone Pony, 913 Ocean Ave N

Time

(Saturday) 6:00 pm - 9:00 pm

Location

The Stone Pony

913 Ocean Ave N

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A gritty, country-leaning roots rock band out of eastern Oklahoma, Turnpike Troubadours at their best synthesize the populist, political folk of Woody Guthrie and the outlaw-styled honky tonk of Waylon Jennings with doses of bluegrass, Cajun, and straight-out rock dynamics. The band’s grassroots following grew to arena-filling popularity as the plaintive melodies and hard truths of their songs connected on country radio, and 2012’s Goodbye Normal Street became their breakthrough release, placing high on both the country and rock charts. After a hiatus brought on by alcohol and the pressures of fame, the Turnpike Troubadours came back stronger and healthier on 2023’s A Cat in the Rain. Building on that album’s more expansive sound, they followed it with 2025’s The Price of Admission.

The Turnpike Troubadours were formed by lead singer and guitarist Evan Felker and bassist R.C. Edwards. By 2007, they were gigging regularly, and they recorded and self-released their debut album, Bossier City, so they could have a CD to sell at their shows. (It appeared on their own Bossier City imprint, which would release their subsequent projects, with Thirty Tigers later taking on distribution of their catalog.) The rest of the lineup featured guitarist Casey Sliger, multi-instrumentalist John Fullbright, and drummer Chad Masters. The group wasn’t entirely happy with the results, and put more time and effort into 2009’s Diamonds & Gasoline, which better captured their sound, exploring modern rural life with a full awareness of history and delicately avoiding being ornate revivalists. Produced by Mike McClure and mixed by Joe Hardy, Diamonds & Gasoline saw guitarist Roger Ray joining the group after the departure of Casey Sliger.

By the time the band returned to the studio to cut 2012’s Goodbye Normal Street, Felker and Edwards had been joined by guitarist Ryan Engleman, fiddler Kyle Nix, and Gabriel Pearson on the drums. As near-constant touring and greater airplay and streaming exposure spread word about the Turnpike Troubadours, Goodbye Normal Street was the group’s first major success, making the country (number 14), folk (number three), and rock (number 23) charts after its release. Three years later, they released their fourth album, The Turnpike Troubadours, and watched it debut at number three on the country chart, a sign that the group’s fan base was overlapping with the mainstream. The set included a guest spot from celebrated bluegrass fiddler Byron Berline and studio support from John Fullbright.

The Troubadours had expanded to a sextet by the time they recorded 2017’s A Long Way from Your Heart, with the addition of Hank Early on pedal steel, Dobro, and keyboards. Once again, the album peaked at number three on the country charts, and the band left theater gigs behind in favor of playing arenas and amphitheaters. They became one of the biggest draws on the Americana circuit, sharing the bill with Miranda Lambert and Little Big Town on the popular Bandwagon package tour.

The band’s journey came to a halt in 2019 when the Turnpike Troubadours went on what they called an “indefinite hiatus.” Evan Felker had developed a serious drinking problem that led him to consider quitting music, and as he bowed out of the group, Ryan Engleman became a touring guitarist for Reckless Kelly, Kyle Nix launched a new band called the .38s, R.C. Edwards cut an album with his side project RC & the Ambers, and Gabriel Pearson divided his time between playing drums with the .38s and taking college classes. After a successful stint in rehab, Felker was sober, healthy, and ready to return to music, and his bandmates agreed to a less rigorous touring schedule and to keep alcohol off the stage in order to support their friend.

Following a handful of well-received live dates, the Turnpike Troubadours engaged Shooter Jennings to produce a comeback album, and A Cat in the Rain was released in August 2023. The partnership was successful enough that the band kept Jennings on board for their next album as well. They also developed a more collaborative songwriting approach, working with outside contributors like Ketch Secor (Old Crow Medicine Show) and Dave Simonett (Trampled by Turtles). Even bandmates Nix and Edwards brought in material to compliment Felker’s. The resulting album, The Price of Admission, was released in April 2025. – Biography by Mark Deming

sat06jun7:00 pmsat9:00 pmKoubeh7:00 pm - 9:00 pm (le) poisson rouge, 158 Bleecker Street

sat06jun7:00 pmsat10:00 pmEric Gabriel7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

sat06jun8:00 pmsat11:00 pmBig Bad Voodoo Daddy8:00 pm - 11:00 pm Wellmont Theater, 5 Seymour Street

sat06jun(jun 6)10:00 pmsun07(jun 7)2:00 pmVTSSA/V Tour10:00 pm - 2:00 pm (7) Knockdown Center, 52-19 Flushing Avenue

sun07jun7:00 pmsun10:00 pmAndy HullIn The Round Tour7:00 pm - 10:00 pm (le) poisson rouge, 158 Bleecker Street

Time

(Sunday) 7:00 pm - 10:00 pm

Location

(le) poisson rouge

158 Bleecker Street

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Andy Hull is a singer-songwriter, guitarist, and producer, best known as the lead singer for the acclaimed Atlanta-based band, Manchester Orchestra. Over the past two decades, they’ve ascended beyond their Atlanta, GA, origins to national TV performances, playing main stages at major festivals like Bonnaroo and Lollapalooza, and reaching #1 at commercial AAA radio and the Alternative radio Top 15 (“The Gold” from 2017’s A Black Mile To The Surface). The sweeping and cinematic nature of the band’s consistently impressive catalog—inspired in part by Hull and producing partner Robert McDowell’s experience scoring movies, including 2016’s Swiss Army Man and 2019’s The Death Of Dick Long—has continually been synced across film, TV, and commercial campaigns. The band’s critically acclaimed sixth album, The Million Masks of God, debuted in 2021 on various Billboard charts with first-week sales, including at #1 on Alternative and Vinyl charts, and at #3 on the Top Current Album Sales and Top Rock Albums charts. It featured the Top 2 AAA and Top 20 Alternative radio hit “Bed Head,” which has been lauded as “an epic fit for sold-out venues” (Consequence). As a songwriter and producer, Hull has worked with artists including Logic, Paris Jackson, Briston Maroney, and Foxing. Beyond Manchester Orchestra, Hull’s signature voice can also be heard across his solo project, fan favorite, Right Away, Great Captain!, and his collaboration with McDowell and Kevin Devine, Bad Books.

sun07jun8:00 pmsun11:00 pmMdou Moctar8:00 pm - 11:00 pm Sony Hall, 235 W 46th Street

Time

(Sunday) 8:00 pm - 11:00 pm

Location

Sony Hall

235 W 46th Street

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There is a beauty in listening to music made in the spirit of energetic transformation. When the sounds transform the air and the listener. This record transports the listener into the heart of the music of Mdou Moctar. The blending of intention and motivation creates a burst of sound that embraces and shakes and invites one to dance! It invites one to breathe. It invites one to be in solidarity with the music. It invites one to be in touch with the human condition. What does it mean to be free in these times? Can the world be liberated from the colonial mindstate that has caused such harm and mistrust? Can we mourn our losses yet build anew to form something more astounding, more fantastic? Funeral For Justice says we can.

A sound that carries weight makes an impact. A sound that carries time transcends time. We are not only listening to music but we are living through it. We are living with it. We are living in it. The artist sees history and makes poetry from it for the present. Mdou Moctar’s Funeral For Justice requests your presence. Show up open to the celebration of life, loved as it should be loved. Experience the exaltation and exuberance. The words speak of ascension, awareness, sorrow, apathy, knowing, and growth. The guitars speak of power, energy, jubilation, transcendency, immediacy, and tradition. The drums and percussion mark the pulse of now as well as a timeless dance that involves us all, as it did those that came before us. The wires that carry the message feel alive with fire and purpose, explosive with possibility. This “funeral” is an acknowledgment. This “funeral” is abundant. This “funeral” overflows into the street filled with dance. This “funeral” stretches late into the night, kicking up the dirt, with the hum of a generator, an ever present member of the rhythm section. This “funeral” is a clarion call for reason and a belief that change is possible.

So join Mdou Moctar in this funeral for justice, knowing rebirth is possible. A new justice is possible. With your voice, your heart, your dance, your stomp, a new justice is born. Mdou Moctar welcomes you with joy and open arms. Be here. Feel here and do, alongside this music. Don’t stand alone, join with others and do. Fight for liberation. Stand against oppression, alongside this music and do!

sun07jun8:00 pmsun11:00 pmGeordie Greep8:00 pm - 11:00 pm Asbury Lanes, 209 4th Avenue

mon08jun6:30 pmmon9:00 pmElla HuntIn The Round Tour6:30 pm - 9:00 pm (le) poisson rouge, 158 Bleecker Street

mon08jun(jun 8)8:00 pmtue09(jun 9)12:00 amDomaniThe Forever Lasting Tour8:00 pm - 12:00 am (9) SOBs (Sounds of Brazil), 204 Varick Street

tue09jun7:00 pmtue10:00 pmChoker7:00 pm - 10:00 pm Bowery Ballroom, 6 Delancey Street

Time

(Tuesday) 7:00 pm - 10:00 pm

Location

Bowery Ballroom

6 Delancey Street

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Detroit native Choker is a progressive R&B artist blending emotionally resonant songwriting with ethereal sounds. He uploaded his first recordings in his teens, and at the age of 21, he made his proper commercial debut with Peak (2017), a self-produced, self-released album that drew comparisons to Frank Ocean. The more distinctive Honeybloom (2018) arrived shortly thereafter, and before the end of the decade, he issued a trio of EPs. A lengthy hiatus preceded the arrival of Heaven Ain’t Sold (2026), his third album.

A voracious listener from a young age, Choker (born Christopher Lloyd) grew up immersed in many genres that included classic soul, hip-hop, indie rock and, through his Jamaican mother, reggae. Deeply into writing, he wrote comics, scripts, poems, and eventually lyrics. Especially inspired by fellow Detroiters like Slum Village and Danny Brown, he started rapping, and eventually taught himself to make beats, play keyboards and guitar, and develop his singing voice. In 2017, Choker made his proper commercial debut with the self-produced and self-released Peak, an introspective and predominantly mellow yet varied set of songs. Choker quickly followed up in 2018 with Honeybloom, led by the wistful ballad “Juno.” After a trilogy of three-song EPs, namely Mono No Moto, Dog Candy, and Forever & a Few, he went on a lengthy musical hiatus. He returned in January 2026 with “Proof,” and the parent album Heaven Ain’t Sold landed the next month. – Biography by Andy Kellman

tue09jun8:00 pmtue11:00 pmKevin MorbyLittle Wide Open Tour8:00 pm - 11:00 pm Union Transfer, 1026 Spring Garden Street

Time

(Tuesday) 8:00 pm - 11:00 pm

Location

Union Transfer

1026 Spring Garden Street

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Singer/songwriter Kevin Morby pens songs that meld Dylanesque lyrical mystique with rootsy production. Along with contemporaries like Angel Olsen and Kurt Vile, he represents a wave of sharp, indie-bred 2010s songwriters whose audiences have grown exponentially as they’ve come into their own. Morby’s development was particularly quick, his vision taking shape in a string of well-received records that included 2017’s pristine City Music, 2019’s conceptual journey Oh My God, and 2022’s deeply reflective This Is a Photograph, which saw the songwriter exploring themes of aging, family, and turbulent times. His 2026 album Little Wide Open had production from the National’s Aaron Dessner and found Morby collaborating with Lucinda Williams and Justin Vernon.

Morby moved from his native Texas to Brooklyn in the mid-2000s, eventually joining the noise-folk group Woods on bass. While living in Brooklyn, he became close friends and roommates with Cassie Ramone of the punk trio Vivian Girls, and the two formed a side project called the Babies, who released albums in 2011 and 2012. Following his move to L.A., Morby recorded a collection of songs with Babies producer Rob Barbato that was intended to be an homage to New York City. The new songs represented a stylistic shift into a more roots-oriented indie sound and also featured Babies drummer Justin Sullivan along with several other guest artists. Released in 2013 by Woodsist Records, the eight-song collection was called Harlem River and became Morby’s debut as a solo artist.

In August of that year, Morby relocated from his Brooklyn dwellings to Los Angeles, quickly beginning work on what would become his second solo album, Still Life. The record was released on the Woodsist label in late 2014. His next LP was informed by two developments: he moved to a house with a piano and he played in the Complete Last Waltz, a group formed to pay tribute to the music of the Band. The first changed the way he wrote songs; the second meant he hooked up with fellow bandmate Sam Cohen of Yellowbirds and the two began collaborating. The recording of Morby’s first album for his new label, Dead Oceans, took place in Woodstock, New York, and featured appearances from keyboardist Marco Benevento and Quilt’s John Andrews on musical saw. Singing Saw was released in April 2016. The following year, a companion piece, City Music, was released. Recorded at the analog-centric Panoramic House studio in rural West Marin, California, and prominently featuring its 19th century pump organ, the album saw Morby channeling Lou Reed and Patti Smith in a collection of introspective vignettes.

It would be two more years before he returned with his fifth effort, Oh My God. The sprawling double album was semi-conceptual, with each song centered around loose religious themes. Adding to the concept of the album, some songs were stripped down to just one or two instruments rather than the relatively saturated instrumentation of Morby’s other albums. A return to demoing songs on his cassette four-track resulted in the rough and gritty Americana of his acclaimed sixth full-length, Sundowner. The album arrived in October 2020 and included the song “Campfire” with Waxahatchee’s Katie Crutchfield. The following year saw the release of Night at the Little Los Angeles, a four-track demo rendition of Sundowner.

His seventh album, This Is a Photograph, arrived in May 2022. The set was inspired by Morby reflecting on the aging process after his father experienced an unexpected medical incident. As his father regained his health, Morby traveled to Memphis, where he wrote the bittersweet, emotionally investigative songs that eventually made up the album. In January 2023, his soundtrack to the 2021 film Montana Story was released through Dead Oceans. In May of that same year, More Photographs (A Continuum) offered a revisitation and extension of Morby’s most recent album, with reworkings of three tracks from This Is a Photograph and six new songs. Now stationed outside of Kansas City, Missouri, Missouri music grew more and more into themes of Midwestern Americana. As he and Crutchfield were readying themselves to become parents, Morby created his eighth album, the vulnerable and more musically spacious Little Wide Open. The album was made with Aaron Dessner producing, and included guest contributions from a host of vocalists and players, including Sylvan Esso’s Amelia Meath, Lucinda Williams, Meg Duffy, Stuart Bogie, and Bon Iver’s Justin Vernon. Little Wide Open was released in May of 2026. – Biography by Timothy Monger

tue09jun(jun 9)8:00 pmwed10(jun 10)12:00 amBabyface Ray + 42 Dugg8:00 pm - 12:00 am (10) Webster Hall, 125 E 11th Street

Time

9 (Tuesday) 8:00 pm - 10 (Wednesday) 12:00 am

Location

Webster Hall

125 E 11th Street

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Hailing from the east side’s 6 Mile section, the 29-year-old born Marcellus Register is a staple of both Detroit and couture street rap at large. With his trademark conversational delivery and thoughtful wordplay, Ray has accumulated over 400 million streams in a little over 2 years . In 2021 Ray went on a run that started with the release of Unf*ckwitable and culminated with Ray being booked for festivals such as Rolling Loud Miami, NY, and LA, Day in Vegas, Lyrical Lemonade Summer Smash, and more as well as opening for Jack Harlow as direct support on the Creme de la Creme tour. Unf*ckwitable saw Ray chart #1 on Billboard heatseekers and in the Rolling Stone Trending at #25.

In the wake of Unf*ckwitable’s success, Ray garnered co-signs from Tyler The Creator, Lil Baby, Future, and LaMello Ball, and accumulated a host of collaborations with modern rap megastars such as Jack Harlow, Trippie Redd, Big Sean, Moneybagg Yo, and EST Gee, which set the stage for 2022 and his ofﬁcial debut album “FACE”.

Upon its release, “FACE” ascended to the #3 spot on Apple Music all genres chart and #2 on the hip hop chart, drumming up widespread acclaim and high praise from Billboard, Pitchfork, Complex and more.

In support of the FACE album, Ray went on his ﬁrst nationwide sold out tour and played festivals such as Rolling Loud, Lyrical Lemonade’s Summer Smash, Made In America, Wireless Fest, Broccoli City and others. He was also recently named an XXL freshman for 2022 and was elected to be part of the 2022 class for YouTube Music’s Black Voices Fund. In the wake of these accolades, Ray returns with his second album of the year in “MOB”. The project features Lil Durk, Blxst, Nija, Doe Boy and more, and leads up to Ray’s Late night TV performance on Jimmy Fallon, as well as his second headline tour slated for 2023.

Detroit rapper 42 Dugg found his calling during an especially dark time in jail. While in solitary confinement, he began writing rhymes to keep his grip on sanity, and once free, was inspired to pursue music full-time. Within a few years, he signed with Yo Gotti’s CMG label and brought his ruthless street style to a series of mixtapes including 2019’s Young and Turnt and 2021’s Free Dem Boyz. In 2022 he teamed up with Yo Gotti roster-mate EST Gee on the album Last Ones Left. He also appeared on the high-profile CMG compilation Gangsta Art and landed a one-off hit, “U-Digg,” with Lil Baby and Veeze. In 2024, he released his first official full-length album, 4eva Us Neva Them. The brief mixtape Part 3 was released in 2026.

A native of Detroit’s often-dangerous East Side, 42 Dugg found himself in trouble with the law early on in life. By age 15 he was serving a six-year jail sentence. He began rapping while incarcerated and took it more seriously when he was let out, releasing his first song, “Mama I’m Sorry,” in January 2018. From there, the rapper quickly ascended, self-releasing several projects like the 11241 Wayburn mixtape. He collaborated with other Detroit rappers like Babyface Ray and the 42 Twinz on his early material, and soon caught the attention of national stars.

Strong early singles like “The Streets” led to Yo Gotti signing 42 Dugg to his Collective Music Group label. A joint agreement allowed him to sign on with Lil Baby’s label 4PF as well. Several singles surfaced before the release of 2019’s Young and Turnt. The mixtape featured guest verses from fellow Detroit artist Tee Grizzley as well as known names like Blac Youngsta and Peewee Longway. Young & Turnt 2, an entirely freestyled mixtape, appeared in 2020 and debuted at number 70 on the Billboard 200.

Collaborations with Marshmello (“Baggin'”) and LBS Kee’vin (“Shining”) followed, and in 2021 42 Dugg returned with his fourth mixtape, Free Dem Boyz, which featured Roddy Ricch on the hit “4 Da Gang.” In April 2022, he collaborated with Kentucky rapper EST Gee on the Last Ones Left mixtape, which yielded a hit in “Thump Shit.” Two months later, he teamed up with Lil Baby and Veeze on “U-Digg,” which appeared on multiple charts and reached number 52 on the Billboard 100. He was also featured heavily on the CMG label compilation Gangsta Art, which peaked at number 11 on the Billboard 200 and included the hit “Steppers.”

A collaboration with Babyface Ray, “Ron Artest,” arrived in February 2023. Several months later, the rapper was sentenced to a year in prison for failure to report for a previous 2022 sentence. Released in October 2023, 42 Dugg returned to the studio and in July 2024 delivered his full-length debut album, 4eva Us Neva Them, which showcased guest spots by Sexyy Red, Blac Youngsta, Lil Baby, Young Geezy, and EST Gee, the latter of whom was featured on the single “Since When.” Part 3 was issued in 2026, and included GloRilla, G Herbo, and Skilla Baby as guests.

tue09jun(jun 9)10:00 pmwed10(jun 10)1:00 amZEP10:00 pm - 1:00 am (10) Baby's All Right, 146 Broadway

Time

9 (Tuesday) 10:00 pm - 10 (Wednesday) 1:00 am

Location

Baby's All Right

146 Broadway

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ZEP, a skilled electronic artist originally from the Netherlands, is recognized for his engaging sounds that smoothly merge parts of techno with other electronic genres. With a profound passion for music and a knack for generating addictive rhythms, ZEP has carved out a unique position for himself in the electronic music world.

His work is distinguished by throbbing rhythms, captivating melodies, and dense layers of sound that take listeners to a another auditory dimension. ZEP’s expertise of the subgenre of techno is evident in his ability to make tracks that are both dynamic and thought-provoking. His unique use of synthesizers and drum machines gives a distinct taste to his works, making them stand out in the congested electronic music world.

ZEP’s music is a journey of emotions, leading listeners on a rollercoaster ride of ecstasy, reflection, and pure auditory bliss. Each track is precisely created, displaying his meticulous attention to detail and his devotion to providing a unique aural experience. Whether it’s the pulsing basslines that make your heart beat or the ethereal melodies that transport you to another realm, ZEP’s music never fails to leave a lasting impact.

In conclusion, ZEP is an electronic artist from the Netherlands who has perfected the skill of generating fascinating and unique techno music. His ability to merge genres and create distinct sound landscapes sets him apart from the pack, making him a true force to be reckoned with in the electronic music world. Keep an eye out for ZEP as he continues to push boundaries and reinvent the frontiers of electronic music.

wed10jun6:30 pmwed10:00 pmKalia Vandever6:30 pm - 10:00 pm (le) poisson rouge, 158 Bleecker Street

wed10jun7:00 pmwed10:00 pmDylan LeBlanc7:00 pm - 10:00 pm Baby's All Right, 146 Broadway

Time

(Wednesday) 7:00 pm - 10:00 pm

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Baby's All Right

146 Broadway

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An American singer/songwriter and multi-instrumentalist, Dylan LeBlanc’s smoky, languid, Townes Van Zandt- and Fleet Foxes-inspired Americana draws from a wide array of influences, but leans heavily on the music of the Deep South. The son of Muscle Shoals session player James LeBlanc, Dylan emerged in 2010 with the country-folk forward Paupers Field, but began incorporating elements of breezy West Coast pop and jangly guitar rock on subsequent releases like Cautionary Tale (2016), Renegade (2019), and Coyote (2023).

The Shreveport, Louisiana native spent his formative years surrounded by some of the region’s finest musicians (his father, singer/songwriter/guitarist James LeBlanc, is a longtime Muscle Shoals session player). Dylan began writing his own songs at 11, and by his late teens, had developed a soulful, bluesy voice and guitar style that resonated with the sights and sounds of his musical youth. He released his brooding and sparse debut, Paupers Field, on Rough Trade in 2010 at the ripe old age of 19, followed by the likeminded Cast the Same Old Shadow in 2012. 2016’s lush and compelling Cautionary Tale saw LeBlanc enlist help from a backing band, as did 2019’s more pop-leaning Renegade, which included the Billboard Adult Alternative Songs-charting title cut. 2023 saw the release of Coyote, a self-produced, partially autobiographical concept album dealing with themes of self-destruction, commitment, and resilience. – Biography by James Christopher Monger

wed10jun7:00 pmwed11:00 pmIzzy Escobar7:00 pm - 11:00 pm Bowery Ballroom, 6 Delancey Street

wed10jun7:30 pmwed10:00 pmPrince Daddy and the Hyena7:30 pm - 10:00 pm Ukie Club, 847 N Franklin Street

Time

(Wednesday) 7:30 pm - 10:00 pm

Location

Ukie Club

847 N Franklin Street

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It’s a very natural human phenomenon to be scared of death. Whether it’s the idea of your own impending doom that’s rattling around your skull or the mortality of those close to you, such thoughts are part of the curse of human consciousness. Yet for Kory Gregory, that fear was extreme. So extreme, in fact, that when Prince Daddy & The Hyena were in the middle of making this third full-length, the vocalist/guitarist of the Albany, NY band had to take some time out from, well, everything.

