Amaria Announces ‘The Free Fallin’ Tour,’ Her Debut Headlining Run This Spring

Name: The Haunt
Start: 2025-1-18T19-19-00-00
End: 2025-1-18T21-21-00-00
Location: Mercury Lounge

Amaria McGee, known simply as Amaria, is one of R&B’s fastest-rising stars. With three projects (2021’s Bittersweet EP, 2023’s All For You, and 2024’s Free Fallin’) to her name, the “Back To Me” singer has amassed a steady string of support worldwide.

After displaying her talents as onstage support for others, Amaria is gearing up for her first-ever headlining tour. Beginning on March 5 in Houston, Texas, Amaria will launch The Free Fallin’ Tour. Along the 12-date schedule, DJ Sara Kawai will provide the sounds for each show.

The pre-sale has started, and the public sale will follow on Friday, January 17, at 10 a.m. Continue below to view the full show schedule for Amaria’s The Free Fallin’ Tour and its official poster.

If you can’t get your hands on tickets, we recommend trying a secondary market website, like Vivid Seats. First-time Vivid Seats users can save $10 on ticket orders over $100 by entering promo code VIVID10 at checkout. When tickets through our Vivid Seats link HERE or using our code, we earn an affiliate commission.

Amaria’s 2025 The Free Fallin’ Tour Dates

03/05/2025 – Houston, TX @ House Of Blues
03/06/2025 – Dallas, TX @ House Of Blues
03/08/2025 – Atlanta, GA @ The Masquerade
03/09/2025 – Charlotte, NC @ Amos’ Southend
03/11/2025 – Washington, DC @ Union Stage
03/12/2025 – Brooklyn, NY @ Baby’s All Right
03/14/2025 – Boston, MA @ Brighton Music Hall
03/16/2025 – Toronto, ON @ Adelaide Hall
03/20/2025 – Chicago, IL @ Schubas Tavern
03/25/2025 – Seattle, WA @ Neumos
03/28/2025 – San Francisco, CA @ Brick & Mortar Music Hall
03/29/2025 – Los Angeles, CA @ The Echo

Amaria’s 2025 The Free Fallin’ Tour Poster

january, 2025

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sat18jan7:00 pmsat9:00 pmThe HauntNew Addiction Tour7:00 pm - 9:00 pm Mercury Lounge, 17 E Houston Street

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

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Mercury Lounge

17 E Houston Street

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Anastasia Grace Haunt & Maxamillion Haunt, the sibling duo at the core of the quartet, craft shockingly resonant anthems infused with wistful elegance and raw nerve. At only 19, Anastasia is possessed with a voice and sensibility beyond her years, an old soul somehow channeling a timeless essence, with powerfully mature lyricism to back it up. Enigmatic, esoteric, and charming, Anastasia doesn’t just “relate” to teenagers in The Haunt’s audience who have been bullied or otherwise shunned. She quite literally is one of them. The Haunt is an invitation to the outsider, a blissful surrender to enchantment, melancholy, and disaffected beauty. It’s the soundtrack to the dark romanticism of otherworldly sentimentality. This is lush, theatrical, all-enveloping music outstretching its cold embrace to the overlooked. A swirl of Indie-Pop and Post-Punk with a devilish alchemy that summons both Blues and Beats, The Haunt wouldn’t be out of place at Vivienne Westwood’s late seventies London boutique; a new wave countdown on MTV’s “120 Minutes”; baking in the sun at Vans Warped Tour; or a dystopian dance club in space. The juxtaposition of Anastasia’s quiet offstage shyness with her commanding vocal preeminence is one of many artistic clarion calls beckoning an increasing number of like-minded devotees into the Haunt’s world.

sat18jan7:00 pmsat11:00 pmCaroline Strickland7:00 pm - 11:00 pm Union Pool, 484 Union Avenue

sat18jan7:00 pmsat11:59 pmThe Dirty Nil7:00 pm - 11:59 pm White Eagle Hall, 337 Newark Avenue

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(Saturday) 7:00 pm - 11:59 pm