“I was really scared of dying for some reason,” he remembers. “I know being scared of dying isn’t irrational, but I had an irrational fear of it to a non-functional point. I actually went to a psychiatric hospital for a month in the middle of writing this record because of it.”

“You were afraid of it beforehand,” chimes in guitarist Cameron Handford, “and then we actually almost died. We were driving home from a tour and we just wanted to get home really bad. We’d driven through blizzards a million times before being from New York, so we just kept going and that was not the right idea – it was a 12-hour drive and everyone was really tired. One thing led to another and we slid off the road into a snow plough. The van looked like none of us should have survived it. It was pretty intense.”

That incident occurred in November 2018, right before the band – now completed by drummer Daniel Gorham and bassist Adam Dasilva – recorded their second album, 2019’s Cosmic Thrill Seekers. They’d already written that record, though, and besides, Gregory’s fixation with death hadn’t quite reached such debilitating proportions by that point. But little by little, it got worse and worse until it was overbearing and all-consuming. Unsurprisingly, then, the 13 songs that make up this self-titled third full-length are riddled with ruminations on life coming to an end.

“It’s all about my fear of death,” explains Gregory, “but not just for myself. It’s my fear of me dying, my parents dying, my loved ones dying, my fear of aging. My fear of mortality in the most loose, broad sense of the word. It’s the first time that it’s hit me as an adult, the first time that the impermanence of everything struck, and that sent me into a little existential spiral.”

To some extent, then, you could call this a kind of concept album, but it’s an accidental one – less intentional than a by-product of the morbid thoughts Gregory was having at the time manifesting themselves into songs by way of catharsis. But that, he clarifies, is just what always happens anyway when he writes.

“I feel like any record I write is going to be a kind of concept record,” he says, “because I have an obsessive mind and get caught up in something and just write. So everything I wrote in quarantine was about the same thing, about my fear of dying. It’s a snapshot of what I was going through when I wrote these songs.”

That said, there are some traditional concept record trademarks present on the album, including a recurring character called The Collector who crops up in different places throughout it. The Collector, says Gregory, is really just “depression or death in corporeal form”, the unimaginable fate that awaits us all personified. Ideally, Gregory wants the listener to imagine The Collector as the photo of his cousin that graces the cover album artwork.

“To me,” he says, “that photo is the essence of the record. When people hear me singing about the character on this record that isn’t me, I want them to picture that, because it’s a really fucking frightening image!”

Whether Gregory is relaying his fears more vicariously and allegorically though The Collector or in a more direct fashion, Prince Daddy & The Hyena delves deep into the heart of darkness at its core. In fact, penultimate song, “Black Mold” is a brooding, near-nine minute long lament in which the frontman revisits one of the bleakest times in his entire life to date. A song that chugs with the anguish of existence, it begins with a voicemail before slowly building into a layered, emotional slow-motion frenzy of redemptive guitars.
“I had a stint with depression that almost cost me my life,” explains Gregory, “and this song is the first time I ever wrote about it. It’s my favorite song that I’ve ever written, because I haven’t really thought about what happened or ever written about it since, but the end result is something that I’m super proud of.”

“And as for the voicemail,” adds Dasilva, “it was left by a friend of Kory’s who called Kory one night. Kory missed the phone call and then listened to the voicemail and was very worried because he sounded like he was drunker than ever before, and also borderline suicidal. Kory hadn’t talked to him for over a decade, but the whole night Kory is trying to call him back, freaking out that he missed his call, because he even called Kory’s mom, too. It definitely seemed serious. Eventually, Kory goes to bed and the next morning his friend texted him back and was like ‘Oh man, I’m sorry. I was so drunk last night!’”
“It was just like a funny blackout drunk thing,” says Gregory, “and I was like ‘Damn, dude. I thought you were fucking dead!’”

That blur between and juxtaposition of darkness and levity is something Prince Daddy & The Hyena have always done well, and the four-piece utilize that technique to maximum effect on this album. Recorded, like Cosmic Thrill Seekers, by Nick “Scoops” Dardaris – this time at the Barber Shop Studios in New Jersey – it constantly grapples lyrically with difficult subject matter, but ebbs and flows musically between those polar opposites. Opener “Adore The Sun” is, for example, a dreamy, almost-Beach Boys-esque blast of summer warmth, but is followed immediately by the ragged, raw breakneck punk of “A Random Exercise In Impermanence (The Collector)”. Other examples include the gorgeous, defiant melancholy of “Curly Q” being sandwiched between the spiky, jittery vibes of “Hollow, As You Figured” and “Keep Up That Talk”, or the glowering raw insistence of “Jesus Fucking Christ” preceding “Something Special”, a reworked song about Freddy Kreuger from Gregory’s Jophus solo project that’s been given a kind of 1950s-esque teen ballad reinvention. And then there’s the epic introspection of the aforementioned “Black Mold”, which gives way to the gentle, almost lullaby-esque closer “Baby Blue.”

“I kind of wanted this album to feel like a car crash,” admits Gregory. “I wanted it to feel like you’re getting whiplash going from song to song.”

“I think the record as a whole as a journey feels bittersweet hopeful in a way, ending with the very dark Back Mold and I feel a little bit like Baby Blue is something blooming out of nothing after the lowest point of the record.”

In other words: we’re all going to die, so we might as well enjoy the ride before we do.
That, perhaps, is also reflective of the band’s attitude. This current line-up – cemented when Dasilva joined last year – is, they say, the band’s “forever line-up”. It’s who they’ve always wanted to be and they’ve made the record they’ve been striving to make since forming in 2014. You can hear that chemistry, that magic, that synergy, all the way through.

“I feel like this was exactly what we wanted to do exactly how we wanted to do it for the first time,” beams Gregory. “Our heads are all in the same spots, which is probably the first time since we’ve been a band that that’s happened. Everyone in the band wants to be here and we’re all super stoked to be where we are doing this.”

wed10jun8:00 pmwed11:00 pmKevin MorbyLittle Wide Open Tour8:00 pm - 11:00 pm Brooklyn Steel, 319 Frost Street

Time

(Wednesday) 8:00 pm - 11:00 pm

Location

Brooklyn Steel

319 Frost Street

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Singer/songwriter Kevin Morby pens songs that meld Dylanesque lyrical mystique with rootsy production. Along with contemporaries like Angel Olsen and Kurt Vile, he represents a wave of sharp, indie-bred 2010s songwriters whose audiences have grown exponentially as they’ve come into their own. Morby’s development was particularly quick, his vision taking shape in a string of well-received records that included 2017’s pristine City Music, 2019’s conceptual journey Oh My God, and 2022’s deeply reflective This Is a Photograph, which saw the songwriter exploring themes of aging, family, and turbulent times. His 2026 album Little Wide Open had production from the National’s Aaron Dessner and found Morby collaborating with Lucinda Williams and Justin Vernon.

Morby moved from his native Texas to Brooklyn in the mid-2000s, eventually joining the noise-folk group Woods on bass. While living in Brooklyn, he became close friends and roommates with Cassie Ramone of the punk trio Vivian Girls, and the two formed a side project called the Babies, who released albums in 2011 and 2012. Following his move to L.A., Morby recorded a collection of songs with Babies producer Rob Barbato that was intended to be an homage to New York City. The new songs represented a stylistic shift into a more roots-oriented indie sound and also featured Babies drummer Justin Sullivan along with several other guest artists. Released in 2013 by Woodsist Records, the eight-song collection was called Harlem River and became Morby’s debut as a solo artist.

In August of that year, Morby relocated from his Brooklyn dwellings to Los Angeles, quickly beginning work on what would become his second solo album, Still Life. The record was released on the Woodsist label in late 2014. His next LP was informed by two developments: he moved to a house with a piano and he played in the Complete Last Waltz, a group formed to pay tribute to the music of the Band. The first changed the way he wrote songs; the second meant he hooked up with fellow bandmate Sam Cohen of Yellowbirds and the two began collaborating. The recording of Morby’s first album for his new label, Dead Oceans, took place in Woodstock, New York, and featured appearances from keyboardist Marco Benevento and Quilt’s John Andrews on musical saw. Singing Saw was released in April 2016. The following year, a companion piece, City Music, was released. Recorded at the analog-centric Panoramic House studio in rural West Marin, California, and prominently featuring its 19th century pump organ, the album saw Morby channeling Lou Reed and Patti Smith in a collection of introspective vignettes.

It would be two more years before he returned with his fifth effort, Oh My God. The sprawling double album was semi-conceptual, with each song centered around loose religious themes. Adding to the concept of the album, some songs were stripped down to just one or two instruments rather than the relatively saturated instrumentation of Morby’s other albums. A return to demoing songs on his cassette four-track resulted in the rough and gritty Americana of his acclaimed sixth full-length, Sundowner. The album arrived in October 2020 and included the song “Campfire” with Waxahatchee’s Katie Crutchfield. The following year saw the release of Night at the Little Los Angeles, a four-track demo rendition of Sundowner.

His seventh album, This Is a Photograph, arrived in May 2022. The set was inspired by Morby reflecting on the aging process after his father experienced an unexpected medical incident. As his father regained his health, Morby traveled to Memphis, where he wrote the bittersweet, emotionally investigative songs that eventually made up the album. In January 2023, his soundtrack to the 2021 film Montana Story was released through Dead Oceans. In May of that same year, More Photographs (A Continuum) offered a revisitation and extension of Morby’s most recent album, with reworkings of three tracks from This Is a Photograph and six new songs. Now stationed outside of Kansas City, Missouri, Missouri music grew more and more into themes of Midwestern Americana. As he and Crutchfield were readying themselves to become parents, Morby created his eighth album, the vulnerable and more musically spacious Little Wide Open. The album was made with Aaron Dessner producing, and included guest contributions from a host of vocalists and players, including Sylvan Esso’s Amelia Meath, Lucinda Williams, Meg Duffy, Stuart Bogie, and Bon Iver’s Justin Vernon. Little Wide Open was released in May of 2026. – Biography by Timothy Monger

thu11jun5:30 pmthu9:00 pmYoung the GiantVictory Garden Tour5:30 pm - 9:00 pm The Stone Pony, 913 Ocean Ave N

Time

(Thursday) 5:30 pm - 9:00 pm

Location

The Stone Pony

913 Ocean Ave N

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California quintet Young the Giant draws upon its members’ international roots to forge a worldly blend of summery indie pop and anthemic stadium rock. Originally operating under the moniker the Jakes, the band dove headfirst into the mainstream in 2010 with the release of their debut LP (as Young the Giant), which included the RIAA gold-certified hits “My Body” and “Cough Syrup.” They continued to hone their eclectic but accessible brand of modern rock on subsequent offerings like Mind Over Matter and Home of the Strange. Both albums cracked the Top 20 of the Billboard 200 and helped make them both radio and festival favorites, with high-profile appearances at Bonnaroo, Austin City Limits, and Lollapalooza, among others. They hit the Top Ten of the Rock Albums chart with 2018’s Mirror Master and returned in 2022 with a four-part Acts EP series that formed their fifth album, American Bollywood. Victory Garden appeared in 2026.

Young the Giant began making broad-based indie rock in Irvine, California, where bandmates Sameer Gadhia (vocals), Jacob Tilley (guitar), Eric Cannata (guitar), Payam Doostzadeh (bass), and François Comtois (drummer) all met each other during high school. Following graduation, the guys ditched their respective bands and formed their own outfit. Although they all left Orange County shortly thereafter to attend different colleges, they continued making music together, eventually deciding to put school on hold and focus on the group instead. The decision wasn’t in vain; by early 2009, they were opening for Kings of Leon and playing shows at South by Southwest. Several months later, they were signed to Roadrunner Records.

The Jakes changed their name in January 2010 and began working on an album with producer Joe Chiccarelli, tracking most of the songs at Sunset Sound Studios in Los Angeles. Featuring cameos by My Morning Jacket’s Bo Koster and Jellyfish’s Roger Manning, the self-titled debut was released digitally later that year via Roadrunner. Worldwide promotion of the album continued well into 2011, as it took until the summer to make it physically available in most territories. Numerous TV appearances — most notably a performance on the MTV Video Music Awards show — helped to propel the album and accompanying singles “My Body” and “Cough Syrup” into the U.S., U.K., Dutch, and Italian charts.

Sessions for a second full-length began with producer Justin Meldal-Johnsen in summer 2013. The resulting album, the heavier Mind Over Matter, arrived in January 2014, and saw the group make the jump to Warner subsidiary Fueled by Ramen. The album fared well enough to reach number seven on Billboard’s Top 200, and Young the Giant toured heavily in support of it over the following two years. In April 2016, they debuted the lead single “Amerika,” which appeared on their third effort, Home of the Strange, a substantive collection of songs that ruminated on the group’s immigrant history and American identity as a whole. It hit number 12 on the Billboard 200. 2018 saw the release of the singles “Simplify” and “Superposition,” which landed on their fourth set, Mirror Master, which cracked the Top Ten of the Rock Albums chart.

In July 2022, they debuted the EP Act 1: Origins, the first of four installments that would form their fifth album, American Bollywood. Adding Acts titled Exile, Battle, and Denouement, the ambitious project told the “multi-generational saga of the American immigrant” through the lens of Gadhia’s own South Asian heritage. The set included singles “Wake Up” and the U.S. Alternative Top 20 hit “The Walk Home.” The group’s sixth record, the heartfelt Victory Garden, was released on Fearless Records in May of 2026. – Biography by Andrew Leahey

thu11jun7:00 pmthu10:00 pmmarQ7:00 pm - 10:00 pm Baby's All Right, 146 Broadway

thu11jun7:00 pmthu10:00 pmTristen7:00 pm - 10:00 pm Public Records, 233 Butler Street

Time

(Thursday) 7:00 pm - 10:00 pm

Location

Public Records

233 Butler Street

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“When you have a child, you begin to think about, ‘What do I want to tell him? What’s important to pass on?’,” Tristen asks herself. “Stories of love. That’s ultimately where art holds its lasting influence and lives on through generations, despite the corruption and violence surrounding it. All we can do is create a message worthy of our ancestors, heroically honest, while working on ourselves enough to break the cycle. At the end of the day, we have to look inward.”

Meditations on the human condition — the patterns of behavior we’ve inherited, whether we’re conscious of them or not — and stories of love in all its complicated forms abound on Tristen’s fourth album Aquatic Flowers. Out June 4th on Mama Bird Recording Co., Aquatic Flowers brims with incisive pop-folk tracks ruminating on the ways we attempt to feel in control in a chaotic world, the past that informs us, and how to let go in order to grow.

Making rock and roll music in Nashville, the mononymous songwriter has established herself as a prolific and introspective musician over the past decade. With a “knack for penning an infectious hook” (Entertainment Weekly), she has collaborated with artists like Vanessa Carlton (she co-wrote Carlton’s latest album Love is an Art) and Jenny Lewis (playing in the Voyager touring band), and opened to critical acclaim for artists ranging from Robyn Hitchcock to Television.

Her 2011 debut Charlatans at the Garden Gate earned her praise as “Nashville’s best-kept secret” (The Boston Globe) and was recorded at Battletapes in Nashville; while 2013’s CAVES, a collaboration with Stephen Hague, recast her as a “synth pop siren” (SPIN). Recorded at home, her most recent album, 2017’s Sneaker Waves, was praised for its “Nilsson-worthy power balladry” (Rolling Stone).

Aquatic Flowers finds Tristen further honing her deft ability to craft “hooky arrangements that tickle the ear and won’t leave your brain alone” (NPR). Her own interest in examining the human psyche runs like a current through each track, as if your therapist could distill complex emotions through pop melodies and an electric guitar.

“This record, I had a real desire to not overcomplicate things, to get really close to what I have given in the past to my demos, which for me, is the most inspired time of making something, right in the beginning, feeling it the most at that moment because you just wrote it and it’s on your mind.”

She and her husband Buddy Hughen, a collaborative fixture in Tristen’s touring band and occasional writing partner, recorded and produced the record in their home studio, which they’ve fittingly named Tight Squeeze, where Hughen has also recorded and produced artists like Robyn Hitchcock and Sun Seeker.

“Buddy and I grew up together; we met right out of university and moved to Nashville within six months of each other to find our way as artists. He moved from Boston with his band. I came to write songs by myself. We fell in love over all the unspoken connections, but we also created this language, a trust of ideas between us, drunk on the luck of having a lot in common, like the kind of music we wanted to put into the world and the expectations of taking up that space.”

The resulting record carries this immediacy and intimacy. Against jangly, sunny guitarwork from Hughen, Tristen’s exacting pop melodicism and perceptive, poetic lyrics shine even when they reach into darker depths of the human psyche.

“Complex” is a pop portrait of the ways in which someone’s patterns of self-sabotage can plague a relationship. The deceptively sweet melody of “Hothouse Flower” delivers a biting indictment of privilege and narcissism and envying someone else’s suffering. “Julian” (co-written with Pebe Sebert), an intimate lullaby akin to Lennon’s “Beautiful Baby Boy”, was written in the early hours with Tristen’s infant son asleep in her arms. It meditates on the ways in which motherhood doesn’t spell the end of a woman’s life, rather, the beginning of a new one.

“Athena” (co-written with Lera Lynn) pays powerful tribute to a common, yet forgotten archetype of a woman, too often written from a man’s point of view; while “Story of Love” is a bright, mid-tempo ode to cautious optimism, an acknowledgement that we can create change on a personal level when the chaos of the world feels too vast and overwhelming.

“We have very limited power outside of ourselves, but there’s so much power that you have inwardly. There’s a psychological revolution that needs to happen within us,” Tristen says. With Aquatic Flowers, Tristen crafts an album that confronts the problems that currently plague us while keeping her attention optimistically fixed on the stories of love that have the power to save us.

thu11jun7:30 pmthu10:00 pmAlly Nicholas7:30 pm - 10:00 pm Ukie Club, 847 N Franklin Street

thu11jun(jun 11)10:00 pmfri12(jun 12)1:00 amGirliThe Opinionated Tour10:00 pm - 1:00 am (12) Baby's All Right, 146 Broadway

Time

11 (Thursday) 10:00 pm - 12 (Friday) 1:00 am

Location

Baby's All Right

146 Broadway

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As she launches her third album era, girli is embracing unvarnished authenticity with a clear sense of purpose. Earlier this year, she started writing songs with a specific goal – namely, to make an album in nine months – and documented the entire process for her fans. “That was very intentional because I wanted to strip away the faux mystery of the album rollout,” she says. “Every step of the way, I’ve been very heart-on-my-sleeve. Like, ‘Guys, this is what I’m doing, and it’s building towards an album.'”

She’s also going back to basics by refusing to censor herself. “When I started making music, I had this huge political spark that got slightly dimmed when people began telling me how to be ‘more commercially viable’,” she says. “But everything’s changed now – fans really get behind artists who actually stand for something.” Going forward, girli intends to be even more outspoken about issues she really believes in: feminism, queer rights, trans rights, immigrant rights, the terrifying rise of the far right. The artist who sang “when we touch, we touch to fuck the patriarchy” on her brilliant second album, Matriarchy, is ready to grab the mike in all senses.

Her upcoming third album, which is due in May 2026, with a title to be announced soon, is a box-fresh and sonically cohesive affair that reconnects girli with her musical roots. As a teenager growing up in North London, she absorbed the frenetic energy and spiky hooks of the indie sleaze era, so she’s channelled its chaotic spontaneity into music that pulses with the thrum a sweaty gig venue. It’s classic girli alt-pop that harks back to her teenage nights out in Camden and Shoreditch, but with a razor-sharp 2026 edge. She describes the anthemic first single ‘Better Undressed’, which she wrote Australian indie musician G-Flip and their producer Aidan Hogg, as a “fun but sad song about wanting to hook up again after a breakup.”

Another key album track, ‘Slap on the Wrist’, is one of girli’s most politically impassioned moments yet. “I wrote it about the fear women live with every day in a society where male violence is the norm and the legal system does so little to listen to and protect victims,” she says. “It’s about perpetrators of sexual assault getting away with a slap on the wrist while survivors have to deal with being blamed for their assailant’s actions and the fear that follows: knowing that abusers most often face no repercussions.” To girli, it’s very much a rallying cry “for any woman who’s walked home with their keys in their fist because they know that the world won’t protect them”.

The musician born Milly Toomey, who made a splash with her brilliantly brash debut single ‘So You Think You Can Fuck With Me Do Ya?’, has always written songs with a unique viewpoint. ‘The Answer’, an explosive midtempo from her upcoming album, is a touching coming-of-age song about girli’s first teenage crush, and how it unlocked her burgeoning queerness. “Nothing ever happened between us, but it was the first time I realised I could feel that way about a girl,” she recalls. “If I look back at 12-year-old me, who was trying to figure out her sexuality while being quite badly bullied, she’d be so stoked about where I am now: writing these out and proud songs.”

Of course, girli is also proud to have built a long-term career in an industry where the metrics of success are constantly shifting. “For female artists especially, there’s this pressure to have a mega-viral moment. Some people think your career hasn’t really started until that happens,” girli says. “But actually, that’s toxic and plain wrong. Your career is happening now – it started the moment you decided to be a musician.” Right from the start, when she blew up with rough and ready electro gems like ‘Girl I Met on the Internet’ and ‘Girls Get Angry Too’, girli has pushed forward with the singular purpose of a pop disruptor.

In addition to her two previous albums, 2019’s Odd One Out and 2023’s Matriarchy, girli has released five EPs and a string of standalone singles. From the UK’s All Points East, Latitude, and Mighty Hoopla to SXSW in Austin and Mad Cool in Madrid, girli has lit up festival stages around the world. She’s headlined iconic London venues like Scala and Heaven and toured extensively across Europe, North America, and Australia. A girli live show is a vital and life-affirming experience.

Along the way, she’s cultivated a devoted fanbase by singing candidly about tough subjects: unachievable beauty ideals on 2021’s ‘Dysmorphia’, mental health on 2022’s ‘I Really F**ked It Up’, her own insecurities on 2023’s ‘Imposter Syndrome’. Self-expression has always been the cornerstone of her identity. At the start of the pandemic, girli was dropped by her record label and had no manager, but she refused to let her career slip away. “I realised I have so much more to say, and I really took things back to basics by focusing on what I love: writing and performing songs that my fans can connect to,” she adds defiantly.

She’s also learned to shut out the sexist noise that surrounds any young female artist. “There used to be this idea that you had to be mega-famous by the time you’re 25, but I think that’s changing,” girli says. “I take so much inspiration from artists like Self Esteem, Charli XCX and SZA, who are having incredible success in their thirties.” She’s adapted to changes in the industry – “like most artists, I’ve had to become a businesswoman and a content creator,” she says – without losing sight of her primary goal. “My purpose as an artist is the same as it’s always been,” girl says. “I want to make people feel seen and less alone by being really vulnerable in my art. And given everything that’s going on in the world right now, I think that kind of radical honesty is more important than ever. ”

fri12jun7:00 pmfri10:00 pmBilly Allen + The Pollies7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

fri12jun7:30 pmfri11:00 pmDinner Time7:30 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street Event Organized By: Dave Kiss Presents

Time

(Friday) 7:30 pm - 11:00 pm

Location

Kung Fu Necktie

1248 N Front Street

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Dinner Time was founded in Atlanta, GA in 2018 as a collaborative project, focused on bringing together songwriters from several existing groups. Influenced by garage rock, saccharine 60s melodies, and a DIY mentality, the group released their debut album DINNER TIME in 2019. The group continued to redefine their sound on subsequent LPs Halfway Down (2021) and Technicolor (2024), adding moody synthesizers, more psychedelic production techniques, and leaning into jazzier changes. The quintet has spent the years in between touring the country, appearing at Treefort Music festival, SXSW, and even collaborating with the Atlanta Braves. Now the band has come full circle, and is ready to share DINNER TIME 2. This album represents a return to form, back to the familiar influences of their debut, now with years of experience under their belts. Layers of acoustic guitars and mellow pianos evoke the sounds of the 70s, while catchy melodies and soaring guitar harmonies hint at the band’s varied influences (which include the Zombies, the Beatles, the Doobie Brothers, Randy Newman, CSNY, and Masayoshi Takanaka). Produced in collaboration with Clark Hamilton (Klark Sound, Improvement Movement), DINNER TIME 2 will be released on May 8, 2026 via Dinner Time Records.

Organizer

Dave Kiss Presents

fri12jun7:30 pmfri11:00 pmINJIThis Tour Is Superlame7:30 pm - 11:00 pm Webster Hall, 125 E 11th Street

Time

(Friday) 7:30 pm - 11:00 pm

Location

Webster Hall

125 E 11th Street

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Turkish-born, NYC-based artist INJI is ﬂipping the script on dance-pop — fusing whip-smart lyrics, ﬂoor-shaking beats, and razor-sharp wit into club anthems that hit just as hard intellectually as they do on the danceﬂoor.. A classically trained pianist turned Wharton grad, she exploded onto the scene with her 2022 viral hit “GASLIGHT,” a cheeky, house-infused track that cemented her as a sharp-tongued, satirical voice in dance music. INJI’s sound thrives in glittery chaos — a heady blend of biting humor, cathartic release, and rave-ready euphoria. Tracks like “BELLYDANCING,” “MADELINE,” and her latest tech-house heater “BOYS AIN’T SHIT” show her knack for turning everyday messiness into anthems of empowerment and release. INJI’s debut mixtape SUPERLAME released October 24, 2025. Think: a sonic cocktail of dizzying highs and delicious chaos, shaken hard and served with side-eye. Breakups, bad dates, existential spirals — all spun into dance-ﬂoor delirium. Fresh oﬀ of her festival slots that lit up Lollapalooza Paris, Osheaga, and Outside Lands, INJI is commanding global stages with her signature rave-as-confessional style. As Rolling Stone UK put it: “Viral club artist Inji turned her tent into a late-afternoon rave, pouring shots into the mouths of those on the front row while performing her satire-fuelled party bangers; as a precursor to TikTok hit ‘GASLIGHT’, she had crowd members calling out their awful exes.”

fri12jun8:00 pmfri11:00 pmunderscoresGalleria Tour8:00 pm - 11:00 pm Theatre of Living Arts, 334 South Street

Time

(Friday) 8:00 pm - 11:00 pm

Location

Theatre of Living Arts

334 South Street

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The music of April Harper Grey, known professionally as Underscores, is difficult to characterize. Initially posting dubstep-influenced music online as a teenager, she later expanded Underscores into a hyperpop-influenced project, chopping up genres on her debut album Fishmonger (2021), which featured tracks like “Your Favorite Sidekick” and “Spoiled Little Brat.” Her 2023 album Wallsocket, featuring streaming favorites like “Locals (Girls Like Us)” and “Cops and Robbers,” was an intricate concept piece about small-town America, marketed with a highly detailed Internet rollout. Featuring singles including one called “Music,” she claimed to aspire to make pop piped into public spaces like supermarkets, malls, and hotels for inspiration for 2026’s nevertheless hyper-saturated U.

The San Francisco-raised Grey had an upbringing punctuated by widespread creativity. She enjoyed creative writing and video editing, running a channel devoted to the popular video game Minecraft. Her formative influences included Madonna, Jack White, and Beck, and she was a self-described band geek in high school. As a teen, she was exposed to Skrillex’s Scary Monsters & Nice Sprites, which gave her a gateway to making EDM-inspired music of her own. Her first EP, 2016’s Air Freshener, was primarily instrumental, while her 2018 follow-up, Skin Purifying Treatment, added jazz influences and original lyrics. Two more EPs, 2019’s We Never Got Strawberry Cake (which Grey later called one of the works she was most proud of) and 2020’s Character Development, soon followed. During this period, she also released music as part of the electronic outfit Six Impala and the bedroom pop collective Papaya & Friends.

Grey’s work as Underscores reached a wider audience in 2021 with the release of Fishmonger and its companion EP Boneyard aka Fearmonger. Grey began turning more toward hyperpop and pop-punk with these efforts, adding glitchy electronic beats to crunchy guitars and pitch-shifted vocals. The releases earned praise from artists like blink-182 drummer Travis Barker and Danish producer Lido, and Grey scored a gig opening for alt-pop duo 100 gecs. In 2023, Mom + Pop issued Underscores’ Wallsocket, an ambitious concept album about coming of age in a fictional Michigan town. Grey wrote all the songs acoustically before fusing the LP’s diverse sonic threads, taking inspiration from rock, hyperpop, alt-country, and folk songs. She promoted the album with a sprawling ARG (alternate reality game), encouraging fans to seek out information about the album, its themes and storylines, through specially created websites. Released a year later, the Covergirl: Originally by Sonny EP was a tribute to Skrillex, and “Harvest Sky” was a collaboration with French singer/producer Oklou. Underscores teamed up with umru for the 2025 single “Poplife” before releasing songs like “Music” from her next album. With Grey saying that it was for spaces like malls, airports, and supermarkets that she frequented on tour, the hyperpop-infused U arrived on Mom + Pop in March of 2026. – Biography by Mike Duquette

sat13jun6:00 pmsat10:00 pmAlly Nicholas6:00 pm - 10:00 pm Elsewhere Space, 599 Johnson Avenue

sat13jun7:00 pmsat11:00 pmCharlotte Rose Benjamin7:00 pm - 11:00 pm Union Pool, 484 Union Avenue

Time

(Saturday) 7:00 pm - 11:00 pm

Location

Union Pool

484 Union Avenue

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The very first sound you hear is a doubled, drifting vocal calling out the name of early aughts teen movie star, Hayden Panettiere. A garage trio slams in, and from the first minute of Charlotte Rose Benjamin’s debut album, Dreamtina onward, we are on a journey somewhere between desperate and audacious, yet sunny as a Beach Boys record.

“Dreamtina is the beautiful girl with the cool outfit you see on the subway or at a coffee shop,” Benjamin explains, “she’s my cross to bear and my altar ego.” As a Gen Z/Millennial cusp it makes perfect sense that Hayden Panettiere would be an early informant of Benjamin’s concept for Dreamtina, but the humor and specificity in naming the opening track after the head cheerleader from the Bring it On franchise is where Benjamin really shines as a writer. Her lyrics can be startlingly honest at times and shamelessly pleading; take the 90’s alt rock inspired track “Cumbie’s Parking Lot,” in which she begs for someone to “take pictures of [her] and post them on the internet.” Or in “satisfied,” a track with a Moldy Peaches campfire style earnestness hijacked by a Weezer-like gargantuan hook, in which she recounts a story about a recent ex boyfriend accidentally showing up to one of her shows. Dreamtina’s funny moments bring depth and self awareness to its more serious notes. In “Deep Cut,” an intimate dance of waltzing guitars and delicate melancholy, Benjamin confesses that she’s “built like a strainer, a useless container” and it becomes clear that Benjamin writes because she has to. You get the feeling that funny or sad, we are listening to her catharsis.

The execution of the record was just as natural. Benjamin and the band produced the album themselves in drummer/engineer Matti Dunietz’s basement studio in Ridgewood, Brooklyn and at her musician father’s ramshackle home studio on Martha’s Vineyard where she grew up. “My life changed and my music got so much better when I met Matti Dunietz and Nardo Ochoa. We made the album completely on our own with my lifelong best friend/bassist, Zoe Zeeman. I felt so free.” She continues, “we’d reference different sounds, but we had very few conversations about genre or branding. It never felt like we were trying to mimic something, we were just building off of the songs I wrote in my room. I’ve had a lot of blind date style sessions with producers in the past and there’s always a conversation about what’s working in the industry and how we should try to make something that sounds like something that’s succeeding. I absolutely hate that approach.”

Benjamin’s debut EP, Party City (2020), was released with Moshi Moshi/Neon Gold records. It received airplay on BBC 6 Music and BBC Radio 1 with Jack Saunders making the title track his ‘Next Wave’. Party City also received praise from Clash Magazine and Blackbook Magazine, and was featured on Spotify’s Global New Music Friday playlist. The same year, Benjamin performed background vocals on Gus Dapperton’s 2020 album, ORCA, and starred in videos for his breakout hits “I’m Just Snacking” and “Post Humorous.” In 2019, she played as tour support for Houndmouth and was later set to share the stage with Nasty Cherry and Role Model at SXSW before the festival was cancelled due to the Covid19 pandemic. Benjamin also counts The Flaming Lips’ Wayne Coyne as a fan and frequent social media supporter. Her latest releases, “deep cut” and “Cumbie’s Parking Lot” received praise from YouTube critic David Dean Burkheart and were both featured on Spotify’s Fresh Finds: Indie playlist for more than 10 weeks.

For her debut album, Benjamin chose to go without a label, which, she says, “is an amazing amount of work and money, but I made absolutely no compromises and I’m prouder of it than anything I’ve ever done before.” Benjamin was able to pay for photoshoots, music videos, vinyl and merch by working as a model in New York. Her thrifty sense of style caught the attention of an editor of Marie Claire Magazine in 2019 where she was featured in the What I Love about Me section of their February issue. In early 2021, she was cast in a campaign for Ralph Lauren, which funded most of the album. “The biggest nod of approval,” she boasts, “was when Chanel sent us clothes for the press photo/cover shoot.”

Benjamin states that In this record she’s exploring her own identity through romantic relationships. “The ‘Dreamtina’ concept is kind of a study on wanting to be desirable. I’ve never felt like the cool girl at the party. As far as I’m

concerned, romantic love is the most important and exciting thing in the entire world. I still feel like a teenager in that way.”

At 10 songs, Dreamtina is succinct and thoughtfully curated. “Cumbie’s Parking Lot” and “Heatstroke Summer” were released as an a-side/b-side single last Summer. Clout Magazine praised “Cumbie’s Parking Lot,” calling out Benjamin’s “acerbic wit and penchant for crafting fun and memorable indie rock tunes.” The Deli named “Heatstroke Summer” Song of the Summer. “deep cut” made its debut as a single last March and was described as “razor sharp,” “beautifully produced,” and “painfully intimate” by High Clouds Magazine.

“Satisfied” is a standout on the record. “I was really into this boy I had just started seeing, I was sure he was about to be my boyfriend,” explains Benjamin, “I invited him to this house party in Bushwick that my band was playing at and two days before the show he broke up with me. And then he showed up to my show accidentally! He genuinely didn’t see the poster and thought he was just going to a house party. It was so funny and sad and stupid I had to make it a song.” The video for the song is equally as literal. Benjamin teamed up with her brother, Sam Benjamin to re-enact the story with papier-mâché dolls the two made themselves. “As if writing a song that is basically just a play-by-play of what happened wasn’t psycho enough,” Benjamin laughs, “to really drive home the point, I also made it into a puppet show.”

Another single, “Slot Machine,” is a stream of consciousness light-hearted confessional Sunday-morning-strolling-through-a-New-England-Beach-town kind of song about unrequited love, visiting your hometown, and what it feels like to have been born in 1996. Benjamin sings, “I think I learned the truth at 17/ How to breathe underwater like a submarine/And if I let you play me like a slot machine maybe I’ll win sometimes.” It’s maybe the only song that takes you out of Dreamtina’s home New York City setting. Benjamin grew up as a year-rounder on Martha’s Vineyard. “I think there’s a waspy country club vibe that comes to mind when people hear that I’m from Martha’s Vineyard,” says Benjamin, “that definitely exists, but most people who are privileged enough don’t choose to live there in the off season. Our lifestyle was much more bohemian. My parents are both artists and found their own ways to cater to people who are there for three months out of the year. I always identified more with the towny girls from the movie Mystic Pizza. I had a wonderful childhood, but living on an island can be incredibly isolating.” Though Benjamin admits she harbors some resentment for how sheltered she felt, she takes her hometown with her in her music, “My music has changed so much since I left, but I think I’ll always have a little bit of a twang in my writing because of where I grew up.” Benjamin teamed up again with best friend and frequent collaborator, Hlif Olafsdottir to shoot the music video which takes place on the Williamsburg Ferry, a Chinatown Arcade, a Dime’s Square dive bar and their favorite downtown karaoke spot.

Dreamtina is bookended with “Louis” and “Louis Pt. 2” which features fellow bandmate, Nardo Ochoa’s project, Panther Hollow. “Louis” isn’t based on anyone specific. Louis is a name to put a face to those recurring feelings of inadequacy. “I’d slit my own throat just to make an impression,” Benjamin half yodels in the second verse. But there’s also a bit of skepticism — “Last time I saw Louis he broke his own heart, cut it up on the table, was calling it art.” “Louis Pt. 2” feels more forgiving and sentimental. After a climactic bridge harmonizing with Ochoa who also co-wrote the song, Benjamin’s voice gets quiet, admitting “I only wanna die for your attention Louis.” The video for “Louis” features Benjamin singing along to the song from the backseat of a red mustang convertible driving around New York City. It was shot by Giullian Yao Gioiello. The video for Pt. 2 is a montage of home videos from Ochoa and Benjamin’s childhood. “The Louis Pt. 2 video makes me surprisingly emotional,” Charlotte admits, “Nardo pointed out that it highlights traditions across time and space. There’s footage of each of us blowing out birthday candles, singing songs, and a lot from my parents’ wedding. I love that at the end of the album you’re left with this final more solipsistic, introspective thing that reflects identity without leaning on romantic relationships and focuses more on friends and family.”

Benjamin simply hopes people hear themselves in this record. “I want these songs to be a weighted blanket to crawl into bed with or a friend in your ear while you run errands or drive to work.”

sat13jun7:30 pmsat11:00 pmHorse The Band7:30 pm - 11:00 pm Asbury Lanes, 209 4th Avenue

Time

(Saturday) 7:30 pm - 11:00 pm

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Asbury Lanes

209 4th Avenue

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California’s HORSE the Band debuted in 2003 with R. Borlax, a noisy but undoubtedly leading light in the burgeoning post-hardcore subgenre of Nintendocore (wherein musicians use specific instruments to mimic the sounds of Nintendo games). They returned in 2005 with Mechanical Hand, which was produced by Matt Bayles (Isis, Norma Jean) and released through the Koch imprint Combat. Nathan Winneke (vocals), Erik Engstrom (keys), Eli Green (drums), David Isen (guitar), and Dashiell Arkenstone (bass) proved much tighter a unit, incorporating skewed melodies and real dynamics into their freaky sonic stew. However, besides the nods to recognizable structure, HORSE the Band were still mostly enamored of screamo breaks, unpredictable rhythms, Locust-like nonsense philosophy on the microphone, and blasts of squelch. They were also humorously unpredictable; when asked to cite a reason for dropping out of a summer tour in 2006, the band explained that they were in Chicago eating pizza, and the food was simply too good to leave. Later that year, HORSE the Band continued the joke by releasing the Pizza EP (comprised of five odes to the Italian food). 2007 saw the release of the band’s third full-length, A Natural Death, which also featured replacement drummer Chris Prophet. Desperate Living, the band’s fourth full-length studio album, arrived in 2009. – Biography by Johnny Loftus

sat13jun8:00 pmsat11:00 pmINJIThis Tour Is Superlame8:00 pm - 11:00 pm Union Transfer, 1026 Spring Garden Street

Time

(Saturday) 8:00 pm - 11:00 pm

Location

Union Transfer

1026 Spring Garden Street

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Turkish-born, NYC-based artist INJI is ﬂipping the script on dance-pop — fusing whip-smart lyrics, ﬂoor-shaking beats, and razor-sharp wit into club anthems that hit just as hard intellectually as they do on the danceﬂoor.. A classically trained pianist turned Wharton grad, she exploded onto the scene with her 2022 viral hit “GASLIGHT,” a cheeky, house-infused track that cemented her as a sharp-tongued, satirical voice in dance music. INJI’s sound thrives in glittery chaos — a heady blend of biting humor, cathartic release, and rave-ready euphoria. Tracks like “BELLYDANCING,” “MADELINE,” and her latest tech-house heater “BOYS AIN’T SHIT” show her knack for turning everyday messiness into anthems of empowerment and release. INJI’s debut mixtape SUPERLAME released October 24, 2025. Think: a sonic cocktail of dizzying highs and delicious chaos, shaken hard and served with side-eye. Breakups, bad dates, existential spirals — all spun into dance-ﬂoor delirium. Fresh oﬀ of her festival slots that lit up Lollapalooza Paris, Osheaga, and Outside Lands, INJI is commanding global stages with her signature rave-as-confessional style. As Rolling Stone UK put it: “Viral club artist Inji turned her tent into a late-afternoon rave, pouring shots into the mouths of those on the front row while performing her satire-fuelled party bangers; as a precursor to TikTok hit ‘GASLIGHT’, she had crowd members calling out their awful exes.”

sat13jun8:00 pmsat11:00 pmunderscoresGalleria Tour8:00 pm - 11:00 pm Terminal 5, 610 W 56th Street

Time

(Saturday) 8:00 pm - 11:00 pm

Location

Terminal 5

610 W 56th Street

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The music of April Harper Grey, known professionally as Underscores, is difficult to characterize. Initially posting dubstep-influenced music online as a teenager, she later expanded Underscores into a hyperpop-influenced project, chopping up genres on her debut album Fishmonger (2021), which featured tracks like “Your Favorite Sidekick” and “Spoiled Little Brat.” Her 2023 album Wallsocket, featuring streaming favorites like “Locals (Girls Like Us)” and “Cops and Robbers,” was an intricate concept piece about small-town America, marketed with a highly detailed Internet rollout. Featuring singles including one called “Music,” she claimed to aspire to make pop piped into public spaces like supermarkets, malls, and hotels for inspiration for 2026’s nevertheless hyper-saturated U.

The San Francisco-raised Grey had an upbringing punctuated by widespread creativity. She enjoyed creative writing and video editing, running a channel devoted to the popular video game Minecraft. Her formative influences included Madonna, Jack White, and Beck, and she was a self-described band geek in high school. As a teen, she was exposed to Skrillex’s Scary Monsters & Nice Sprites, which gave her a gateway to making EDM-inspired music of her own. Her first EP, 2016’s Air Freshener, was primarily instrumental, while her 2018 follow-up, Skin Purifying Treatment, added jazz influences and original lyrics. Two more EPs, 2019’s We Never Got Strawberry Cake (which Grey later called one of the works she was most proud of) and 2020’s Character Development, soon followed. During this period, she also released music as part of the electronic outfit Six Impala and the bedroom pop collective Papaya & Friends.

Grey’s work as Underscores reached a wider audience in 2021 with the release of Fishmonger and its companion EP Boneyard aka Fearmonger. Grey began turning more toward hyperpop and pop-punk with these efforts, adding glitchy electronic beats to crunchy guitars and pitch-shifted vocals. The releases earned praise from artists like blink-182 drummer Travis Barker and Danish producer Lido, and Grey scored a gig opening for alt-pop duo 100 gecs. In 2023, Mom + Pop issued Underscores’ Wallsocket, an ambitious concept album about coming of age in a fictional Michigan town. Grey wrote all the songs acoustically before fusing the LP’s diverse sonic threads, taking inspiration from rock, hyperpop, alt-country, and folk songs. She promoted the album with a sprawling ARG (alternate reality game), encouraging fans to seek out information about the album, its themes and storylines, through specially created websites. Released a year later, the Covergirl: Originally by Sonny EP was a tribute to Skrillex, and “Harvest Sky” was a collaboration with French singer/producer Oklou. Underscores teamed up with umru for the 2025 single “Poplife” before releasing songs like “Music” from her next album. With Grey saying that it was for spaces like malls, airports, and supermarkets that she frequented on tour, the hyperpop-infused U arrived on Mom + Pop in March of 2026. – Biography by Mike Duquette

sat13jun8:00 pmsat11:00 pmKiesza8:00 pm - 11:00 pm Music Hall of Williamsburg, 66 North 6th Street

Time

(Saturday) 8:00 pm - 11:00 pm

Location

Music Hall of Williamsburg

66 North 6th Street

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Reinventing the sounds of the ’80s and ’90s for the 21st century, Juno Award-winning singer and songwriter Kiesza touches upon house music, EDM, R&B, and synth pop. Her 2014 hit “Hideaway”—which also appeared on that year’s debut album, Sound of a Woman—combined the soulful vocals and propulsive beat of vintage house with the streamlined production of her own era. She soon proved herself a gifted collaborator, featuring on tracks by Skrillex, Diplo and Duran Duran and writing songs with Gorgon City and others. After recovering from a serious car crash, Kiesza returned as a more determined and independent artist with 2020’s joyous, stylish album Crave. On the Dancing and Crying EPs from 2024 and 2025, she united her folky origins with her commitment to emotive, sensuous dance music.

Born in Calgary, Kiesza participated in theater and tap, and trained as a ballerina until she injured her knee when she was 15. The following year, she participated in the Sail and Life Training Society and joined the reserves of the Royal Canadian Navy at 17, where she became a code breaker. During this time, she taught herself to play guitar at crew singalongs. She began writing her own songs when she was 18, the same year she competed in the Miss Universe Canada pageant. Leaving the Navy, Kiesza studied keyboard, voice, and guitar at Nelson, British Columbia’s Selkirk College, then attended Berklee College of Music in Boston on a scholarship. After moving to New York City in 2010, she added more uptempo dance music elements to her sound, and in 2013, she appeared on “Triggerfinger,” a single by the Norwegian synth pop band Donkeyboy. She also collaborated with producer Rami Samir Afuni, with whom she recorded her 2014 EP Hideaway. “Hideaway” itself topped the U.K. and Scottish singles charts upon its April release and received significant airplay in the U.S. when it was released that July. Kiesza followed this success with a slow, moody cover of Haddaway’s 1993 hit “What Is Love?” Her second official single, “Giant in My Heart,” reached number four on the U.K. Singles Chart upon its June 2014 release.