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White Eagle Hall

337 Newark Avenue

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If there’s one rule people should follow when approaching the Dirty Nil, it’s this: Never tell them how to rock ‘n’ roll. Ontario’s Juno Award-winning trio is a finely tuned rock machine that is at its best when the members are pursuing their penchant for thrashy riffs, bashed out drums, and levels-to-the-max volume. And on their fourth album, Free Rein to Passions, the band followed their instincts down to the note to produce their most authentic work to date. The Nil’s back-to-basics approach was a direct reaction to their previous record, 2021’s Fuck Art, a creative process that brought too many industry people whispering in the band’s ears, telling them how to polish and tweak their songs to fit on the radio or streaming playlists or whatever other arbitrary whims the modern music machine demands. “There were all these expectations and pressures, people telling us to try this or that,” says frontman Luke Bentham.“We’re by no means the biggest band in the world, but in our ecosystem it became hard to try to make all these people happy. We were given challenges, and I think we met them, but getting to that place, it made me realize: ‘If we go any further in this direction, then I don't know what we’re doing anymore.’ It had gotten to a point where the creation wasn't very fun.” In order to incinerate their apparatus, they had to destroy it completely. So as soon as Fuck Art was in the can, the Nil got back to having fun and doing what they love. They jammed away in their practice space for weeks, not overthinking anything or taking any external input. They didn’t sweat the small details or fret over transitions and arrangements. Less second guessing, more reckless abandon. It’s the same approach to rock they’ve taken since they were kids. “We had the best time pulling these songs together. It made me feel like a teenager in my parents’ basement again,” Bentham says. What came out was the appropriately titled Free Rein to Passions, a palate cleanser for the Dirty Nil, and a reminder for them to stick to the fundamentals of rock and stay true to themselves. “What was it LCD Soundsystem said about trading in guitars for turntables and synthesizers?” Bentham laughs. “I’d say that’s unlikely for us.” Their youthful rock-worship approach is immediately apparent on the album’s opener“Celebration,” which cuts in via a chugging metal riff, a subtle ode to one of the Nil’s influences, Power Trip’s late frontman Riley Gale. From there, the band indulges their loudest, gnarliest inclinations, making casual nods to their more chaotic favorites, including everything from theJesus Lizard to the Blood Brothers. And on the album’s catchiest single, “Nicer Guy,” the Nil reminds listeners that they also still wield the power to stitch a perfect, infectious pop hook into their rock fabric. Free Rein to Passions keeps things simple lyrically as well, and doesn’t get bogged down withoverly complicated messaging. Nothing overwrought, nothing didactic. Just songs about working soul-sucking jobs, shredding on guitar, and striving to be a kinder person. “The only real central theme of the album is an acknowledgment of the crazy circumstances that we all occupy at this point in time, and being nice,” Bentham stresses. “It’s about being nice to everyone around you, and enjoying your silly little life and not getting too smashed down by prevailing negativity in the air.” The Nil again recruited longtime collaborative producer John Goodmanson to capture their sound at Jukasa Media on Ontario’s Six Nations Reserve. They also brought in new blood with bassist Sam Tomlinson, a friend and fellow product of the Dundas scene. “In some ways it feels like going back to our roots in Dundas, and Sam knows what that’s like,” adds drummer KyleFisher. “He’s cut from the same cloth as Luke and I.” That hometown feeling was the inspiration for the song “Blowin’ Up Things in the Woods,” an ode to the simple joys of fireworks, explosions, and pyrotechnic annihilation. Staring into the abyss of entertainment serfdom, the trio spat on it. They smashed the chalice of poison brought to their lips, grinding the shards under their heels. A rock and roll band is part religion, part small business and part pirate ship. Sabres were wielded and planks were walked for The Dirty Nil to bring Free Rein to Passions into this world. It was a battle well worth fighting.

sat18jan8:00 pmsat10:00 pmLotus8:00 pm - 10:00 pm Bowery Ballroom, 6 Delancey Street

sat18jan8:00 pmsat11:00 pmStone Cold Grace8:00 pm - 11:00 pm World Cafe Live - Philly, 3025 Walnut Street

sun19jan7:00 pmsun9:00 pmKinoI Think I Think Too Much Tour7:00 pm - 9:00 pm Bowery Ballroom, 6 Delancey Street

tue21jan(jan 21)8:00 pmwed22(jan 22)1:00 amTrevor JacksonIt's Complicated Tour8:00 pm - 1:00 am (22) The Fillmore, 29 E Allen Street

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21 (Tuesday) 8:00 pm - 22 (Wednesday) 1:00 am

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The Fillmore

29 E Allen Street

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Trevor Jackson juggles dual careers as an actor and pop-oriented R&B artist. Born in Indianapolis, Indiana, Jackson played Young Simba in the Chicago production of The Lion King before he moved to Los Angeles to be closer to the movie, television, and music industries. In 2010, he joined the cast of the SyFy network series Eureka, and in 2012 his role in Disney's hip-hop-themed movie Let It Shine provided the perfect stepping stone for a career in music. In 2013, after he signed to major-label Atlantic, he released the singles "Like We Grown" and "Superman," both of which landed on his New Thang EP later that same year. A handful of singles scattered across 2014 and early 2015 led to the mixtape In My Feelings, after which Jackson resumed acting work with a role on the series American Crime, appearances on Black-ish and a lead role in the film Burning Sands. Jackson inked a distribution deal with Empire and returned to music in 2017 with the singles "B&W (Benz and My Wallet)" and "NightTime," the latter of which appeared on his 2018 mixtape Rough Drafts, Pt. 1. By that point, Jackson had also joined the main cast of the Black-ish spinoff Grown-ish. A pair of singles, the slick "Warning" and the ballad "Puddles," appeared in 2019. - Biography by David Jeffries

thu23jan7:00 pmthu10:00 pmHarf. & Thomas RowlandBound For Heartache Tour7:00 pm - 10:00 pm Mercury Lounge, 17 E Houston Street

thu23jan8:00 pmthu10:00 pmSophie Truax8:00 pm - 10:00 pm World Cafe Live - Philly, 3025 Walnut Street

thu23jan(jan 23)9:30 pmfri24(jan 24)1:00 amTrevor JacksonIt's Complicated Tour9:30 pm - 1:00 am (24) Baby's All Right, 146 Broadway Event Organized By: Move Forward Music

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23 (Thursday) 9:30 pm - 24 (Friday) 1:00 am

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Baby's All Right

146 Broadway

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Move Forward Musicinfo@moveforwardmusic.com

fri24jan6:00 pmfri8:00 pmSophie Truax6:00 pm - 8:00 pm Mercury Lounge, 17 E Houston Street

fri24jan7:00 pmfri10:00 pmEric CannataHolding Onto The Holy Release Show7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

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

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Union Pool

484 Union Avenue

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Holding Onto The Holy marks the debut solo album for Eric Cannata – guitarist, songwriter, and founding member of Young the Giant, Coma Culture, and American Pets, as well as acclaimed producer of projects by Hannah Connolly and Kenton Chen. Cannata first dipped his toes into the solo stream with 2020’s Lonely Beast, a folk and psychedelia-tinged EP inspired by solitude. Now he returns with Holding Onto the Holy, a self-produced full-length collection about togetherness and how to love life while the world falls apart, sparked by his relationship with fiancé and musical collaborator Connolly. The project had its genesis during ten days of Covid quarantine, impelling Cannata to use a scratchy throat and an old microphone to find a new voice. Taking inspiration from such classic pop and rock icons as Roy Orbison, Harry Nilsson, and The Velvet Underground, the multi-talented instrumentalist and songwriter emphasized fun and exploration to chase other muses such as childhood cartoons, folklore, and daydreams. Cannata fleshed out his evolving sound with a range of instruments including 12-string acoustic guitars, a vintage Solina String Ensemble string synthesizer, and an old upright piano, with additional accompaniment from Kosta Galanopoulos on drums and father Ernie Cannata on piano, as well as a few trusted voices in Connolly and longtime friend and collaborator Jon O’Brien, who handled mixing and additional engineering. Eric Cannata may have started Holding Onto The Holy searching for joy in a chaotic world, but he found it dancing by himself and recording with loved ones.

fri24jan7:30 pmfri11:00 pmPom Poko7:30 pm - 11:00 pm Ukie Club, 847 N Franklin Street