In October 2014, Kiesza’s full-length debut, Sound of a Woman, arrived. Mixing her house-influenced pop with hip-hop-tinged tracks and featuring cameos by Mick Jenkins and Joey Bada$$, the album hit number 40 on the U.K. Albums Chart, number 42 on the Billboard 200, and topped the Billboard Dance/Electronic Albums chart. Around the time of the album’s release, Kiesza appeared on “Take Ü There,” the lead single from Skrillex and Diplo’s project Jack Ü, while Gorgon City’s debut album Sirens featured a song she co-wrote, “Go All Night.” She ended 2014 with nominations for MTV Europe Music Awards and BBC Music Awards; early in 2015, she won the Juno Award for Breakthrough Artist of the Year, while “Hideaway” won the Single of the Year award and Sound of a Woman took the Juno for Dance Recording of the Year.

Paper Gods
In the wake of “Hideaway” and Sound of a Woman’s success, Kiesza toured with Demi Lovato, appeared on Duran Duran’s 2015 album Paper Gods, and wrote songs for Rihanna and Swedish pop singer Loreen. She returned in January 2017 with her own single, “Dearly Beloved,” which was dedicated to her college friend Alicia Lemke, frontwoman of the band Alice and the Glass Lake, who died of leukemia in 2015. To record the song, Kiesza worked with producer Stuart Price and played one of Lemke’s guitars. That March, she appeared on Pitbull’s album Climate Change and on Cerrone’s album Red Lips. “Don’t Want You Back,” a collaboration between Kiesza and Dutch producer Bakermat, was released that June.

Not long after the single’s release, Kiesza sustained a traumatic brain injury when the car she was riding in was hit by a taxi. She spent months recovering and gradually returned to songwriting with the help of producer Chris Malinchak. The duo collaborated on the 2018 singles “Mother,” “Weird Kid,” and “3 Hos,” but Kiesza’s output that year also included “Phantom of the Dance Floor,” which featured opera singer Philippe Sly. In 2019, she issued the Rat City collaboration “Naked (With My Headphones On),” and “Sweet Love,” the first single released by her own Zebra Spirit Tribe label. A few more tracks preceded the August 2020 appearance of her uplifting second album Crave, a set of ’80s-inspired songs that borrowed from synth pop, rave, and freestyle. Two years later, she appeared on “Money in the Bag” from Lights’ album Pep. In May 2024, Kiesza released the Dancing and Crying, Vol. 1 EP, a set of songs bridging Kiesza’s folk roots and passion for dance music that featured a collaboration with Sugar Jesus on the title track. Just over a year later, Dancing and Crying, Vol. 2 appeared. A deeper dive into late-night house, the EP included the singles “Ruin My Life” and “So Erotic,” which featured Peaches. – Biography by Heather Phares

sun14jun6:30 pmsun9:00 pmLeanna FirestoneVictory Lap Tour6:30 pm - 9:00 pm Baronet Rooftop at The Asbury Hotel, 210 5th Avenue

Time

(Sunday) 6:30 pm - 9:00 pm

Location

Baronet Rooftop at The Asbury Hotel

210 5th Avenue

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Leanna Firestone is a indie pop singer-songwriter, lifelong Tennessee native and Gemini born on June 15, 2001. As if harnessing an inextinguishable light, Leanna Firestone finds comfort in even the most uncomfortable memories, awkward moments, and darkest times. This uncanny ability to not only look on the proverbial bright side, but amplify it through her artistry, has quietly affirmed the Nashville, Tennessee-based singer, songwriter, and multi-instrumentalist as a phenomenon. She brings the kind of unfiltered honesty you only see amongst best friends to intimate, infectious indie pop accented by organic piano and guitar instrumentation and rich pop production.

Her first new song since 2024 is “Victory Lap,” the electrifying, piano-forward opening track from her forthcoming debut full-length, The Answer. True to its name, “Victory Lap” bursts out of the gate with sharp wit and unapologetic confidence. Over punchy, high-energy production, Leanna delivers the kind of cutting, emotionally precise lyricism that has become her signature. The track captures that deeply satisfying moment when the person who once held the power is suddenly the one left behind. It’s playful, biting, and cathartic all at once. You will be able to scream the lyrics back at her in 19 cities on her North American “Victory Lap Tour.”

“I wrote ‘Victory Lap’ about winning the breakup,” says Leanna. “Seeing your ex for the first time after a heartbreak can be devastating or incredibly validating. The song lives in that fantasy where you imagine they’re just as miserable (if not more) than you. Sometimes that’s the only thing that brings you peace.”

As the opening track on The Answer, “Victory Lap” sets the emotional tone for the album, Written through the lens of her best friends’ relationships and breakups, the project marks a subtle but powerful shift in perspective. Rather than centering on her own experiences, Leanna zooms out, examining love from the outside. “The album was inspired by the stories my friends would tell me over drinks,” says Leanna. “There’s something theatrical about being on the sidelines of someone else’s relationship. The Answer is about girlhood, growing up, and getting over your ex.”

Amassing hundreds of million streams, attracting a devout fanbase, Leanna continues to hold nothing back. Her recent work marks a defining era shaped by emotional precision, vulnerability, and deep connection, both on record and on stage. “There’s a level of honesty in my music that most people would typically shy away from,” she states. “I want the storytelling to be soul-baring. This is like memory excavation for me. I don’t know how to write a song that isn’t honest. My music is who I am. I just have to tell people what I’m thinking.”

She honed her distinct creative voice through middle and high school by writing fanfiction, all the while teaching herself piano and guitar amidst performances in various school and community theaters. She

later attended Middle Tennessee State University, majoring in Commercial Songwriting. At the onset of the global pandemic, she built an online following by showcasing her original music on TikTok. In 2021, Leanna caught fire with “Strawberry Mentos.” A frenzy on TikTok translated to over 12.5 million Spotify streams on her debut track of her groundbreaking Y/N EP . These releases set the stage for a string of successful EPs including Forward / Slash (2022), Displays of Affection (2023), and Good Grief (2023).

Sweety High raved, “Armed with just an acoustic guitar (or a keyboard) and her incredible voice, she never fails to enamor us with her relatable and sometimes brutally honest songwriting.”

In between touring with the likes of Maddie Zahm and Natasha Bedingfield, she delivered her own TED Talk on love and relationships.

In 2024, Leanna leveled up once again as she kicked offa new creative era with the intimately intense single “Black Box Warning.”In under three minutes, the songstress stares down her own insecurities, processes family struggles with drug addiction, and takes stock of her current relationship. Softly strummed acoustic guitar underlines candid verses as she confesses pure yearning on an arresting chorus, “I think I’ve tricked everybody that loves me…I wish I could come with a black box warning.”

That same emotional clarity carries into her most recent work and live performances. In fall 2025, Leanna joined Natasha Bedingfield on tour and released An Evening with Leanna Firestone (Acoustic at The Deli), a live EP capturing the intimacy and vulnerability that define her songwriting. With new material already taking shape, she is currently laying the groundwork for her next full creative chapter, with a new project expected in 2026 alongside expanded touring plans.

In the end, Leanna’s unabashed and unapologetic honesty might just comfort you when you need it most.

“In music and life, my goal is to simply inspire compassion,” she leaves off. “I write everything this honestly in order to demonstrate we’re all fucked up. Sometimes, it’s easy to forget. I think the purpose of my musical career is for me to remember that and remind everyone else.”

sun14jun7:00 pmsun11:00 pmThe fin.7:00 pm - 11:00 pm Elsewhere Space, 599 Johnson Avenue

Time

(Sunday) 7:00 pm - 11:00 pm

Location

Elsewhere Space

599 Johnson Avenue

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The band was formed in 2012 by Yuto Uchino (Vo./Gt./Synth.) and Kaoru Nakazawa (Ba./Synth.). Yuto Uchino creates the band’s music, handling songwriting, recording, mixing, and production. The silky and smooth voice with a distinctive floating sensation and mellow sound blend together to create a fantastic and dreamy music. The music style is based on indie and psychedelic pop, fused with soul, funk, and jazz, creating a soft and mellow sound that brings a sense of peace. Yuto’s lyrics give power while accepting fear of growth and change, adding to the unique aesthetic of The fin.’s musical world. They’ve taken the stage at numerous venues in the UK, US, Europe, and Asia, showcasing their talent at festivals like FUJI ROCK, Summer Sonic, SXSW, and The Great Escape. In particular, during their 2023 China tour, they staged shows in over 25 cities, drawing a cumulative audience exceeding 20,000 at their solo performances. The fin. has released the 1st album “Days With Uncertainty” (2014), which was recorded, mixed, and produced by Yuto Uchino, the 2nd album “There” (2018), which welcomed Bradley Spence (Jamiroquai, Radiohead, alt-J) as a co-producer for the first time, the EP “Wash Away” (2019), which welcomed Bradley Spence and Jake Miller (Bjork, Arca) as co-producers, and the 3rd album “Outer Ego” (2021), which was entirely recorded, mixed, and produced by Yuto Uchino.

sun14jun8:00 pmsun11:00 pmVundabarGawk Tour8:00 pm - 11:00 pm Union Transfer, 1026 Spring Garden Street

mon15jun8:00 pmmon11:00 pmIke DweckSafe With Me Tour8:00 pm - 11:00 pm MilkBoy, 1100 Chestnut Street

Time

(Monday) 8:00 pm - 11:00 pm

Location

MilkBoy

1100 Chestnut Street

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Brooklyn-born and raised, rising independent singer-songwriter Ike Dweck is building a reputation for deeply personal lyrics and unflinching introspection. Since debuting in 2023, he’s continued to shape a sound that blends raw vulnerable folk with a modern, aggressive rock, inviting listeners into the heart of his experiences.

From writing solo to collaborating with fellow artists and songwriters Chance Emerson and Vincent Lima, as well as producer Jack Riley (previous work with Cameron Whitcomb and Grace VanderWaal), Ike has cultivated a creative circle that advances his word-choice-driven songwriting while keeping authenticity at its core. Much of his work revolves around the realities of battling mental health and navigating relationships. In doing so, Ike has created a community of fans that resonate similarly, finding connection and validation through his vulnerability.

Remaining proudly independent, Ike has been releasing new singles song by song for over two years, now surpassing over 1 million listeners on Spotify in the first half of 2025 across 15+ original songs in his release discography. There’s an immense growing anticipation for what’s ahead for Dweck, with plans to step into touring as a headliner for the first time next year, build his own Brooklyn-proud merchandising brand, and activating his fanbase of more than 3.5 million followers with a bootstraps methodology. Ike Dweck stands poised to become one of the most compelling new voices in modern indie-folk.

tue16jun5:00 pmtue10:00 pmHot Mulligan5:00 pm - 10:00 pm The Stone Pony, 913 Ocean Ave N

Time

(Tuesday) 5:00 pm - 10:00 pm

Location

The Stone Pony

913 Ocean Ave N

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American punk outfit Hot Mulligan serve buoyant pop-punk with an emo earnestness inspired by bands like Taking Back Sunday, the Wonder Years, Motion City Soundtrack, and Tigers Jaw. Following a pair of EPs on Michigan indie Save Your Generation Records, the group signed with the No Sleep label and made their full-length debut with 2018’s Pilot. A follow-up, You’ll Be Fine, appeared two years later, with the Wax Bodega-issued Why Would I Watch arriving in 2023. Additional singles like “Stickers of Brian” followed, before they delivered their fourth album, 2025’s The Sound a Body Makes When It’s Still.

Hailing from Lansing, Michigan, the band was formed in 2014 by vocalists Tades Sanville and Chris Freeman, who also plays guitar and drums. Early incarnations of Hot Mulligan featured additional bandmembers like guitarist/bassist Brett Annelin — who played on their debut, 2015’s Fenton EP — and Dolan Bowie, Logan Hayward, and Fin Svoboda, who joined the fray for sophomore EP Honest & Cunning. The group’s lineup shifted over the years, with Sanville and Freeman remaining the core of Hot Mulligan. In 2016, they issued a split EP with Everyone Leaves, followed by 2017’s breakthrough EP Opportunities (which was later reissued with a bonus acoustic track, “Deluxe Capacitor”).

After signing with No Sleep Records, the band — Freeman, Sanville, and fresh recruits Brandon Blakeley and Garrett Willig — entered the studio to record their first full-length. Pilot arrived in early 2018 and featured a newly recorded “Deluxe Capacitor” and “All You Wanted by Michelle Branch.” Upon release, the LP reached number 13 on the Billboard Heatseekers chart. Hot Mulligan returned in early 2020 with their sophomore set, You’ll Be Fine.

The group continued to carry the post-emo torch on 2023’s Why Would I Watch, their first album for Wax Bodega. It hit number 38 on Billboard’s Top Independent Albums chart. After an EP, Hot Mulligan Lofi, the band delivered a pair of non-album tracks in 2024 with “Sticker of Brian” and “End Eric Sparrow and the Life of Him.” In August 2025, they returned with their fourth full-length, The Sound a Body Makes When It’s Still. Included on the album was the single “And A Big Load,” as well as “Island in the Sun” with Free Throw’s Cory Castro. – Biography by Neil Z. Yeung

tue16jun7:00 pmtue10:30 pmNeoniHow To Kill A Fairytale Tour7:00 pm - 10:30 pm Zone One at Elsewhere, 599 Johnson Avenue

tue16jun8:00 pmtue11:00 pmWild NothingGemini Anniversary Tour8:00 pm - 11:00 pm (le) poisson rouge, 158 Bleecker Street

Time

(Tuesday) 8:00 pm - 11:00 pm

Location

(le) poisson rouge

158 Bleecker Street

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Wild Nothing is the name Jack Tatum, formerly of Jack and the Whale and Facepaint, uses for his musical endeavors, which began as shimmery, synth-washed indie pop in the summer of 2009. Starting with an early batch of demos that included a glimmering cover of Kate Bush’s “Cloudbusting,” Tatum embarked on a career devoted to pairing his tender melodies with soft, echoing musical backing and his whispery, intimate vocals. After a couple albums and EPs spent honing this template to near perfection — especially on 2012’s Nocturne — Tatum branched out into a more mature and well-produced version of the sound on 2016’s Life of Pause and slick ’80s territory on 2018’s Indigo. He returned to a self-produced, if no less sophisticated sounding approach for 2023’s Hold.

Captured Tracks picked up Wild Nothing soon after the project’s first demos came out in 2009, and it wasn’t long before Tatum recruited bassist Jeff Haley, guitarist Nathan Goodman, and drummer Max Brooks to round out the group’s live sound. Wild Nothing’s first single, Summer Holiday, was released on Captured Tracks before 2009 came to a close. The band’s debut full-length, Gemini, was released in the spring of 2010 and garnered Wild Nothing all kinds of critical acclaim. After releasing a follow-up EP, Golden Haze, near the end of 2010, Captured Tracks reissued Gemini in February 2011 with the addition of Tatum’s cover of Kate Bush’s “Cloudbusting.”

For his next record, Tatum worked with producer Nicolas Vernhes at his Rare Book Room Studios. The result was 2012’s Nocturne album. Another stopgap EP arrived in 2013 in the form of the stylistically scattered Empty Estate. After a move to Los Angeles and some time spent rethinking his musical approach, Tatum and producer Thom Monahan began working on 2016’s Life of Pause album. Recorded in Sweden (with contributions from Peter Bjorn and John drummer John Ericsson and marimba player TK of the Swedish Radio Symphony Orchestra) and Los Angeles (with Medicine guitarist Brad Laner), Life of Pause’s intricate arrangements and slick production marked a step forward artistically for Wild Nothing.

Always reexamining his process, Tatum decided to switch things up on 2018’s Indigo. After carefully constructing demos himself, he spent four days at L.A.’s Sunset Sound studio with drummer Cam Allen and guitarist Benji Lysaght doing live versions of the songs. Next, he and producer Jorge Elbrecht spent time adding new parts and layering in sounds from the original demos. The result was the most carefully arranged and ’80s-influenced Wild Nothing album yet, while also being one of their most intimate. In January 2020, the Laughing Gas EP collected five songs left over from the Indigo sessions. In October 2023, Tatum returned with Hold, his first self-produced Wild Nothing album since the group’s 2010 debut. – Biography by Fred Thomas

tue16jun8:00 pmtue11:00 pmWidowspeakRoses Tour8:00 pm - 11:00 pm Music Hall of Williamsburg, 66 North 6th Street

Time

(Tuesday) 8:00 pm - 11:00 pm

Location

Music Hall of Williamsburg

66 North 6th Street

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As Widowspeak, Molly Hamilton and Robert Earl Thomas combine hazy dream pop, country twang, and indie pop jangle into understated music filled with moods that linger. The group’s sound was at its foggiest on 2011’s Widowspeak, where Thomas cranked out walls of distortion that cocooned Hamilton’s moody murmurs. Over time, however, their music grew more refined and eclectic on albums such as 2015’s All Yours, which added sparkle to their songwriting and sound, and on 2017’s heavier and more aggressive Expect the Best. With 2020’s mellow yet politically minded Plum, the dreamy reflections on creativity and change on 2022’s Jacket, and the classic sounds and songcraft of 2026’s Roses, Widowspeak found the sweet spot between timeless and relevance.

The band’s roots go back to Hamilton’s time in the Tacoma, Washington music scene, where she and drummer Michael Stasiak contributed songs to a compilation before heading to New York. The pair brought Thomas into the fold in 2010, and later that year the trio used a laptop and GarageBand to craft a six-song cassette dubbed The October Tape. Captured Tracks signed Widowspeak and issued the band’s debut single, Harsh Realm, in March 2011. The Gun Shy single, which featured a cover of Chris Isaak’s “Wicked Game,” followed in June. To make their self-titled debut album, Widowspeak recorded with Woods’ Jarvis Taveniere. Released in August 2011, Widowspeak won acclaim for its dark, hazy, drawling songs.

After Widowspeak finished touring in support of the album, Stasiak departed the band. Now a duo, Hamilton and Thomas began work on their second album in early 2012. Recorded with Kevin McMahon at an old barn in the Hudson River Valley, January 2013’s Almanac, highlighted the folky and Fleetwood Mac-like elements of their sound. Late that year, Widowspeak issued the Swamps EP, which they described as a bridge between their previous work and their upcoming material. Shortly after those releases, Hamilton and Thomas relocated to Saugerties, New York and took a break from the grind of recording and touring. As they took jobs and returned to school, they wrote songs at a gradual pace, and reunited with Taveniere to make their third album. Arriving in August 2015, All Yours also featured Woods drummer Aaron Neveu and delved deeper into Almanac’s velvety country and classic rock leanings.

Another Age
Following a stint in Tacoma and a return to Brooklyn, Widowspeak recorded at Marcata Recording, contrasting Hamilton’s contemplative lyrics with a heavier sound thanks to the presence of touring bassist Willy Muse and drummer James Jano in the studio. Released in August 2017, Expect the Best was a darker set of songs influenced in part by the 2016 presidential election. Not long after the album appeared, Widowspeak covered Neil Young’s “Harvest Moon.” Once again, Thomas and Hamilton moved to upstate New York and took some time away from the band. During this time, Thomas issued his debut album, 2018’s Another Age. When it was time to make Widowspeak’s next album, the duo recorded with producer Sam Evian (who also played bass and synth), drummer Andy Weaver, and pianist Michael Hess. Taking inspiration from the principles of wabi-sabi as well as late-stage capitalism, Plum appeared in August 2020. In January 2021, Widowspeak issued the Honeychurch EP, a companion piece to Plum that featured songs written while they were making that album, as well as covers of R.E.M.’s “The One I Love” and Dire Straits’ “Romeo and Juliet.”

Thomas and Hamilton pursued Plum’s themes of creativity and worth further on March 2022’s Jacket, which began as a concept album about a fictional band and evolved into a looser approach. Recorded after the duo returned to New York City at the Diamond Mine, it featured production by Daptone collaborator Homer Steinweiss and contributions from Hess, bassist J.D. Sumner, and founding drummer Stasiak. For their seventh album, Widowspeak decamped to the Greek island of Hydra in early 2025 with touring members Muse, John Andrews, and Noah Bond joining for the sessions. Arriving in June 2026, Roses leaned into the band’s classic rock influences and novelistic lyrics. – Biography by Heather Phares

tue16jun8:00 pmtue11:00 pmMarian Hill8:00 pm - 11:00 pm Public Records, 233 Butler Street

Time

(Tuesday) 8:00 pm - 11:00 pm

Location

Public Records

233 Butler Street

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Marian Hill are a duo from Philadelphia consisting of singer Samantha Gongol and producer Jeremy Lloyd. Their unique sound combines sparse, minimal electronic beats with seductive vocals (which are often chopped up and manipulated) along with sultry saxophone. After releasing their debut single, “Whisky,” in 2013, the pair made their Billboard debut with their first full-length release, 2016’s Act One, which included the Top 30 single “Down.” Second album Unusual followed in 2018, and the duo continued issuing singles like 2021’s seductive “omg” and danceable “it never ends.”

Marian Hill wrote “Whisky” in the spring of 2013 and sent it to dozens of blogs hoping to catch some attention. The song created a buzz, and the following year, the duo released their first EP, Play, as well as a 7″ single, “Lips.” They received mainstream exposure when Romanian pop star Inna credited them as co-writers of her song “Diggy Down,” which incorporated the hook of Marian Hill’s “Got It.” The pair signed to Photo Finish/Republic Records in early 2015 and released Sway, a seven-track EP.

In 2016, the duo issued their full-length debut album, Act One, featuring the number 21 single “Down.” The LP reached number 42 on the Billboard 200. Their remix of Billie Eilish’s single “Bellyache” appeared in 2017. Early 2018 saw the release of the punchy single “Subtle Thing,” followed by an appearance at that year’s Coachella Festival. Marian Hill’s second long-player, Unusual, arrived in May 2018 and returned them to the U.S. albums chart as well as charting in France. August 2019 saw the duo issue the single “Take a Number,” which featured a guest spot from Moroccan-American singer, songwriter, model, and activist Dounia. The song appeared on Marian Hill’s self-released 2020 EP Was It Not. After collaborating with Roman Kouder on “Bonjour,” they released “oOo that’s my type” with Yung Baby Tate in 2021. This was followed by additional singles “omg” and “it never ends.” – Biography by Paul Simpson

tue16jun8:00 pmtue11:00 pmJosiah and the BonnevillesThe Redline North America Tour8:00 pm - 11:00 pm Union Transfer, 1026 Spring Garden Street

Time

(Tuesday) 8:00 pm - 11:00 pm

Location

Union Transfer

1026 Spring Garden Street

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Under the banner of Josiah & the Bonnevilles, singer/songwriter Josiah Lemingmakes yearning folk and Americana, often rooted in travel. Following a colorful solo career that took him from touring cross-country as a teenage dropout to national recognition as an American Idol contestant, Leming turned his attention to roots music and formed the indie folk act Josiah & the Bonnevilles. Early on, the Bonnevilles functioned as a proper band, releasing their debut EP Cold Blood in 2016, followed in 2018 by the full-length On Trial. Over time, the name stood for all of Leming’s solo and band activity and he remained prolific with albums like 2022 and Endurance, as well as a series of cover albums. 2026 singles like “Hell Without the Flames” and “Going Gone” preceded his next full-length.