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

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Ukie Club

847 N Franklin Street

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Norway's freewheeling Pom Poko combine their jazz school training and experimental leanings into equally sugary and explosive music. Inspired by math rock, post-punk, West African music, and weird pop bands such as Deerhoof, the group introduced their loose-limbed, playful style on 2019's Birthday, then emphasized the contrast between their meticulous compositions and chaotic performances on 2021's bracing Cheater. With 2024's Champion, Pom Poko brought more maturity to their music without losing any of their spark. Named after a film by Japanese animation powerhouse Studio Ghibli, Pom Poko consists of Ragnhild Fangel Jamtveit (vocals), Martin Miguel Almagro Tonne (guitar), Ola Djupvik (drums), and Jonas Krøvel (bass). Tonne, Djupvik, and Krøvel met while studying at the Trondheim Music Conservatory and initially aspired to be a noise punk trio. However, when they were asked to perform at a literary festival in 2016, they added Jamtveit on vocals and quickly wrote a set of sugary pop-punk songs with unexpected twists. The band soon started playing gigs, including a support slot for their friends Broen. Simon Raymonde, the founder of Broen's label Bella Union, happened to see Pom Poko play at this show and signed them soon after. In February 2019, the label released the combo's debut album, Birthday, which was nominated for the Nordic Music Prize as well as two Norwegian Grammy Awards. That August, Pom Poko issued "Leg Day," a stand-alone song they recorded in a northern Italian village. Another track, "Praise," appeared in March 2020 and hinted at the more volatile direction of the band's second full-length, Cheater. Released in January 2021, the album was co-produced by Marcus Forsgren and took the sweet and combustive elements of Pom Poko's sounds to extremes. A year later, the band issued This Is Our House, an EP that combined old and new songs with sounds ranging from fuzzed-out to delicate. As Pom Poko made their third album, the signs of their growing maturity as musicians and people informed the songs they wrote. Self-produced and mixed by Ali Chant, August 2024's Champion paired a more spacious version of the band's music with topics like parenthood and personal growth. - Biography by Heather Phares

fri24jan8:00 pmfri9:30 pmAloe Blacc8:00 pm - 9:30 pm Blue Note Jazz Club, 131 W 3rd Street

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

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Blue Note Jazz Club

131 W 3rd Street

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Iconic R&B and soul vocalist Aloe Blacc has focused his career on putting positivity and beauty into the world. “I always want my songs to inspire people, motivate people, and help them dream bigger,” he says with that trademark warm smile. And this year will prove to be the gold standard in Blacc’s effort. In addition to the upcoming 10th anniversary edition of his landmark album Lift Your Spirit, 2024 will also see Blacc cover a variety of classic alt-rock hits on two EP-length volumes called Rock My Soul. The California native picked up trumpet in grade school, but dreamed of being an emcee—putting together hip-hop projects, including three records with producer Exile as Emanon. Later, a recording of Blacc singing Sam Cooke's "Change Is Gonna Come" lit up the indie label circuit. “My heroes were Bill Withers, Harry Belafonte, Stevie Wonder, people with messages that were self-affirming,” he says. Blacc’s beloved early solo hits like "I Need a Dollar" and "The Man" (from 2010's Good Things and 2014's Lift Your Spirit, respectively) followed powerfully in that tradition. The first taste of Rock My Soul, a regal take on Soundgarden’s “Black Hole Sun”, finds Blacc on an interstellar funk rock journey. “That was a song that affected me the very first time I heard it—and it always will,” Blacc says. That personal connection permeates a bossa nova-indebted take on “Lithium”, a twitchy, Rhodes-driven version of No Doubt's "Don't Speak”, and a satin ballad take on RHCP's "Under the Bridge". “That’s what we did in hip-hop—we’d take from everywhere, interpret, and I love to see music growing that way,” Blacc says. “Grunge and alt-rock had a lot of the depression, anxiety, angst of their era. Nina Simone, Stevie Wonder, the Isley Brothers, they took rock songs and transformed them into soul or funk songs, and found how to channel their emotions.” Ever tapped into the larger industry culture and American spirit, Blacc has felt the same transformations surrounding Lift Your Spirit. “It felt right to celebrate the 10-year mark, to tell people again that they deserve joy,” he says. The record’s opening track and lead single embodies that reminder, and after catapulting Blacc to the top of the charts worldwide in its first-released incarnation alongside Swedish DJ Avicii, the acoustic version of “Wake Me Up” further elevates the calls for harmony. The Deluxe reissue of Lift Your Spirit will also feature three additional tracks initially released on retailer-specific editions or international markets. And as if all that weren’t enough, Blacc has his eyes set on another album release in February of 2025, with its first track dropping later this year. This time, though, he’ll match his philanthropic streak to the music, with each track inspired by a different nonprofit organization. And considering the tension and conflict that surrounds so much of every day, there couldn’t be a better time for the soothing balm of Aloe Blacc.

fri24jan(jan 24)10:30 pmsat25(jan 25)12:00 amAloe Blacc10:30 pm - 12:00 am (25) Blue Note Jazz Club, 131 W 3rd Street