Following a lengthy solo tour in 2013, the Tennessee native found himself convalescing in Las Vegas, where he got turned on to the music of Texas troubadour Townes Van Zandt. Around that same time, his brother gave him a copy of Leonard Cohen’s New Skin for the Old Ceremony, spurring him to change tack and develop a new songwriting approach more aligned with American folk and roots music. By his mid-twenties Leming had already crisscrossed the country more than most, and this wayfaring life, combined with his Tennessee roots, lent itself easily to this more rustic style. With guitarist Stephen Johnson and bassist/percussionist Josh Nyback, he formed Josiah & the Bonnevilles, quickly landing a residency gig in Los Angeles, where they developed the set of tunes that would make up their debut. After landing a deal with Vagrant Records, the Bonnevilles hit the studio with producer Dave Way (Paul McCartney, Fiona Apple) and completed work on their first EP, Cold Blood, which arrived in the spring of 2016.

Cold Blood kicked off a period of intense work for Leming who continued recording under the Josiah & the Bonnevilles moniker both with and without a backing band. Two singles, “Lie with Me” and “London,” arrived in 2017, both were featured on On Trial, the Bonnevilles’ 2018 full-length debut. By this point, he had switched to the Yucatan label, which released his cover of George Strait’s “Amarillo by Morning.” Two versions of “Oh No!” — one the standard single, one bearing the designation “On the Back Porch” — arrived in 2019; he followed this pattern for “The Best” in 2020. Motel Mayday, the second Bonnevilles album, arrived in May 2021, followed by a succession of singles throughout 2022, nearly all of which appeared on the aptly titled 2022 at the end of the year. Among those singles was a cover of Taylor Swift’s “Anti-Hero,” a recording that anchored Leming’s January 2023 album Country Covers. Later that year, he released the more introspective and acoustic-leaning Endurance, which, despite bearing the Bonnevilles name, was a more stripped-down solo effort. He expanded it into a deluxe version in 2024 and also released Country Covers II, this time offering Americana-style renditions of songs by Billie Eilish, Wilco, and the National. A themed EP, Winter, appeared in time for the 2025 holiday season, after which Leming began building up to his next full-length with singles like “Hell Without the Flames” and “Going Gone.” – Biography by Timothy Monger

wed17jun7:00 pmwed10:00 pmCombo Chimbita7:00 pm - 10:00 pm Elsewhere Space, 599 Johnson Avenue

Time

(Wednesday) 7:00 pm - 10:00 pm

Location

Elsewhere Space

599 Johnson Avenue

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Brooklyn-based quartet Combo Chimbita honed their sound by playing together for years, experimenting with different styles until they landed somewhere between lively guacharaca rhythms and cosmic psychedelia. The group’s intricate hybrid sound was brought to life when they began to focus more on vocal contributions from Carolina Oliveros, which guided the mysterious atmospheres of releases like their 2017 debut full-length, Abya Yala, and 2022’s cathartic and spiritual IRE.

Combo Chimbita were formed in Brooklyn, slowly coming together out of years of four friends playing together and interspersing more experimental threads with their shared Colombian musical roots. The band was made up of guitarist Niño Lento, bassist Prince of Queens, drummer Dilemastronauta, and vocalist/guacharaca player Carolina Oliveros. Their sound truly took shape during ongoing residencies at Barbès, a corner bar in Brooklyn’s Park Slope neighborhood. During these nightly jams, the group began morphing more traditional Colombian sounds with psychedelic jamming and spacy synth sounds not common to the traditional forms.

After releasing a split 7″ with Greenwood Rhythm Coalition in 2014 and the four-song El Corredor del Jaguar EP in 2016, Combo Chimbita issued their raw and enigmatic debut full-length, Abya Yala. The 2017 album was recorded during an intense three-day session that found the band going into long trance-like jam sessions. The group’s sophomore long-player, Ahomale, was released by Anti- Records in 2019. The album looked to Colombian folklore and mythology to inform its otherworldly and often foreboding songs, which included the single “Revelación (Candela).” The band’s next album, IRE, released in January 2022, focused on themes of spirituality, catharsis, and political upheaval. Combo Chimbita continued to evolve both musically and emotionally on IRE, with all songs sung completely in Spanish and addressing issues such as racist power structures and totalitarianism. – Biography by Fred Thomas

wed17jun8:00 pmwed10:00 pmKELSDirty Blues Princess Tour8:00 pm - 10:00 pm Kung Fu Necktie, 1248 N Front Street Event Organized By: Dave Kiss Presents

Time

(Wednesday) 8:00 pm - 10:00 pm

Location

Kung Fu Necktie

1248 N Front Street

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Originally from Pittsburgh, KELS has been based in Atlanta for three years. She gained significant buzz when she went on a 52 show US Tour in 2023 independently with no management and no label. Her following grew by 5 times while she was on the road for 8 months on her own. Her fans funded the entire tour. KELS recently headlined the Atlanta Jazz Festival in May 2024, opening for Andre 3000. In 2024 she headed back on another independent tour for a 25 show run in the Northeast that started in August 2024. With co-signs from both Big Boi and Timbaland, she is currently working on her debut EP and album in 2025.

KELS is the perfect mix of jazz, pop and soul. Her brash vocals and sultry style reflect the old school sound of some of her biggest influences- Ms. Lauryn Hill, Sarah Vaughan, Erykah Badu, Adele, and Amy Winehouse with a profound lyricism to match. She has been writing her own music since age 13, and started training as a Jazz vocalist at 15. Early on, she booked Jazz gigs to fund her music career. KELS debuted her original music at a series of music festivals in her hometown, Pittsburgh, during the summer of 2021- headlining at The Three Rivers Arts Festival, Millvale Music Festival, Picklesburgh and opened for Kat Wright on her fall tour stop at Thunderbird Music Hall. KELS has been based in Atlanta for two years, and recently held her first headlining show at Smith’s Olde Bar. The show sold out before doors opened. She has since played headlining shows at Eddie’s Attic, Arlene’s Grocery in NYC, The Analog in Nashville, and Hotel Cafe in Los Angeles. In 2023, KELS toured the entire United States independently on a 52 show run with no manager and no label. She is releasing the music she wrote on tour throughout the duration of 2024.

Organizer

Dave Kiss Presents

wed17jun8:00 pmwed11:00 pmYot ClubSimpleton Tour8:00 pm - 11:00 pm Music Hall of Williamsburg, 66 North 6th Street

Time

(Wednesday) 8:00 pm - 11:00 pm

Location

Music Hall of Williamsburg

66 North 6th Street

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Under the Yot Club banner, solo artist Ryan Kaiser makes hazed-over bedroom pop descended from both the atmospheric lushness of chillwave and the cutting angles of early-2000s indie rock. The project first broke through with the 2019 track “YKWIM?,” and continued to explore new territory on releases like the 2022 full-length Off the Grid and 2023 EP Amateur Observer.

Kaiser started making music early on in life, and he first began sharing his songs online around 2014 under the name Amateur Observer. In 2019, while attending college in Hattiesburg, Mississippi, he changed his project name to Yot Club and released his first single, “Jaded.” Kaiser played all the instruments himself and recorded and produced the track in his bedroom, calling on the same homespun aesthetic as indie surf or chillwave artists, but also including pop undertones that evoked the steely catchiness of Phoenix or the Strokes. He released his first EP, Aquarium, in January 2019, followed it with the song “Japan” in March, and then issued his second EP, Bipolar, in May. The Bipolar track “YKWIM?” took on a life of its own, quickly accumulating tens of millions in streaming numbers and alerting major labels to Yot Club’s existence. During this wave of attention, Kaiser relocated to Nashville, working on new music consistently.

The funk-inflected Nature Machine EP arrived in 2020, and he released his debut full-length, Off the Grid, in 2022. Yot Club’s sound expanded on the album to include flashes of R&B, chamber pop, and West Coast folk-rock breeziness. In 2023, in addition to releasing new music in the form of an EP called Amateur Observer, Kaiser collaborated on singles with Jordana and Spill Tab. His third full-length, 2026’s Simpleton, examined life in suburban America. – Biography by TiVo Staff

thu18jun6:00 pmthu9:00 pmIke DweckSafe With Me Tour6:00 pm - 9:00 pm Mercury Lounge, 17 E Houston Street

Time

(Thursday) 6:00 pm - 9:00 pm

Location

Mercury Lounge

17 E Houston Street

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Brooklyn-born and raised, rising independent singer-songwriter Ike Dweck is building a reputation for deeply personal lyrics and unflinching introspection. Since debuting in 2023, he’s continued to shape a sound that blends raw vulnerable folk with a modern, aggressive rock, inviting listeners into the heart of his experiences.

From writing solo to collaborating with fellow artists and songwriters Chance Emerson and Vincent Lima, as well as producer Jack Riley (previous work with Cameron Whitcomb and Grace VanderWaal), Ike has cultivated a creative circle that advances his word-choice-driven songwriting while keeping authenticity at its core. Much of his work revolves around the realities of battling mental health and navigating relationships. In doing so, Ike has created a community of fans that resonate similarly, finding connection and validation through his vulnerability.

Remaining proudly independent, Ike has been releasing new singles song by song for over two years, now surpassing over 1 million listeners on Spotify in the first half of 2025 across 15+ original songs in his release discography. There’s an immense growing anticipation for what’s ahead for Dweck, with plans to step into touring as a headliner for the first time next year, build his own Brooklyn-proud merchandising brand, and activating his fanbase of more than 3.5 million followers with a bootstraps methodology. Ike Dweck stands poised to become one of the most compelling new voices in modern indie-folk.

thu18jun6:30 pmthu11:00 pmLanghorne Slim6:30 pm - 11:00 pm Franklin Music Hall, 421 N. 7th Street

Time

(Thursday) 6:30 pm - 11:00 pm

Location

Franklin Music Hall

421 N. 7th Street

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As the phenomena of instant connection and the need for constant self-improvement further implant their tendrils into our culture, the ability to truly connect with each other and ourselves has begun to fade. As we all reach for our smartphones to gaze upon the manufactured perfection of the lives of those we admire, we lose sight of what makes our own lives important.

Nashville’s Langhorne Slim interlaces this theme throughout his new album. “Everyone’s searchin’ for something better around every corner, but it’s already right here,” Langhorne says. “We’re all born whole – through livin’ we fall apart…”

The songs on Langhorne Slim’s newest album, Lost At Last Vol. 1, out November 10, 2017, challenge the idea of social rigidity: the attitude that there’s a “correct” way for us to live and a side we should be on. He urges the world to see through the idea that by following that path and focusing only on fitting the mold, one will have lived a good life. He re-interprets the sound of the free-spirited yet vulnerable everyman heard on 2015’s The Spirit Moves and brings forth anew the call for us to abandon “the fold” and re-connect with ourselves and each other.

Langhorne Slim is no stranger to the world of popular culture and commercial success. Lost At Last Vol. 1 is his sixth full-length album; throughout his career he has been defined by reflective songwriting and passionate delivery. Slim’s last album cycle alone garnered him his third appearance on Conan O’Brien’s late-night show, as well as a feature on CBS Saturday Morning, and the highest charting debut of his career. O’Brien, a personal fan of Slim stated, “After one listen, I became an instant, almost obsessive fan.” Slim has consistently toured on his own, and has appeared on extensive worldwide runs throughout his career with artists such as The Lumineers, The Avett Brothers, Grace Potter & The Nocturnals, Gregory Alan Isakov, Josh Ritter, The Devil Makes Three, Sara Watkins, and more. He’s also appeared on many festival stages, such as Bonnaroo, Newport Folk Festival, Outside Lands, Lollapalooza, and the Philadelphia Folk Festival.

Lost At Last Vol. 1 is a record that Langhorne wanted to do differently from the start. “Almost immediately after recording our last record, The Spirit Moves,” Slim says, “I felt a deep desire to make another album. One that would take a step sideways in order to take a step forward; one that would be very personal and raw…in the making of this record, I made a deal with myself to trust my own voice and vision more than I ever have before, and to go willingly wherever it led.”

The title alone reflects his need to pen a great wealth of songs, as if the thoughts and inspiration took on a life of their own and just needed to come out. Recorded over the span of around six months in New Orleans, Los Angeles, and Catskill, NY, and clocking in at about 34 minutes, it’s a short but intense listening experience. Several songs are under two or three minutes long, but they pack vivid imagery into concise packages in a way that shows a significant diversion from the songwriting on his previous records. Slim keeps his record-making in the family with this release; longtime band member Malachi DeLorenzo co-produced the record along with Kenny Siegal, and DeLorenzo also mixed several tracks in addition to playing drums on the record.

Slim reflects truths that we may or may not want to admit; in “Life is Confusing”, he muses that “life is confusing, and people are insane”. He stands resolute in the face of trial: “…you could break my heart, but you’ll never break me,” he sings on “Never Break”. He calls upon the listener during this time fraught with challenges to unplug from the trajectory our culture has deemed is “right” and find strength in our own vulnerability, in our own instincts. “We look to our phones, drugs, sex whatever to find ourselves when it’s already right here,” Slim says. These songs join in the rallying call for the wild ones in us all.

thu18jun7:00 pmthu10:00 pmFetch Tiger7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

thu18jun7:00 pmthu11:00 pmYawn Mower7:00 pm - 11:00 pm Baronet Rooftop at The Asbury Hotel, 210 5th Avenue

thu18jun8:00 pmthu9:30 pmDurand Bernarr8:00 pm - 9:30 pm Blue Note, 131 W 3rd Street

Time

(Thursday) 8:00 pm - 9:30 pm

Location

Blue Note

131 W 3rd Street

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Durand Bernarr is a highly charismatic singer, songwriter, and producer who specializes in progressive R&B rooted in soul, gospel, and funk. The singer earned praise from Erykah Badu for a collection of covers of her material, leading to a regular gig singing with her on tour. After an eclectic series of independent releases and collaborations with other boldface R&B names, Bernarr came into his own with Dur& (2020), a rich neo-soul collection that pointed the way to Wanderlust (2022), the Grammy-winning Bloom (2025), and Bernarr (2026), among other projects showcasing his restless artistry and resounding vocals.

The Cleveland-born Bernarr was raised by a musical family: his mother was a vocal coach who directed the local church choir, and his father was a live audio engineer who gave his son a memorable afterschool job at the age of 16 — he was a production assistant on an Earth, Wind & Fire tour. An early adopter of the Internet, Bernarr — who cites Little Richard and Rick James as primary influences — built a fan base covering songs and posting sketches on YouTube. His first collection of originals, Alcoholharmony: The Mixt@pe, was self-released in 2009.

Bernarr’s biggest break came with a self-released collection, 2010’s 8ight: The Stepson of Erykah Badu, a boldly titled tribute/covers project paying homage to the neo-soul legend. An impressed Badu hired Bernarr as a backing vocalist. Between several tours with Badu, he worked on more original music — most notably the 2016 EP Sound Check — and earned more exposure working on-stage and in the studio with acts like Anderson.Paak, Kaytranada, Ari Lennox, and Thundercat. In 2019, he was a finalist on BET’s singing competition The Next Big Thing, earning praise for his versatile voice as a singer and rapper.

All this activity set the stage for the 2020 release of Dur&, a well-received album featuring guest spots from Lennox and Kaytranada. Another full-length, Wanderlust, followed in 2022, with an EP, En Route, dropping in 2024. Just after En Route was up for a Grammy in the category of Best Progressive R&B Album, Bernarr returned with the full-length Bloom. This set fared even better, winning the subsequent Grammy for Best Progressive R&B Album while two of its highlights, “Overqualified” and “Here We Are,” were nominated respectively for Best R&B Song and Best Traditional R&B Performance. The following month, he won Outstanding Breakthrough Music Artist at the 36th GLAAD Media Awards. Without slowing down, the singer soon put together Bernarr, issued in 2026 with Khalid, Big Sean, BJ the Chicago Kid, and Vic Mensa among the featured collaborators. – Biography by Mike Duquette

thu18jun8:00 pmthu10:00 pmMarioBlue Note Jazz Festival8:00 pm - 10:00 pm Sony Hall, 235 W 46th Street

thu18jun8:00 pmthu11:00 pmEsther Rose8:00 pm - 11:00 pm MilkBoy, 1100 Chestnut Street

Time

(Thursday) 8:00 pm - 11:00 pm

Location

MilkBoy

1100 Chestnut Street

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Esther Rose began writing Want, her fifth album, during a long solo drive, turning a playful list of desires into a deeply personal exploration of longing, growth, and self-reflection. Blending pop melody, country storytelling, and the raw energy of punk, the album unfolds like a memoir—chronicling rock-bottom moments, evolving relationships, recovery, and hard-won clarity, all delivered with Rose’s signature warmth and relatability. Long celebrated for live shows that foster catharsis and connection, the Santa Fe-based songwriter reaches new emotional depths here, offering her most direct and vulnerable writing to date.

Musically, Want is Rose’s most adventurous record yet. Recorded live-to-tape in Nashville with producer Ross Farbe, it embraces distortion, spontaneity, and full-band intensity while preserving her gift for unforgettable melody. After a period of burnout and self-doubt, Rose recommitted to music with renewed honesty, drawing strength from trusted collaborators and a more open creative process. The result is a powerful, wide-ranging album that confronts vulnerability head-on, balances chaos with stability, and closes on a poignant reflection of past and present colliding—marking Want as the strongest and most expansive work of her career.

thu18jun10:30 pmthu11:59 pmDurand Bernarr10:30 pm - 11:59 pm Blue Note, 131 W 3rd Street

Time

(Thursday) 10:30 pm - 11:59 pm

Location

Blue Note

131 W 3rd Street

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Durand Bernarr is a highly charismatic singer, songwriter, and producer who specializes in progressive R&B rooted in soul, gospel, and funk. The singer earned praise from Erykah Badu for a collection of covers of her material, leading to a regular gig singing with her on tour. After an eclectic series of independent releases and collaborations with other boldface R&B names, Bernarr came into his own with Dur& (2020), a rich neo-soul collection that pointed the way to Wanderlust (2022), the Grammy-winning Bloom (2025), and Bernarr (2026), among other projects showcasing his restless artistry and resounding vocals.

The Cleveland-born Bernarr was raised by a musical family: his mother was a vocal coach who directed the local church choir, and his father was a live audio engineer who gave his son a memorable afterschool job at the age of 16 — he was a production assistant on an Earth, Wind & Fire tour. An early adopter of the Internet, Bernarr — who cites Little Richard and Rick James as primary influences — built a fan base covering songs and posting sketches on YouTube. His first collection of originals, Alcoholharmony: The Mixt@pe, was self-released in 2009.

Bernarr’s biggest break came with a self-released collection, 2010’s 8ight: The Stepson of Erykah Badu, a boldly titled tribute/covers project paying homage to the neo-soul legend. An impressed Badu hired Bernarr as a backing vocalist. Between several tours with Badu, he worked on more original music — most notably the 2016 EP Sound Check — and earned more exposure working on-stage and in the studio with acts like Anderson.Paak, Kaytranada, Ari Lennox, and Thundercat. In 2019, he was a finalist on BET’s singing competition The Next Big Thing, earning praise for his versatile voice as a singer and rapper.

All this activity set the stage for the 2020 release of Dur&, a well-received album featuring guest spots from Lennox and Kaytranada. Another full-length, Wanderlust, followed in 2022, with an EP, En Route, dropping in 2024. Just after En Route was up for a Grammy in the category of Best Progressive R&B Album, Bernarr returned with the full-length Bloom. This set fared even better, winning the subsequent Grammy for Best Progressive R&B Album while two of its highlights, “Overqualified” and “Here We Are,” were nominated respectively for Best R&B Song and Best Traditional R&B Performance. The following month, he won Outstanding Breakthrough Music Artist at the 36th GLAAD Media Awards. Without slowing down, the singer soon put together Bernarr, issued in 2026 with Khalid, Big Sean, BJ the Chicago Kid, and Vic Mensa among the featured collaborators. – Biography by Mike Duquette

fri19jun4:00 pmfri10:00 pmCookiee Kawaii + DJ Jayhood4:00 pm - 10:00 pm Elsewhere Space, 599 Johnson Avenue

Time

(Friday) 4:00 pm - 10:00 pm

Location

Elsewhere Space

599 Johnson Avenue

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Cookiee Kawaii became known outside New Jersey with the jittering, mattress-squeaking club track “Vibe,” which went viral in 2019 and became even more popular the next year with TikTok users. Unrestricted by genre, the vocalist’s stylistic range cuts across Jersey club, R&B, and rap.

The daughter of house DJs, Vanice Palmer was born into music and has been recording since the early 2010s. After she adopted her stage name, a display of her love for sweets and anime, she peeked above the underground of her native Irvington, New Jersey in 2019, when her single “Vibe” went viral. Optimized for search and voice queries with “Vibe (If I Back It Up)” as its full title, the track took off early the following year with users of TikTok, and accumulated millions of plays on streaming platforms. By then, Cookiee Kawaii had several additional tracks, along with the Club Soda, Vol. 1 EP (featuring “Vibe, Pt. 2”) and the Satori EP (a mellow, R&B-oriented collaboration with jtbs), available commercially. She issued “Vibe, Pt. 3,” the spaciest version of her signature track, in 2020. – Biography by Andy Kellman

DJ Jayhood — Jersey Club Pioneer, DJ, Producer & Artist from Newark, NJ. DJ Jayhood is a Newark-bred Jersey Club architect, DJ, producer, and artist whose records and dances helped define the sound — earning support from Missy Elliott, collaborations with Fetty Wap, and legend status in New Jersey and beyond.

fri19jun5:30 pmfri9:00 pmYellowcardThe Up Up Down Down Tour5:30 pm - 9:00 pm The Stone Pony, 913 Ocean Ave N

Time

(Friday) 5:30 pm - 9:00 pm

Location

The Stone Pony

913 Ocean Ave N

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Combining punchy emo-punk and sweeping, violin-led alternative rock, Yellowcard’s distinctive sound marks the Jacksonville, Florida band as one of the more popular acts to emerge from the fertile 2000s pop-punk scene. The group found mainstream success in 2003 after their fourth album, Ocean Avenue, went platinum on the strength of the chart-topping title cut. Yellowcard issued ten albums, including Billboard-charting efforts like Lights and Sounds (2005), Paper Walls (2007), and Southern Air (2012), before ceasing operations in 2016. Returning from a seven-year hiatus, the band issued the EP Childhood Eyes in 2023, followed by the 2024 collaboration A Hopeful Sign with the post-rock duo Hammock and 2025’s Better Days, their 11th studio album.

Yellowcard formed in Jacksonville, Florida in 1997 but didn’t solidify their lineup until a move to Southern California in early 2000. Comprised of vocalist/guitarist Ryan Key (who had briefly played with Cali-based Craig’s Brother), backing vocalist/violinist Sean Mackin, guitarist Ben Harper, drummer Longineu Parsons, and bassist Warren Cooke, the band officially debuted on wax in 2001 with One for the Kids (Lobster) and returned a year later with the Underdog EP on Fueled by Ramen. The group had a big year in 2003, replacing Cooke with Pete Mosely (of Inspection 12), signing with Capitol, issuing Ocean Avenue on the label, and heading out for a series of Warped Tour dates, with the recently added Mosely replaced by Alex Lewis. Fall and winter found Yellowcard hitting clubs with acts like Matchbook Romance and Less Than Jake.

In late 2004, Ocean Avenue was certified double platinum by the RIAA, and singles such as “Way Away,” “Only One,” and the title track continued to impact MTV and Top 40 radio for the rest of the year. The same year, Lewis was given his walking papers when Mosely approached the band about rejoining. Yellowcard’s sophomore effort, Where We Stand, was reissued in June 2005 and Lights and Sounds was released in early 2006. Though ultimately not as well-received by fans as prior albums, Lights and Sounds entered the Billboard 200 at number five upon its first week of release, and earned the number one spot on the Alternative Album chart, quickly gaining momentum on the 2.5-million-selling Ocean Avenue. Meanwhile, founding member Harper (who also runs Takeover Records) left the group amid some band controversy and was replaced by Staring Back guitarist Ryan Mendez.

The band returned to the studio later that year and went to work on its fifth full-length, Paper Walls, which was released in July 2007. In 2008, the bandmembers announced they would be going on an indefinite hiatus, leaving Capitol Records. After recharging their batteries for a couple of years, Yellowcard signed with Hopeless Records and in 2011 released When You’re Through Thinking, Say Yes. One year later, they returned with their eighth studio album, Southern Air. Featuring guest appearances from All Time Low’s Alex Gaskarth, Hey Monday’s Cassadee Pope, and We Are the In Crowd’s Taylor Jardine, the album included the alt radio hits “Surface of the Sun,” “Awakening,” and “Here I Am Alive.” Ahead of the tenth anniversary of Ocean Avenue, Yellowcard announced that an acoustic reinterpretation of the album would be issued in August 2013 and that a celebratory world tour would follow. Longtime drummer Longineu W. Parsons III left the group ahead of the release of 2014’s well-received Lift a Sail, which was issued by Razor & Tie. At the beginning of 2016, the band announced the arrival of their tenth studio album. The eponymous effort was their last, with the group calling it quits after a worldwide tour in support of the release.

Yellowcard returned to the stage in 2022, performing at Riot Fest in Chicago, Illinois. The re-formation resulted in a string of studio dates and the release of the 2023 EP Childhood Eyes, the group’s first new music in seven years. A Hopeful Sign, a collaboration with post-rock duo Hammock, arrived in early 2024 and featured nine previously released Yellowcard songs reworked with new instrumentation. In October 2025, they delivered their 11th studio album and first full-length since reuniting with Better Days. Produced by Travis Barker, Andrew Goldstein, and Nick Long, the album featured the title-track single, along with “Take What You Want” and “Bedroom Posters.” – Biography by Johnny Loftus

fri19jun7:00 pmfri10:30 pmPawpaw Rod7:00 pm - 10:30 pm Zone One at Elsewhere, 599 Johnson Avenue

fri19jun8:00 pmfri11:00 pmEvent CancelledJ. Howell8:00 pm - 11:00 pm World Cafe Live - Philly, 3025 Walnut Street

Time

(Friday) 8:00 pm - 11:00 pm

Location

World Cafe Live - Philly

3025 Walnut Street

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Passionate, Creative, and Driven are only a few words that describe Memphis-native, J. Howell, not only as a singer, but a revolutionary artist in the making. His voice and aura are captivating, magnetic, and authentic. Discovering his love for singing at an early age, J. Howell began envisioning the mark he wanted to make in the music industry. Given the opportunity to perform during a black history program for his school at the age of 7, his aunt and mom were astonished and blown away by his unique and powerful voice and knew there was something special about his talent that the world needed. From that day forward, J. Howell earned much support from his family to pursue his dream of sharing his voice with the world.

J. Howell is not your typical artist. Penning his thoughts to paper has served as therapy to unleash the emotion and passion he portrays through his music. Although most would try to categorize him to only R&B, his vocal capability and diverse musical influence allows him to capture the hearts of all. With a combination of Beyonce’s vocal arrangements, a young Tevin Campbell’s voice range, and a hint of that 90s R&B/Hip Hop swag, you have the perfect blend of J. Howell’s eclectic style and sound. No bells and whistles, strictly “heart music.” He takes his own experiences and weaves them into something that people can feel and relate to.

WHEN ASKED WHAT ADVICE HE WOULD GIVE TO THE WORLD, HE HAD THIS TO SAY: “Don’t compromise who you are to fit in with the trends of the world. Stay true to you, and everything will align the way they should.”

His first EP, Red Room, produced by Teray Love features the hit singles: “Something About Ya,” that is currently charting #30 on Billboard Urban/Mainstream, “Deserve” “Faithful” and his first lead single, “Talk” that charted #15 on Billboard Adult R&B. However, his simple live acoustic single and video, “My Everything,” is his top streamed and viewed song to date. Currently, his music has totaled over 34 million streams with support from across the globe.

sat20jun7:00 pmsat10:00 pmEvent CancelledJ. Howell7:00 pm - 10:00 pm HK Hall, 605 West 48th Street

Time

(Saturday) 7:00 pm - 10:00 pm

Location

HK Hall

605 West 48th Street

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Passionate, Creative, and Driven are only a few words that describe Memphis-native, J. Howell, not only as a singer, but a revolutionary artist in the making. His voice and aura are captivating, magnetic, and authentic. Discovering his love for singing at an early age, J. Howell began envisioning the mark he wanted to make in the music industry. Given the opportunity to perform during a black history program for his school at the age of 7, his aunt and mom were astonished and blown away by his unique and powerful voice and knew there was something special about his talent that the world needed. From that day forward, J. Howell earned much support from his family to pursue his dream of sharing his voice with the world.

J. Howell is not your typical artist. Penning his thoughts to paper has served as therapy to unleash the emotion and passion he portrays through his music. Although most would try to categorize him to only R&B, his vocal capability and diverse musical influence allows him to capture the hearts of all. With a combination of Beyonce’s vocal arrangements, a young Tevin Campbell’s voice range, and a hint of that 90s R&B/Hip Hop swag, you have the perfect blend of J. Howell’s eclectic style and sound. No bells and whistles, strictly “heart music.” He takes his own experiences and weaves them into something that people can feel and relate to.

WHEN ASKED WHAT ADVICE HE WOULD GIVE TO THE WORLD, HE HAD THIS TO SAY: “Don’t compromise who you are to fit in with the trends of the world. Stay true to you, and everything will align the way they should.”

His first EP, Red Room, produced by Teray Love features the hit singles: “Something About Ya,” that is currently charting #30 on Billboard Urban/Mainstream, “Deserve” “Faithful” and his first lead single, “Talk” that charted #15 on Billboard Adult R&B. However, his simple live acoustic single and video, “My Everything,” is his top streamed and viewed song to date. Currently, his music has totaled over 34 million streams with support from across the globe.

sat20jun7:00 pmsat10:00 pmLuke Tyler Shelton7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

Time

(Saturday) 7:00 pm - 10:00 pm

Location

Union Pool

484 Union Avenue

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Born in the new millennium, Luke Tyler Shelton makes soul-soothing rock-and-roll with all the ineffable charm of a faraway time. With a profound gift for dreaming up heavenly melodies and fantastically loose grooves, the Los Angeles native found his sound as part of a close-knit scene of young musicians and artists—a DIY-minded community whose spirit and sensibilities recall the near-mythic creative hotbed of early-’70s Laurel Canyon. Produced by Shooter Jennings (Brandi Carlile, Tanya Tucker) and Jonathan Wilson (Father John Misty, Angel Olsen), Luke’s debut body of work merges country-rock, folk-pop, and Southern soul into songs that immediately transport the audience into a state of enchanted ease.

A mostly self-taught musician, Luke was steeped in music from an early age thanks to his father (a reggae singer hailing from Hawaii) and mother (a classic-rock obsessive who bought him his first guitar). Originally from the San Fernando Valley, he got his first drum kit at age four, took piano lessons in elementary school, and played in a psych-rock band for most of high school—an experience that involved spending untold hours honing his chops in his family’s garage, steadily developing the potent sense of rhythm that still informs his sound today. As he began exploring the artists and bands he now names among his essential influences (Neil Young, Faces, George Harrison, Bob Dylan, and Peter Green-era Fleetwood Mac), he taught himself to play guitar and started writing songs soon after finishing high school in 2019, and shortly thereafter, stumbled upon the vibrant creative community that would radically alter his musical path. “There were all these people my age who were making art and clothes and music, and they were all so talented and put so much personality into what they were creating,” he says. “I started playing with people I’d met through that scene, and now it’s turned into this revolving-door kind of thing where we all play in each other’s bands and share bills at shows.”

As he continued sharpening his songcraft and building up a following online, Luke caught the attention of Concord Records and signed a deal with the label after playing a gig outside a warehouse art show near the beach. Not long after the signing, he linked up with Jennings and Wilson and set to work on his first batch of songs, all recorded to tape with his circle of friends at Wilson’s studio in the bohemian enclave of Topanga Canyon.

Mixed by four-time Grammy-winner Trina Shoemaker (Sheryl Crow, Queens Of The Stone Age)—and also featuring Jennings’ longtime bandmate Ted Russell Kamp on bass and Wilson on drums, guitar, and Moog synth—Luke’s debut singles achieve a certain rarefied magic, matching their exquisitely orchestrated sound with a free-flowing energy that instantly transfers onto the listener. On “Anna,” Luke brings his warm and soulful vocals to a sublimely tender piece of storytelling, adorning the song’s statement of lovestruck devotion with lush fiddle melodies and sweetly rolling harmonies. “I wrote ‘Anna’ about someone who’s had such an impact on your life that their presence never fully leaves you, even if you’re not together anymore,” he says. A shining example of the deliberately unhurried pace of his music, “Love On My Mind” drifts from dreamy pedal steel to gently shimmering vibraphone to cascading guitar as Luke captures the serene euphoria of “finally finding a person to love and to love you back, and feeling secure in a relationship for the first time.” And on “Feeling Always Down,” with its wistful piano tones and moody guitar work, Luke’s voice takes on a bittersweet intensity as he channels the all-consuming ache of self-doubt and despondency. “I was driving around very early in the morning and listening to George Harrison and going through a rough patch and I decided I needed to write a sad song,” he recalls. “I’m rarely that intentional about what I’m writing, but I parked outside my friend’s house and got out my guitar and wrote the song right then, and it helped me to release some of that emotion.”

Now at work on his debut album, Luke ultimately hopes to impart others with the same sense of exhilarated wonder he felt upon discovering the music that most inspires him. “That era of music happened so long ago that, for someone my age, it doesn’t seem completely real—it’s almost like folklore,” he says. “That’s what really pulled me into it, and made me want to figure out how those sounds could be made. I hope my music gives people that same kind of excitement and joy, like they’re experiencing something that they’ve never heard made in their lifetime.”

sat20jun7:00 pmsat10:00 pmElujay7:00 pm - 10:00 pm Public Records, 233 Butler Street

sat20jun7:30 pmsat10:00 pmFuture Teens7:30 pm - 10:00 pm Ukie Club, 847 N Franklin Street

Time

(Saturday) 7:30 pm - 10:00 pm

Location

Ukie Club

847 N Franklin Street

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Future Teens are growing up together. It’s been ten years since they coined the term ‘bummer pop’ to describe their tracks about romantic frustrations, misfortunes and miscommunications. As you get older, the bummers get heavier and more complex, but the friendships and life lessons that help carry you through them also grow deeper and more meaningful. On their fourth album Still Life, the band — guitarists/vocalists Daniel Radin and Amy Hoffman and drummer Colby Blauvelt — present a collection of headfirst dives into grief, anger, shame, regret, identity, and ultimately, the hope that only comes from winning a staring contest with the abyss.

Hoffman and Radin were using their songwriting to process the heavy life changes that have ushered in their mid-thirties: personal losses, Hoffman’s journey to sobriety, and the general stock-taking of your life that comes with age. They recorded across several months, resulting in a version of Future Teens that sounds more polished and expansive than ever before. The record follows 2017’s Hard Feelings, 2019’s Breakup Season and 2022’s Self Help, as well as tours with the likes of The Wonder Years, Hot Mulligan, Oso Oso, Aaron West and Free Throw. All the while, they band have prioritized building a community of fans and fellow bands based around friendship, vulnerability and joy, an antidote to music industry pressure that has kept Future Teens treading their own path for over a decade.

sat20jun8:00 pmsat11:00 pmBLK ODYSSYBlue Note Jazz Festival8:00 pm - 11:00 pm Sony Hall, 235 W 46th Street

Time

(Saturday) 8:00 pm - 11:00 pm

Location

Sony Hall

235 W 46th Street

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BLK ODYSSY project is pushed by liberation. On his first album under this new moniker, titled BLK VINTAGE, BLK ODYSSY―born and raised in Plainfield, NJ, based in Austin, TX― dives into his personal history as a Black musician and the world he’s grown up around. It’s an album deeply informed by individual experiences but applied to the plight of Black Americans everywhere. Even when the album chooses smooth vibes and laid back lyrics in favor of overt activism, there’s a philosophical bent that inspires BLK ODYSSY’s work. BLK VINTAGE is inspired by a few key moments and artists. There’s the death of BLK ODYSSY’s brother, who was killed at the hands of police officers while BLK ODYSSY was living in New Jersey. It’s the seminal moment of BLK ODYSSY’s life, the moment he was forced to become an adult and reckon with the harsh reality of being Black in America. It fuels everything he does, especially his activism.

After making a name for himself as an Americana musician, BLK ODYSSY decided to ditch the popularity he gained in favor of creating music that would reflect his own experiences and worldview. The result is BLK ODYSSY, and this first project, BLK VINTAGE, moves with the urgency of an artist finally realizing their true sound. “I want to create something that will be culturally impactful for my people. I want to do something that is impactful on a larger scale, something that is for groups of Black people across the country.” There’s “1980,” which slinks with the rich funk-soul of artists like Anderson .Paak and Knxwledge, but BLK ODYSSY’s half-rapped cadence is wholly unique and utterly intoxicating. The moments of levity hit equally as hard as the work refracted through the trauma BLK ODYSSY has experienced. Still, though, BLK ODYSSY has the rare ability to present multiple sides of himself. “Hang Low” is a sultry love jam, strutting with velvet harmonies and a bass line straight out of the Pino Palladino school of indestructible grooves.

The good times occasionally give way to introspection and remembrance, though. The death of BLK ODYSSY’s brother makes its way into the powerful “Drinking Good,” but he balances it with a desire to inspire the next generation. “My goal is to connect with the black youth, and my goal is to connect with my people and speak to them on a level where we can stop suffering from happening,” he explains. “There’s only so much we can do for the dead. This record asks: ‘How can we stop this from happening again?'” Though the music is deeply tied to BLK ODYSSY’s own identity, he speaks a universal music in his language, one easily relatable for those that want to see a better world.

Neo-soul artists like D’Angelo and socially conscious MCs like Kendrick Lamar are clear touchstones, but BLK ODYSSY also takes cues from the celebratory funk of Parliament who also came from Plainfield, on tracks like “Funketology.” “All the musicians that I grew up with are relatives of Parliament members. We grew up in that culture, it inspires who we are,” explains BLK ODYSSY. This potent combination of politically charged street anthems, party-ready funk jams, and top-down, head-nodding beats makes BLK VINTAGE a sterling debut and one of the most powerful and timely releases of the year. BLK ODYSSY speaks to his predecessors, but the new concoction is all his own. It’s a triumphant testament to Black power, a message to the kids that look like him that there’s someone in their corner. “The Black youth has been poisoned numb because of the shit we have to deal with,” BLK ODYSSY explains. “I want to speak to our experiences and let people know it’s okay to shed that layer and really, truly feel.”

sat20jun8:00 pmsat11:00 pmWolfmother8:00 pm - 11:00 pm Union Transfer, 1026 Spring Garden Street

Time

(Saturday) 8:00 pm - 11:00 pm

Location

Union Transfer

1026 Spring Garden Street

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Pledging allegiance to thick, throttling fuzz guitars, primal psychedelia, and thundering rhythms, the 21st century rock revivalists Wolfmother split the difference between the classic sludge of Black Sabbath and the retro-garage rock of the White Stripes. Led by guitarist/vocalist Andrew Stockdale, the power trio came storming out of Sydney, Australia in 2006 with a self-titled debut that generated international hits in the form of “Woman” and “Joker & the Thief.” Although they had some stumbles following up this initial success — bandmembers came and went, leaving Stockdale the sole original member — subsequent albums like 2009’s Cosmic Egg and 2021’s Rock Out played to a cult devoted to their heavy, riff-oriented rock.

Stockdale formed Wolfmother with drummer Myles Heskett, who then brought in bassist/keyboardist Chris Ross. A few years of woodshedding followed but things started to move quickly after their first concert in April 2004. Four months later, the trio inked a deal with Modular Records, knocking out a self-titled EP at Detroit’s Ghetto Studios with producer Jim Diamond (not coincidentally, Diamond helmed early White Stripes records). The EP wound up charting on the Australian singles chart and the group kept touring before signing to Universal Records and heading to Los Angeles to cut a full-length debut with producer David Sardy. Wolfmother, the album, came out in Australia that October, where it turned into a big hit; it would eventually be certified quintuple platinum in their homeland. Other territories followed in early 2006 and the album performed well in each of them thanks to the singles “White Unicorn,” “Woman,” and “Joker & the Thief,” along with a host of film, television, and video game placements, not to mention constant touring with a focus on festivals.

Following this heavy promotion for Wolfmother, fractures started appearing in the band. In August 2008, Universal announced the departure of Heskett and Ross. Stockdale expanded Wolfmother to a quartet, adding guitarist Aidan Nemeth, bassist/keyboardist Ian Peres, and drummer Dave Atkins, debuting this lineup early in 2009 under the pseudonym White Feather. Around this time, this incarnation began recording a second Wolfmother album. Entitled Cosmic Egg, it appeared in the fall of 2009, debuting high in many countries — it reached three in Australia and 16 in the U.S. — but it failed to generate the same excitement as the debut. Wolfmother continued to tour the album into 2011, with Will Rockwell-Scott replacing drummer Atkins in 2010. Then, they turned their attention to recording a third album but things in the band continued to be unstable. Nemeth and Rockwell-Scott both departed in 2012, replaced by guitarist Vin Steele and drummer Hamish Rosser, and a new keyboardist called Elliott Hammond also joined as the group continued to record a third album. As it turned out, Stockdale decided to retire the name Wolfmother and release the record as a solo album called Keep Moving in the summer of 2013. Keep Moving didn’t do much on the charts — it peaked at 32 in Australia — and by the end of the year, Stockdale announced that Wolfmother was once again an active concern (albeit without Hammond, who turned out to be a short-timer). Steele moved over to drums and Wolfmother were once again a trio; this is the version that released a surprise album called New Crown in the spring of 2014. A year later their debut was re-released as as deluxe, two-disc edition in celebration of Wolfmother’s tenth anniversary.

A new track, “Victorious,” was issued as a pre-release single in November, and was followed by a second, “Gypsy Caravan,” in January 2016. In February, the album Victorious was released. Recorded in Hollywood, it was produced by Brendan O’Brien. The lineup listed Stockdale on guitars, basses, and vocals, Peres on keyboards, and drummers Josh Freese and Joey Waronker. 2019’s Rock’n’Roll Baby was recorded at Dave Grohl’s Studio 606, and sixth album Rock Out arrived in 2021. As the band worked on new material for their seventh album, they planned a tour in 2026 to celebrate the 20th Anniversary of their debut. – Biography by Stephen Thomas Erlewine

sun21jun7:30 pmsun10:00 pmElujay7:30 pm - 10:00 pm MilkBoy, 1100 Chestnut Street

sun21jun8:00 pmsun11:00 pmPink Siifu8:00 pm - 11:00 pm SOBs (Sounds of Brazil), 204 Varick Street

mon22jun7:00 pmmon10:00 pmKELSDirty Blues Princess Tour7:00 pm - 10:00 pm (le) poisson rouge, 158 Bleecker Street

Time

(Monday) 7:00 pm - 10:00 pm

Location

(le) poisson rouge

158 Bleecker Street

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Originally from Pittsburgh, KELS has been based in Atlanta for three years. She gained significant buzz when she went on a 52 show US Tour in 2023 independently with no management and no label. Her following grew by 5 times while she was on the road for 8 months on her own. Her fans funded the entire tour. KELS recently headlined the Atlanta Jazz Festival in May 2024, opening for Andre 3000. In 2024 she headed back on another independent tour for a 25 show run in the Northeast that started in August 2024. With co-signs from both Big Boi and Timbaland, she is currently working on her debut EP and album in 2025.

KELS is the perfect mix of jazz, pop and soul. Her brash vocals and sultry style reflect the old school sound of some of her biggest influences- Ms. Lauryn Hill, Sarah Vaughan, Erykah Badu, Adele, and Amy Winehouse with a profound lyricism to match. She has been writing her own music since age 13, and started training as a Jazz vocalist at 15. Early on, she booked Jazz gigs to fund her music career. KELS debuted her original music at a series of music festivals in her hometown, Pittsburgh, during the summer of 2021- headlining at The Three Rivers Arts Festival, Millvale Music Festival, Picklesburgh and opened for Kat Wright on her fall tour stop at Thunderbird Music Hall. KELS has been based in Atlanta for two years, and recently held her first headlining show at Smith’s Olde Bar. The show sold out before doors opened. She has since played headlining shows at Eddie’s Attic, Arlene’s Grocery in NYC, The Analog in Nashville, and Hotel Cafe in Los Angeles. In 2023, KELS toured the entire United States independently on a 52 show run with no manager and no label. She is releasing the music she wrote on tour throughout the duration of 2024.

mon22jun7:00 pmmon10:00 pmAngela Autumn7:00 pm - 10:00 pm Night Club 101, 101 Avenue A

Time

(Monday) 7:00 pm - 10:00 pm

Location

Night Club 101

101 Avenue A

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Angela Autumn is from old, weird Appalachia. Raised in the hills of Pennsylvania, she now calls Nashville home. The ‘ Rose of Appalachia,’ or ‘Roving Jewel’ as fans call her, turns her hand to clawhammer banjo and guitar. Her single ‘Electric Lizard’ garnered attention for its slick combination of indie sounds and raw, transcendent material. This blend of styles is also evident in her critically acclaimed work, including her 2021 album Frontiers Woman, which was lauded for its authentic traditional sound and her impressive skills as both a vocalist and instrumentalist, earning high praise from outlets like Saving Country Music and Take Effect Reviews . Her 2021 release The Magnolia Sessions further showcased her traditional Americana roots with its raw and intimate feel, captured in an outdoor setting and celebrated by The Sleeping Shaman for its purity and her captivating voice . Her 2023 EP, Cowboy Jack Clementine, has also been praised for its unique blend of folk and country music . The singer’s early love of 70s folk and primitive blues are blended with pop influences creating a straightforward lack of pretension. With every twang that leaves her throat, her music continues to promote tradition for new audiences. Demonstrating her ongoing musical output, Angela Autumn has released a series of singles in late 2024 and early 2025, including “Sage Bundle,” “Waltz About Death,” “The Boot Song,” “Rocky Doom,” “Just Like My Lover,” and “Roving Jewel” .

tue23jun7:00 pmtue10:00 pmWolfmother7:00 pm - 10:00 pm Brooklyn Steel, 319 Frost Street

Time

(Tuesday) 7:00 pm - 10:00 pm

Location

Brooklyn Steel

319 Frost Street

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Pledging allegiance to thick, throttling fuzz guitars, primal psychedelia, and thundering rhythms, the 21st century rock revivalists Wolfmother split the difference between the classic sludge of Black Sabbath and the retro-garage rock of the White Stripes. Led by guitarist/vocalist Andrew Stockdale, the power trio came storming out of Sydney, Australia in 2006 with a self-titled debut that generated international hits in the form of “Woman” and “Joker & the Thief.” Although they had some stumbles following up this initial success — bandmembers came and went, leaving Stockdale the sole original member — subsequent albums like 2009’s Cosmic Egg and 2021’s Rock Out played to a cult devoted to their heavy, riff-oriented rock.

Stockdale formed Wolfmother with drummer Myles Heskett, who then brought in bassist/keyboardist Chris Ross. A few years of woodshedding followed but things started to move quickly after their first concert in April 2004. Four months later, the trio inked a deal with Modular Records, knocking out a self-titled EP at Detroit’s Ghetto Studios with producer Jim Diamond (not coincidentally, Diamond helmed early White Stripes records). The EP wound up charting on the Australian singles chart and the group kept touring before signing to Universal Records and heading to Los Angeles to cut a full-length debut with producer David Sardy. Wolfmother, the album, came out in Australia that October, where it turned into a big hit; it would eventually be certified quintuple platinum in their homeland. Other territories followed in early 2006 and the album performed well in each of them thanks to the singles “White Unicorn,” “Woman,” and “Joker & the Thief,” along with a host of film, television, and video game placements, not to mention constant touring with a focus on festivals.

Following this heavy promotion for Wolfmother, fractures started appearing in the band. In August 2008, Universal announced the departure of Heskett and Ross. Stockdale expanded Wolfmother to a quartet, adding guitarist Aidan Nemeth, bassist/keyboardist Ian Peres, and drummer Dave Atkins, debuting this lineup early in 2009 under the pseudonym White Feather. Around this time, this incarnation began recording a second Wolfmother album. Entitled Cosmic Egg, it appeared in the fall of 2009, debuting high in many countries — it reached three in Australia and 16 in the U.S. — but it failed to generate the same excitement as the debut. Wolfmother continued to tour the album into 2011, with Will Rockwell-Scott replacing drummer Atkins in 2010. Then, they turned their attention to recording a third album but things in the band continued to be unstable. Nemeth and Rockwell-Scott both departed in 2012, replaced by guitarist Vin Steele and drummer Hamish Rosser, and a new keyboardist called Elliott Hammond also joined as the group continued to record a third album. As it turned out, Stockdale decided to retire the name Wolfmother and release the record as a solo album called Keep Moving in the summer of 2013. Keep Moving didn’t do much on the charts — it peaked at 32 in Australia — and by the end of the year, Stockdale announced that Wolfmother was once again an active concern (albeit without Hammond, who turned out to be a short-timer). Steele moved over to drums and Wolfmother were once again a trio; this is the version that released a surprise album called New Crown in the spring of 2014. A year later their debut was re-released as as deluxe, two-disc edition in celebration of Wolfmother’s tenth anniversary.

A new track, “Victorious,” was issued as a pre-release single in November, and was followed by a second, “Gypsy Caravan,” in January 2016. In February, the album Victorious was released. Recorded in Hollywood, it was produced by Brendan O’Brien. The lineup listed Stockdale on guitars, basses, and vocals, Peres on keyboards, and drummers Josh Freese and Joey Waronker. 2019’s Rock’n’Roll Baby was recorded at Dave Grohl’s Studio 606, and sixth album Rock Out arrived in 2021. As the band worked on new material for their seventh album, they planned a tour in 2026 to celebrate the 20th Anniversary of their debut. – Biography by Stephen Thomas Erlewine

tue23jun7:00 pmtue10:00 pmJhariahTrust Ceremony Tour7:00 pm - 10:00 pm Bowery Ballroom, 6 Delancey Street

Time

(Tuesday) 7:00 pm - 10:00 pm

Location

Bowery Ballroom

6 Delancey Street

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Since 2017, Brooklyn-based musician and polymath Jhariah Clare (he/they), who records and releases music as Jhariah, has been building a thrilling, fiercely original musical universe. People have caught on quickly. His track “Flight Of The Crows,” from his 2021 EP A BEGINNER’S GUIDE TO FAKING YOUR DEATH, has racked up 10.5 million plays on Spotify. And Jhariah’s second LP is a manifesto of sorts for a new music culture—and it is his most daring, important work yet.

This forthcoming release is a brain-expanding, borderless record that fuses dance-punk, emo, prog rock, and hardcore with pop, hip-hop, Latin dance, and more. This bold, brilliant blend of influences soundtracks a Gen-Z odyssey through self-doubt, family conflict, Catholic upbringing, and through it all, a desperate, iron drive to succeed, and to share art with the world.

“The more I got into writing this album and the more I got to conceptualizing it, it kept getting bigger and grander, and I had all these wild ideas for what I wanted to do,” says Jhariah. “I wanted it to be the most monumental thing in the world.”

Jhariah was impatient to release this record, but as they watched their contemporaries like Billie Eilish, Poppy, and 100 gecs mutate what pop could be, they saw the boundaries of genre being chipped away. We had entered an era where threads from Panic! At The Disco, My Chemical Romance, and System of a Down could coexist with tastes from Tech N9ne, Amine, Dua Lipa, and Lil Nas X. “I feel like everything is sort of shifting into place for this album,” they grin.

Jhariah wrote and recorded the majority of the record in his childhood bedroom in his parents’ home, and when he moved out for college, he continued the process in the studio he set up in his first apartment. He still prefers to start his songs alone—he can take his time and make sure everything is just right—but to properly execute his vision, he worked with some trusted and loved collaborators.

The record’s ambition and energy are bottled in the breakneck sprint of lead single “RISK!,” an electric, impassioned cry for success: “I can’t take another day, I need some change/I need more to put behind my name,” Jhariah belts on the chorus, soaring into falsetto and back. The second verse dips into throttling hardcore before swerving back to its Latin-punk beat, and there are several other movements and genre plays before it seems like the track is done—but then it hums back to life with a dizzying boss battle music cue, and the groove slows down to a keys-led reggaetón slink.

It’s Jhariah’s time.

tue23jun8:00 pmtue9:30 pmTobe Nwigwe8:00 pm - 9:30 pm Blue Note, 131 W 3rd Street

tue23jun8:00 pmtue11:00 pmBlack Country, New Road8:00 pm - 11:00 pm Franklin Music Hall, 421 N. 7th Street

Time

(Tuesday) 8:00 pm - 11:00 pm

Location

Franklin Music Hall

421 N. 7th Street

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Multifaceted post-punk group Black Country, New Road combine disparate genres including jazz, math rock, and klezmer to form sprawling tracks that switch between quieter moments and peaks of bristling intensity. They debuted in 2021 with their Mercury Prize-nominated album For the First Time, before quickly following it up with 2022’s Ants from Up There. After the departure of original vocalist Isaac Wood, three of the band’s members shared vocal duties, and Live at Bush Hall, a film and concert recording consisting of all-new material, appeared in 2023. They cemented this new era with 2025’s Forever Howlong, their third studio album.

Formed from the ashes of their previous band Nervous Conditions, the initial members of BCNR included Lewis Evans (saxophone), May Kershaw (keyboard), Charlie Wayne (drums), Luke Mark (guitar), Isaac Wood (vocals/guitar), Tyler Hyde (bass), and Georgia Ellery (violin). Having cut their teeth at the infamous Brixton venue the Windmill, they established themselves with their raucous live shows — their live reputation and just two singles, 2019’s “Sunglasses” and “Athen’s, France,” generated a lot of hype before the release of their debut, For the First Time, in 2021.

The album was nominated for the 2021 Mercury Music Award while also peaking at number four in the U.K. album charts. With touring on hold due to the COVID-19 pandemic, the group returned to the studio with long-time collaborator Sergio Maschetzko to work on their follow-up. Pushing their sound further into other sonic territories, the resulting album, Ants from Up There, was issued in February 2022, just days after the sudden departure of singer/guitarist Isaac Wood. Though the album garnered widespread acclaim, the remaining bandmembers declined to perform any of it without Wood. With Hyde, Kershaw, and Evans all sharing lead vocal duties, they retired their previous material and wrote an entirely new set of songs to reflect their current lineup. During a two-night stand at London’s Bush Hall, the reconstituted Black Country, New Road made a concert film and album featuring these new songs. Live at Bush Hall was released in early 2023. Working with producer James Ford, BCNR returned to the studio to create a proper follow-up to Ants from Up There. Building on the theatrical chamber pop from their Bush Hall era, the group’s new material was sung by Hyde, Ellery, and Kershaw, giving them an entirely female-fronted sound. The resulting album, Forever Howlong, was released by Ninja Tune in April 2025. – Biography by Liam Martin

tue23jun10:30 pmtue11:59 pmTobe Nwigwe10:30 pm - 11:59 pm Blue Note, 131 W 3rd Street

wed24jun7:30 pmwed11:00 pmThe Cab7:30 pm - 11:00 pm Theatre of Living Arts, 334 South Street

wed24jun8:00 pmwed11:00 pmChrissy Chlapecka8:00 pm - 11:00 pm MilkBoy, 1100 Chestnut Street Event Organized By: Dave Kiss Presents

wed24jun8:00 pmwed11:59 pmBig FreediaBlue Note Jazz Festival 20268:00 pm - 11:59 pm Sony Hall, 235 W 46th Street

Time

(Wednesday) 8:00 pm - 11:59 pm

Location

Sony Hall

235 W 46th Street

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Recognized as the larger-than-life ambassador of New Orleans Bounce music, Big Freedia is a nationally acclaimed hip-hop artist, TV personality, and cultural icon. The Queen of Bounce made waves with her electrifying feature on Beyoncé’s Grammy-winning hit, “Break My Soul” (2022), cementing her influence in mainstream music.

Beyond her three critically acclaimed EPs—‘3rd Ward Bounce’ (2018), ‘Louder’ (2020), and ‘Big Diva Energy’ (2021)—as well as the full-length ‘Central City’ (2023), Big Freedia has been featured on some of the most iconic tracks in recent music history. She lent her signature sound to Beyoncé’s “Formation”, Drake’s “Nice for What”, and even covered “Judas” for Lady Gaga’s Born This Way The Tenth Anniversary album in 2021.

This summer, Big Freedia expanded her musical legacy with the release of her debut gospel album, Pressing Onward (August 2025), featuring collaborations with Tamar Braxton, K. Michelle, and Billy Porter. The album, which reached no. 5 on the Gospel Music charts, was critically acclaimed by Billboard, Rolling Stone, and NPR among others.

Big Freedia’s ascension in the music industry was chronicled over six seasons in the highly rated reality show, ‘Big Freedia Bounces Back’ from 2011-2016 on Fuse TV. A brand new series, ‘Big Freedia Means Business,’ chronicling Freedia’s triumphs in music, business and life debuted in 2023 on Fuse TV.

Big Freedia is known for her infectious energy and personality. In 2019, she was the official host for the Met Gala IG Live Stream Red Carpet event and a host of 2021’s Dick Clark’s Rockin’ New Year’s Eve TV celebration. Known by her fans as the “Queen Diva,” Big Freedia is a loud and proud advocate for racial and gender equality and LGBTQ+ rights.

In 2021, Big Freedia was honored as one of Ebony’s Power 100 and she has appeared on Access Hollywood, Entertainment Tonight, NPR, The Breakfast Club, The Problem with Jon Stewart, The Late Show with Stephen Colbert, Jimmy Kimmel Live!, and The Real. Her critically acclaimed 2015 memoir, God Save the Queen Diva (Gallery Books/Simon & Schuster) was released in paperback in 2020.

thu25jun6:00 pmthu10:00 pmTortoise6:00 pm - 10:00 pm Knockdown Center, 52-19 Flushing Avenue

Time

(Thursday) 6:00 pm - 10:00 pm

Location

Knockdown Center

52-19 Flushing Avenue

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Tortoise is widely considered one of the most influential music groups of the last 40 years, with a wide-reaching impact on the contemporary music scene. Pitchfork says: “Imagine a graphic showing all the bands the five members of Tortoise were in before they came together and then all the bands they went on to play with after. At the top of the funnel you have groups ranging from dreamy psych-rock to earthy post-punk crunch, including Eleventh Dream Day, Bastro, Slint, and the Poster Children; on the ‘post-Tortoise’ end are groups focusing on electro-jazz and twangy instrumental rock like Isotope 217, Chicago Underground, and Brokeback. In this graphic, Tortoise is the choke point, the one project that has elements of all these sounds but is never defined by nor committed to any of them. Instead, Tortoise floats free, a planchette moving over a Ouija board guided by 10 sets of fingers, where everyone watches the arrow float in one direction but no one is quite sure how it gets there or who is doing the pushing.”

The band, which originally formed in Chicago, comprises Jeff Parker, Dan Bitney, Douglas McCombs, John Herndon, and John McEntire.

Initially hailed as pace-setters of the then-emerging, so-called “post-rock” sound, the Chicago Tribune called Tortoise’s sound “mood music that refuses to be shoved into the background, as inviting as it is challenging.” Releasing just seven albums since 1990 — including classics like 1996’s Millions Now Living Will Never Die, 1998’s TNT, and 2001’s Standards —Tortoise has steadily and intuitively evolved across its life, creating genreless music that is as timeless as it is ahead of the curve.

The band’s legacy goes beyond its recorded output, as well. Per the New York Times: “While Tortoise’s albums have experimented with the editing and overdubbing possibilities of the studio, the band thrives performing in real time.” Rolling Stone deems Tortoise “a live marvel,” while Pitchfork further says the band’s performances reveal that “at heart, they’re a supremely fun band, wide open to all sorts of sonic possibilities.”

thu25jun8:00 pmthu11:59 pmSon LittleCityFolk Tour8:00 pm - 11:59 pm Music Hall of Williamsburg, 66 North 6th Street

Time

(Thursday) 8:00 pm - 11:59 pm

Location

Music Hall of Williamsburg

66 North 6th Street

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Curiosity about his ancestry has led songwriter and multi-instrumentalist Son Little on a journey throughout the American South that has resulted in his new album, simply titled CITYFOLK. The West coast born, Northeast-bred musician finetunes his craft here and speaks for those enduring tribulations about finding their place in the world.

Little, whose real name is Aaron Livingston, has sonically traveled practically everywhere that his songwriting and instrumentation have taken him, especially since the beginning of the 2020s. He’s toured with the likes of Black Pumas, Kelis and Mumford & Sons, and made festival appearances at Newport Folk and Bonnaroo, melding his dedicated fanbase with mainstream listeners. On the soulful fluidity of that year’s project aloha, the ANTI Records act braves his way through realizations about his personal shortcomings but endeavors to persevere through the madness. 2022’s Like Neptune unspools Little’s time in therapy, no longer silencing his inner fire. With a catalog that has amassed over 250 million streams, Little’s originality has embarked on a new chapter.

Now living outside of Atlanta, Livingston attributes the development of CITYFOLK to going even further south to record in Muscle Shoals, Alabama, in January 2025. It was there that Little, whose past collaborations include The Roots and RJD2, connected with two-time Grammy-winning musician and Alabama Shakes band member Ben Tanner to flesh out sketches of songs that he’d crafted through epiphanies about his family’s roots. Already having an understanding of his father’s side, Little views his maternal line as a “mystery unfolding,” but it was in Shoals that the stars aligned, both through retracing his history and formulating an organic chemistry with Tanner.

But it wasn’t an intentional journey: Little was guided by water through the misfortune of pipes bursting in the basement of his Atlanta residence. The space flooded several times, and at one point, it occurred just as wildfires were raging in Los Angeles, where Little traveled to record a collaborative project. Life presented an obstacle, but Little went with instinct by flowing through the madness. Shoals would become his escape route, and in channeling Mavis Staples–who Little worked with on 2015 EP Your Good Fortune–Otis Redding, and other pioneers who took up space in the small town in times past, Little cemented an audible manifestation of his journey.

“Just by showing up it brought something out,” Little explains. “I realized, in moving here, that my mother’s people all came from this area, from South Carolina, Georgia–I thought a lot about how interesting it was that I would just sort of gravitate and migrate to a place where I had history.”

“Sometimes the spirits will guide you to a place when you don’t even know you don’t know why you found yourself there,” Little continues.

Before immersing himself in the home studio of Tanner’s residence in Shoals, Little recorded voice note demos with subtle instrumentation that became the framework of CITYFOLK. The acoustic demos would soon be mixed with drum machine beats before evolving into live material with contributions from a drummer, bassist and horn players. Jam sessions fully brought CITYFOLK into existence, while the unchanging southern comfort and musical richness of Shoals remained a backdrop to the album’s hymnal stew. In the late 1960s, the Muscle Shoals Sound Studios housed unbridling protest anthems and melodious love songs that would become the classics of tomorrow. Little’s CITYFOLK is a relic in the musical path paved for him.

“Its whole reputation and businesses are thriving because of the spirit of unity,” Little says of the small Alabama town. “I mean, it’s all due to music that was created in defiance of that legacy. It’s a place that I think really is a symbol of what can be accomplished when those barriers are broken down.”

Surfacing through Little’s microcosm of Shoals was sounds that embody the spirit of ancestral folklore. The banjo is strummed at a rhythmic church-stomping pace on “Rabbit,” where Little strives for peace amid societal upheaval. “Whip the Wind” grooves with Afro-Latin polyrhythms, its hook driven by a constant shaker and a silky synth melody that recalls early-1970s Stevie Wonder. But the song sticks to Little’s true form: despite its danceable feeling, the song is a call to recognize the human cost of power before it’s too late. The musician’s message becomes even more urgent on “Paper Children,” an outcry for those downtrodden and forced into inherited hardships. “Time has come to testify, there’s another Trail of Tears tonight,” Little wails on the song’s second verse.

Although often placed in the category of “roots musician”, on CITYFOLK, Little, who NPR praised for having “impeccably crafted songs,” continues to defy genre but lets the evocation of his storytelling pierce through. “The industry likes to keep artists in little boxes, and for Black artists it has meant being defined by your proximity to ‘urban,’” Little admits. “But my music has always had had flashes of country, rock and folk, as well as hip-hop, blues and R&B. So I’ve always struggled as an artist who kind of, I think, lives in the spaces between genres.”

“And although I once thought streaming would finally dissolve some of the barriers that pigeonhole artists, it’s turned out to be the opposite,” he continues.

The album is also an opportunity for listeners to discover Little as more than a vocalist, but a well-rounded artist who carefully balances DIY production, songwriting and vocal arranging. It’s a hands-on process that authentic voices like Little haven’t lost as artificial intelligence threatens the music industry.

“For me, it doesn’t really matter what you feed the AI; it will never be equal to a human artist following an inner voice. There’s already a lot of hollow, derivative music out there made by humans; the sad part is, that a lot of people won’t know the difference!’

Between takes on CITYFOLK, Little and co-producer Tanner and crew cut through the small talk by mulling over big issues of the day, often informed by or informing lyrical choices as the songs went from demos to their final forms.

“These times we’re in, where it feels like things in the outside world are blowing up or burning down, one of the artistic impulses can be [to] really get really introspective off that,” Tanner says. “Like, Well, if there’s chaos everywhere right here, like, what can I do about myself to cope or to deal or to control my immediate relationships in spite of all that?”

While assisting with shaping Little’s narrative, Tanner says that working with him has driven him to adopt a percussive and multi-layered element to his own music. “At the core, there is something that is very roots driven. It’s song-driven, he has the song craft and the musical ability like any of these songs, he can sit with a guitar or at piano and play and sing the song and communicate the song that way,” Tanner explains. “So in some ways there’s something that is a little bit old school in a good way, but in the making of the record there’s sort of a lot more at play.”

He continues, “There’s lots of hip hop influence and more modern R&B and indie rock. I think the musicality that he’s bringing to being like a singer-songwriter is unique and different from anybody I’m really aware of.”

CITYFOLK builds upon the foundation that Little has laid for decades, and, like the aftermath of his basement flood, the album divinely re-routes the musician back to self and revitalizes the need for lasting music when it seems that all hope is lost.

fri26jun3:00 pmfri9:00 pmMGMT3:00 pm - 9:00 pm Knockdown Center, 52-19 Flushing Avenue

Time

(Friday) 3:00 pm - 9:00 pm

Location

Knockdown Center

52-19 Flushing Avenue

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The product of Ben Goldwasser and Andrew Van Wyngarden’s ever-changing vision, MGMT is a pop band prone to deep dives of psychedelia and art rock experimentation. The band first formed in 2002 when the two friends were freshman-year art students at Wesleyan University in Middletown, Connecticut and grew from a performance-based project to the deeply refined, neon-glowing synth pop of their 2007 debut LP Oracular Spectacular. That album came out on a major label, was nominated for Grammys, and included more than one hit that would come to define a particular era of hipster ennui. In the face of this breakthrough success, MGMT immediately shifted gears to embrace their weirder side on subsequent albums, working with Spacemen 3 alum Sonic Boom on their deliriously psychedelic 2010 sophomore effort Congratulations and tying together their inherently hooky songwriting with electronics, intentionally confused arrangements, and experimental production on records like their self-titled 2013 album and 2024’s Loss of Life.

MGMT was first conceptualized in 2002 by college friends Goldwasser and Van Wyngarden. The band was initially known as the Management, and its shows consisted mostly of backing tapes, synthesizers, and pre-recorded vocals playing as Goldwasser and Van Wyngarden engaged the audience in a manner somewhere between performance art and good old-fashioned punk hostility.

By their senior year, they had toned down considerably on-stage, and began augmenting their live sound with backing musicians. After graduating, MGMT released an electro-rock EP, 2005’s Time to Pretend, on the tiny indie label Cantora Records. For their full-length debut, the duo partnered with producer Dave Fridmann and recorded Oracular Spectacular, a far more musically expansive album that was released in late 2007. The album immediately enjoyed both critical approval and commercial success, with the album selling over 500,000 copies in the U.S. and going platinum in Australia, the U.K., and Ireland. The album’s third single, “Kids,” was a hit, eventually being nominated for Best Pop Performance by a Duo or Group with Vocals at the 52 Annual Grammy Awards.

In 2009, MGMT began working with producer Sonic Boom, formerly of Spacemen 3 and Spectrum, on their second album, Congratulations. Released in 2010, the record found them growing more ambitious and quirkily psychedelic, with a song dedicated to two of their heroes: Dan Treacy of Television Personalities and Brian Eno. The album debuted at number two on the U.S. Billboard chart and the band toured much of the year, while also appearing on TV and playing many festivals.

The following year, the bandmembers dug deep into their record collections to curate an installment of the Late Night Tales mixtape series and began work on their third album with Dave Fridmann. The self-titled effort was something of a return to the expansive sound of their debut, but with the same amount of weirdness that permeated Congratulations. The record received mixed reviews, but still broke the Top 20 of the Billboard album chart. After the band finished touring behind the album, they decided to take a break from making music together.

After roughly a year of inaction, Goldwasser and Van Wyngarden began trading song ideas back and forth via computer, then decided to write and work on arrangements together. They brought Fridmann back and added producer Patrick Wimberly of Chairlift to the team. Inspired by pop music of the ’80s and heavy on synths, Little Dark Age was MGMT’s most accessible since their debut, despite featuring contributions from dedicated weirdos Ariel Pink and Connan Mockasin. Though the record was finished and turned in to their label Columbia in April of 2017, it wasn’t released until February of 2018. The album debuted at number 35 on the Billboard 200 and hit number two on the Top Rock Albums chart. Several years after Little Dark Age was released, the title track took on a life of its own, suddenly experiencing a viral boom in streaming numbers. In 2022, the band self-released live album 11•11•11, a document of a 2011 performance at New York’s Guggenheim Museum of music the band was commissioned to create to accompany an art installation there.

The fifth studio album Loss of Life marked the end of MGMT’s long partnership with Columbia, and was released in February of 2024 on indie label Mom + Pop Music. The material on the album was informed by much of the same reference points that had guided MGMT’s more adventurous output, with songs sounding like ’70s soft rock and FM pop radio beaming in from an alternate galaxy where psychedelic thoughts were the norm. In addition to once again bringing in Wimberly for production and Fridmann for mixing, Loss of Life included guest production from both Danger Mouse and Oneohtrix Point Never’s Daniel Lopatin, as well as guest vocals from Christine and the Queens on the track “Dancing in Babylon.” – Biography by Stewart Mason

fri26jun7:00 pmfri9:00 pmDondria7:00 pm - 9:00 pm Groove, 125 MacDougal Street

Time

(Friday) 7:00 pm - 9:00 pm

Location

Groove

125 MacDougal Street

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Dondria is a pioneering R&B artist who first rose to prominence as one of the earliest musicians to break through on YouTube under the name Phatfffat. At 19, her viral covers and powerhouse vocals led to a major-label deal with Island Def Jam and Jermaine Dupri’s So So Def Recordings. Her debut album, Dondria vs. Phatfffat, featured the hit single “You’re the One”, which climbed toward the top 10 on billboard’s hot R&B/hip-hop songs chart.

Now independent, Dondria is a singer, songwriter, poet, and mental health advocate known for her commitment to authenticity, emotional wellness, and self-love. In 2024, she released in the dark, her first published poetry collection, inspired by her personal journey through depression. Her current Back to Love era marks a creative homecoming.

Following the release of her 2025 EP, she is preparing Back to Love: Welcome Home, the deluxe album that expands on themes of vulnerability, aligned love, and spiritual growth. By popular demand, she is also continuing the Back to Love Tour, delivering soulful, intimate performances that invite audiences into deeper connection.

From YouTube pioneer to seasoned independent artist, Dondria’s journey is one of evolution, resilience, and purpose. She is not just back, she’s home.

fri26jun7:00 pmfri10:00 pmWeird Nightmare7:00 pm - 10:00 pm Ortlieb's, 847 North 3rd Street

fri26jun7:30 pmfri11:00 pmThe Cab7:30 pm - 11:00 pm Starland Ballroom, 570 Jernee Mill Road

fri26jun8:00 pmfri11:59 pmAnnahstasia + Adi OasisBlue Note Jazz Festival 20268:00 pm - 11:59 pm Sony Hall, 235 W 46th Street

Time

(Friday) 8:00 pm - 11:59 pm

Location

Sony Hall

235 W 46th Street

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Annahstasia has cultivated her soulful, poetic folk songcraft between blazes of intimacy and independence across different lives, locations, and iterations, loves lost and gained, expectations evaded and recreated. Love is the elemental constant, alongside her distinctly resonant voice, shading the singer-songwriter’s music since her earliest self-taught recordings, back when a 17-year-old Annahstasia Enuke was discovered and propelled into the pressures of an industry that nearly stifled her greatest strengths. Artistic resilience, gratitude, and dedication to process have yielded Tether, her full-length debut on drink sum wtr, a collection of beaming torch songs, orchestral hymns, and astral anthems that feel lived-in. Annahstasia assembled the pieces of Tether slowly and with deep intention; she’s carried these songs with her on the road, sang them for friends and strangers, and evolved them over time alongside her personal revelations. Across the lush arrangements, recorded with a range of accomplished musicians including featured guests aja monet and Obongjayar, Annahstasia’s voice rings true, open-hearted, and free.

French Caribbean singer/producer/bassis/fashion icon Adi Oasis is currently taking the music world by storm, thanks to her debut album “Lotus Glow”. Released in early 2023, Lotus Glow showcases Adi’s artistic evolution – not to mention her trademark soaring vocals, funky bass, and retro-futurist production – garnering over 30 million streams globally, adds on dozens of radio stations across North America and Europe, and features in magazines ranging from Elle and Wonderland to Rolling Stone, Blackbook, Dazed, and more. It is Adi’s most personal work to date – and also her most political, reflecting Adi’s journey, from growing up in the Paris projects to being a Black female immigrant in America.

Adi has collaborated with numerous artists, including Leven Kali, KIRBY, Jamila Woods, Sam Hennshaw, Jitwam, Danielle Ponder and more. Since going solo in 2018 under the moniker Adeline, she has earned widespread critical acclaim and a thriving fanbase, partly due to her incredible live shows. She has toured globally, appearing with such artists as Lenny Kravitz, Masego, Anderson .Paak, Thundercat, Gilles Peterson, Yasiin Bey and more, and has performed at a wide variety of festivals including Newport Jazz Fest, Love Supreme, Central Park Summerstage, Afropunk, Montreux Jazz Festival, Cross the Tracks and Funk on the Rocks (Red Rocks) to name a few.

fri26jun8:00 pmfri11:59 pmAustin Millz8:00 pm - 11:59 pm Franklin Music Hall, 421 N. 7th Street Event Organized By: Chamber 215

Time

(Friday) 8:00 pm - 11:59 pm

Location

Franklin Music Hall

421 N. 7th Street

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Austin Millz produces euphoric, glitzy dance tracks which seamlessly blend influences such as R&B, pop, and funk. First emerging with releases like 2017’s Cyclone EP and 2019’s strobe-lit Remi Wolf collaboration “Bad Behavior,” he worked with artists like Aluna and Teedra Moses on his 2021 Midas EP. High-profile reworks of hits by Mariah Carey, Nina Simone, and Chaka Khan preceded 2023’s Breathwork EP, which featured guests including Alina Baraz and Estelle. Millz has continued issuing summery, seductive singles such as 2025’s “Right Now” (with Caroline Byrne).

Harlem-born Austin Millz was heavily inspired by producers such as Quincy Jones, the Neptunes, and Just Blaze. He started out making hip-hop, and his beats appeared on mixtapes by rappers like Wale and Jim Jones during the early 2010s. He moved closer to EDM-style trap with his 2015 remix of Brenmar’s “Don’t Want It,” and “Limelite,” a mellow house tune featuring Anishka, appeared in 2016. The three-song EP Cyclone, a glossy mixture of hip-hop, pop, and EDM, was released by Fool’s Gold in 2017. Millz DJ’ed at Beyoncé’s Homecoming Coachella event, and released the 2019 singles “Broke Boy” (with Claire Ridgely) and “Bad Behavior” (with Remi Wolf).

In 2021, Millz released the EP Midas, a celebratory fusion of R&B, rap, and house which sported guest appearances by Aluna, Pell, Teedra Moses, BJ the Chicago Kid, and others. Another song with Pell, “What’s Next,” was issued in 2022, and Millz released official remixes of Mariah Carey’s “Always Be My Baby” and Nina Simone’s “Feeling Good.” He kicked off 2023 with “Nobody Khan (Ain’t Nobody),” a nu-disco rework of the Chaka Khan hit. Millz surfaced on Ultra Records with the lush, summery Breathwork EP, which featured guest vocals by Sabrina Claudio, Estelle, Duckwrth, and others. In 2024, Millz released songs with Tommy Genesis (“Church”), Farruko (“Turbina”), and Jozzy (“Need I Say More”). He continued releasing collaborative singles in 2025, including tracks with Kah-Lo (“Hot & Mysterious”), Skilah (“Sweat”), and Caroline Byrne (“Right Now”). – Biography by Paul Simpson

Organizer

Chamber 215

sat27jun6:00 pmsat9:00 pmHarvey Street6:00 pm - 9:00 pm Mercury Lounge, 17 E Houston Street

Time

(Saturday) 6:00 pm - 9:00 pm

Location

Mercury Lounge

17 E Houston Street

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Harvey Street is a high-energy indie and alternative rock band from Raleigh, North Carolina known for electrifying live performances and emotionally driven songwriting. Blending modern indie rock textures with classic alt-rock grit, Harvey Street has quickly built a reputation as one of the most exciting emerging bands from the Southeast.

Described as “disciplined electricity,” the five-piece delivers a powerful live experience that combines tight musicianship with explosive stage energy. Their sound balances atmospheric guitars, driving rhythms, and melodic hooks that resonate with contemporary indie rock listeners and jam band fans alike.

Since forming in Raleigh, NC, Harvey Street has steadily grown its audience through relentless touring and unforgettable live shows. The band has completed four headline tours across 22 states in the US, performing in venues throughout the South, Northeast, and Midwest.

Along the way, Harvey Street has supported notable artists including Flipturn, Moon Taxi, Futurebirds, The Stews, Arcy Drive, Daniel Donato, Winyah, Penelope Road, and Stop Light Observations. These performances have helped the band expand their fanbase and establish themselves as a rising force in the indie rock community.

Harvey Street recently announced their “Down and Out” Southeast headline tour, bringing their signature indie rock sound to audiences across the region. The tour will feature performances throughout North Carolina, South Carolina, Georgia, Tennessee, Virginia, and Florida.

sat27jun7:00 pmsat10:00 pmWeird Nightmare7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

sat27jun7:00 pmsat11:00 pmDelta Sleep7:00 pm - 11:00 pm House Of Independents, 572 Cookman Avenue

Time

(Saturday) 7:00 pm - 11:00 pm

Location

House Of Independents

572 Cookman Avenue

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Pairing unusual rhythmic structures with pop melodies, British math rock quartet Delta Sleep carved out a cult following with albums including 2018’s Ghost City and 2021’s Spring Island.

Originally from Canterbury, Kent, the quartet moved to Brighton and started playing in earnest. Comprised of Devin Yuceil (lead vocals, guitar), Glen Hodgson (vocals, guitar), Dave Jackson (vocals, bass), and Blake Mostyn (vocals, drums), Delta Sleep released their self-titled debut EP in 2010 before signing to Big Scary Monsters, which put out the follow-up, Management, in 2013. The band played the post/math/noise rock Arctangent Festival in 2015, and the following year they released Twin Galaxies. For their next album, they headed to Italy to record at MAM Studios, and Ghost City was released in 2018, receiving acclaim and acting as springboard for a 2019 world tour. The Younger Years EP appeared without fanfare, that September, and in July 2020 the band issued Soft Sounds, a collection of stripped-back material from their repertoire, all recorded while on the road. Following 2021’s Old Soul EP, Spring Island became Delta Sleep’s first full-length release to be issued in their own label, Sofa Boy Records. – Biography by Bekki Bemrose

sat27jun8:00 pmsat11:59 pmLowertown8:00 pm - 11:59 pm Bowery Ballroom, 6 Delancey Street

Time

(Saturday) 8:00 pm - 11:59 pm

Location

Bowery Ballroom

6 Delancey Street

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Olivia Osby and Avsha Weinberg met in high school math class. They sparked a friendship when Avsha looked over Olivia’s shoulder to see what music she was playing on her laptop, bonding over a shared love of Alex G and The Microphones. They traded influences, and eventually, demos, releasing their first ever single as Lowertown in 2018 before they’d graduated high school. The band’s distinct and off-kilter style initially proving to be an obstacle to fitting in on local bills, but their 2019 debut Friends set things in motion. Within a short period of the time the duo had signed to Dirty Hit, and hit the road supporting Wet Leg, quickly followed by a run with Porches, and a national tour with label mates and friends Beabadoobee.

Across three albums, the band’s sound has expanded from their initial indie folk offerings to include flashes of electronica, jagged punk, and beautiful atmospherics. Mood has always been key to the sound of Lowertown, the singular interplay between Olivia & Avsha’s alternatingly raw and melodic vocals playing out over freeform songwriting that Pitchfork described as “fascinating.” On the band’s latest EP, Skin of My Teeth, they continue to sharpen their hooks without losing the idiosyncratic charm that’s made them so compelling. Notably, it’s also the band’s first independent release since signing with Dirty Hit as teenagers, and if their recent run of sold-out headline dates is any indication, they haven’t missed a beat.

sun28jun1:00 amsun1:00 amSG LewisDreamland Pride 20261:00 am - 1:00 am Central Park

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(Sunday) 1:00 am - 1:00 am

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Central Park

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Britain’s SG Lewis is an in-demand producer, songwriter, and DJ with an emotive, atmospheric approach to dance-oriented, electronic-based music. Initially known for his remixes of artists like Jessie Ware, he released his debut EP, Shivers, in 2015. Collaborations with vocalists such as Gallant, Ray BLK, and Bishop Nehru followed, and in 2018 Lewis began releasing a three-part EP series dedicated to club culture, which was later compiled into the full-length album Dusk, Dark, Dawn. In 2021, he topped the U.K. Dance chart with his full-length debut Times, followed two years later by the double album AudioLust & HigherLove. He also collaborated with Tove Lo on the 2024 joint EP Heat. His guest-heavy third album Anemoia arrived in 2025.

A native of Reading, England, Lewis first became interested in music in his teens and played in several bands before he started experimenting with remixing tracks. Influenced by the introspective pop of Bon Iver and James Blake, as well as the club-ready hip-hop of artists like Common, Timbaland, and the Neptunes, Lewis began posting his own evocative, moody tracks online. He quickly built a loyal following and eventually nabbed a residency DJ’ing at London’s Chibuku Club.

In 2014, his remix of Jessie Ware’s song “You & I (Forever)” caught the attention of Ware’s label, PMR Records, who then signed him. A year later, he released his debut EP, Shivers. In 2016, Lewis delivered his sophomore EP, Yours, which included the track “Holding Back,” featuring Gallant. Lewis’ 2017 output consisted of the Toulouse-aided single “Times We Had” and the solo track “Smart Aleck Kill.” He returned in January 2018 with “Aura,” a bright yet low-key track featuring vocalist J Warner. The song appeared on the disco-influenced Dusk, which kicked off his trilogy of club-centric EPs. The Dark and Dawn EPs arrived over the next year and were later combined under the full-length title Dusk Dark Dawn. Meanwhile, Lewis continued to collaborate with other artists like James Vickery’s 2019 single “Pressure.” After a continued string of singles through 2020 — including Lewis’ biggest hit to date, “Chemicals” — the producer announced the release of his debut album, Times, in October that year. Described by the musician as an “ode to the present moment, and the finite chances we have to celebrate it,” the project saw release in February 2021 and featured appearances from Rhye, Robyn, and Lucky Daye. It topped the U.K. Dance Albums chart. A non-album track, “Missing You”/”Something About Your Love,” arrived in 2022.

The producer’s second LP, AudioLust & HigherLove, arrived in early 2023: a two-part album coming in at over an hour, Lewis’ second project aimed to represent the two contrasting sides of love. In 2024, after guesting on Shygirl’s charting dance track “Mr. Useless,” he teamed up with Tove Lo for the joint EP Heat. The full-length album Anemoia was released in 2025, with guests including Shygirl, TEED, London Grammar, and Oliver Sim.

sun28jun8:00 pmsun10:30 pmLeo Middea8:00 pm - 10:30 pm Littlefield, 635 Sackett Street

mon29jun6:30 pmmon9:00 pmOlive Jones6:30 pm - 9:00 pm Baby's All Right, 146 Broadway Event Organized By: Move Forward

mon29jun6:30 pmmon9:00 pmJesca Hoop6:30 pm - 9:00 pm (le) poisson rouge, 158 Bleecker Street

Time

(Monday) 6:30 pm - 9:00 pm

Location

(le) poisson rouge

158 Bleecker Street

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A singer/songwriter who adorns her artful indie folk with quirky melodies and razor-sharp harmonies, Jesca Hoop’s sparse songs nod to influences like Paul Simon, Joni Mitchell, and Vashti Bunyan. She debuted with Kismet on Columbia in 2007, kicking off a string of albums that were unpredictable while working within the parameters of her established sound. She partnered with Iron & Wine’s Sam Beam on 2016’s Love Letter for Fire before making a solo appearance on Sub Pop with the next year’s Memories Are Now. Hoop’s sixth studio album, 2022’s Order of Romance (Memphis Industries), featured a pair of backing singers, core rhythm section, and horn and woodwind quintet. Her first album to be entirely self-produced, the similarly spacious Long Wave Home was distributed by Universal in 2026.

A native of Santa Rosa, California, Jesca Hoop got her big break thanks to her gig as a nanny for Tom Waits’ children in the early 2000s. Hoop had grown up in a musically inclined Mormon family, but left the fold soon after her parents separated when she was 14. She traveled around California, Wyoming, and Arizona writing songs and honing her craft before settling down with the Waits family for a period of five years. Tom Waits took a liking to Hoop’s offbeat folk songs, which in their own way linked her with so-called “New Weird Americans” like Devendra Banhart, Joanna Newsom, and Faun Fables. He passed her demo (a version of the song “Seed of Wonder”) along to Lionel Conway, who in turn handed it to KCRW’s Nic Harcourt. The DJ gave “Seed of Wonder” some airplay, and it became popular enough with listeners that record companies started paying her court. She signed with 3 Entertainment, an offshoot of Columbia Records. With production by 3 Entertainment head Tony Berg, her full-length debut, Kismet, was released in 2007 and landed on the Billboard independent and Heatseekers album charts.

The Kismet Acoustic EP followed in 2008 on the Last Laugh imprint after Columbia shut down 3 Entertainment. By then relocated to Manchester, England, Hoop next struck a deal with the independent Vanguard Records, which issued her sophomore album, Hunting My Dress, in 2010. The live recording The Complete Kismet Acoustic and the EP Snowglobe both saw release in 2011. Hoop’s third album, House That Jack Built, was co-produced with Berg and released by Last Laugh in 2012. Again reworking prior songs, the acoustic LP Undress come out in 2014.

In 2016, Hoop collaborated with Iron and Wine’s Sam Beam on the Sub Pop release Love Letter for Fire. She followed that with her own Sub Pop album, 2017’s Memories Are Now. Her first solo effort to be recorded outside of Tony Berg’s Zeitgeist Studios, it was tracked in North Hollywood with producer Blake Mills. Memories Are Now returned Hoop to the Top 20 of the Heatseekers Albums chart. Marking a move to Memphis Industries, her fifth album of original material, 2019’s Stonechild, was produced by longtime PJ Harvey collaborator John Parish (This Is the Kit, Aldous Harding). Its guests included indie pop harmonists Lucius and This Is the Kit’s Kate Stables and Rozi Plain. After recording more reinterpretations for The Deconstruction of Jack’s House in 2021, she re-enlisted Parish for 2022’s Order of Romance. Its support included vocalists Chloe Foy and Rachel Rimmer, drummer Seb Rochford (Babyshambles, Polar Bear), bassist Jon Thorne (Lamb, Yorkston/Thorne/Khan), and a horn and woodwind quintet. Hoop returned to Last Laugh via Universal with the release of 2025’s Selective Memory, featuring acoustic versions of songs from Memories Are Now.

Inspired by both personal and political upheaval, Hoop’s seventh solo album was her first to be produced by her alone. Recorded with session musicians in London, Bristol, and the Isle of Wight, and featuring engineering by Tim Thomas (Bright Eyes, British Sea Power) and Leo Abrahams (Belle and Sebastian, Frightened Rabbit) and arrangements by Jesse D. Vernon (This Is the Kit), Long Wave Home was released in May 2026 on Last Laugh. – Biography by Marcy Donelson

tue30jun7:00 pmtue10:00 pmLambThe Creatures Tour7:00 pm - 10:00 pm Baby's All Right, 146 Broadway

tue30jun8:00 pmtue11:00 pmDestin ConradBlue Note Jazz Festival 20268:00 pm - 11:00 pm Sony Hall, 235 W 46th Street

Time

(Tuesday) 8:00 pm - 11:00 pm

Location

Sony Hall

235 W 46th Street

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GRAMMY-nominated singer-songwriter DESTIN CONRAD was raised in Tampa, Florida. DESTIN first gained attention on Vine before stepping into music, penning songs for Kehlani’s Billboard No. 2 album It Was Good Until It Wasn’t and releasing his first project, COLORWAY, in 2021. In the years since, he’s released fan favorites like SATIN and the dual projects SUBMISSIVE and SUBMISSIVE 2. With a growing body of work and an ever-expanding audience, DESTIN continues to push the boundaries of contemporary music.

DESTIN’s debut album, LOVE ON DIGITAL, released earlier this year, marked a defining moment for the rising R&B star while showcasing his instinct for innovation. Debuting at No. 3 on Apple Music’s R&B/Soul Albums chart and No. 7 on Spotify’s U.S. Albums chart, the project has earned over 44 million streams to date. Reimagining modern love through vibrant storytelling rooted in FaceTime calls, voice notes, time zones, and touchscreens, DESTIN fuses Y2K nostalgia with sleek, forward-thinking production. Featuring Kehlani, Lil Nas X, Teezo Touchdown, and serpentwithfeet, the album blends humor, heartbreak, and vulnerability while demonstrating DESTIN’s ability to expand R&B’s boundaries through fresh sonic textures.

DESTIN CONRAD’s LOVE ON DIGITAL headline world tour wrapped up 2025 with 43 shows across the United States, Canada, Europe, and the UK.

DESTIN CONRAD recently released his alternative jazz album, wHIMSY, which debuted at No. 3 on Billboard’s Contemporary Jazz Chart and No. 1 on Apple Music’s Jazz chart. The project highlights DESTIN’s versatility, blending jazz textures with the effortless cool that defines his sound, while officially introducing his masculine alter ego, MR. E—first hinted at on his debut album LOVE ON DIGITAL through the track and video “MR. E.” With collaborators including Terrace Martin, James Fauntleroy, Keyon Harrold, Vanisha Gould, and Ambré, wHIMSY fuses tradition with innovation and whimsical textures with grounded precision, showcasing DESTIN as a multi-dimensional artist moving seamlessly across genres and sonic landscapes.