Time

24 (Friday) 10:30 pm - 25 (Saturday) 12:00 am

Location

Blue Note Jazz Club

131 W 3rd Street

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sat25jan6:00 pmsat8:00 pmTall HeightsSoftly Softly Tour6:00 pm - 8:00 pm Mercury Lounge, 17 E Houston Street

sat25jan7:00 pmsat10:00 pmGreg Freeman & Ekko Astral7:00 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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“Greg Freeman deals in biblical deluges, apocalyptic fever dreams, Floridian miscreants, and green mountain malaise. On his excellent debut LP “I Looked Out,” Gregs’s voice takes center stage, creaking, crooning, and cutting through clouds of static. The songs are linked together by a palpable urgency, whether it is the punch-in-the-face, careening momentum of “Tower,” the country-gazing guitar squall of “Souvenir Heart,” or the singalong finale of “Palms.” Careful arrangements and production choices bring out the best of the 7-piece band that ornament the album with pedal steel, horns, eerie strings, and tape warbles. Greg’s strong narrative songwriting is equally effective chronicling the demise of a 1920s ocean liner as it is documenting his own interpersonal uncertainties. The sounds on the record conjure up the feeling of driving around Chittenden County in the middle of winter, high beams on, slush on the floor mats. It’s hard for me to imagine a more promising debut record, and I can’t wait to see where this band goes next.” – Garrett Linck Like a more glittery version of the legendary generations of Washington, D.C. hardcore bands, Ekko Astral play a style of punk they call “mascara moshpit.” Debut album Pink Balloons became one of the year’s best-reviewed debuts, thanks in part to the group’s catchy, in-your-face melodies and lyrics that provided a necessary alternative to the more traditional doom & gloom of 21st century American life, from the climate crisis to attacks on transgender rights. Ekko Astral was founded in the nation’s capital in 2021 by two longtime friends, singer/songwriter Jael Holzman and guitarist Liam Hughes. Hughes, a grad student earning a master’s degree in audio technology at American University, realized he could access the college’s recording studio while studying, and collaborated with Holzman, an energy and climate journalist who spent the COVID-19 lockdown coming out as a trans woman. Inspired by a diverse clutch of bands from Arctic Monkeys and IDLES to the MC5 and Death Grips, Holzman and Hughes (alongside Pretty Bitter bassist Miri Tyler and drummer Stephen Yeager), put together the 2022 EP QUARTZ as part of Hughes' graduate thesis. The band began to evolve after its release; Tyler switched to drums, and the group added bassist Guinivere Tully and guitarist Sam Elmore. Their first album as a quintet, 2024’s Pink Balloons, explored the pain of death, decay, gender, class inequality, and lives augmented by a haze of internet subcultures and sharpened lyrical allusions to everything from Creedence Clearwater Revival to Carly Rae Jepsen. Instead of succumbing to empty platitudes and rote calls to action, the undercurrents of Pink Balloons push for hope and joy in times that felt short of either. The result was a rapturously reviewed full-length debut and waves of impressed profiles in music publications. - Biography by Mike Duquette

sat25jan8:00 pmsat11:00 pmBlind Pilot8:00 pm - 11:00 pm World Cafe Live - Philly, 3025 Walnut Street

Time

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

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World Cafe Live - Philly

3025 Walnut Street

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Oregon's Blind Pilot combines lush West Coast indie pop and elegant folk-rock to create a sound that's both intimate and panoramic. Emerging in 2005, the band found mainstream success in 2011 with the release of their Billboard-charting sophomore effort, We Are the Tide (2011), and elicited acclaim for 2016's And Then Like Lions, which reached the upper echelons of multiple Billboard charts. An eight-year hiatus preceded the arrival of the band's fourth long-player, 2024's In the Shadow of the Holy Mountain. Blind Pilot was founded in Portland in 2005 by singer/guitarist Israel Nebeker and drummer Ryan Dobrowski, who first banded together in college before combining their talents and touring the northwestern Oregon circuit. By 2006, however, they'd decided that a change of scenery might help their songwriting. Blind Pilot consequently relocated 90 miles north, where the duo spent three months inside an Astoria warehouse while recording demos for a full-length album. Afterward, Nebeker and Dobrowski launched a "bike tour" that saw them traveling from Vancouver to San Francisco on their bicycles, playing shows and selling EPs (not to mention saving gas money) along the way. They returned home to finalize their 3 Round and a Sound debut, which was released by Expunged Records in June 2008. While playing shows supporting 3 Round and a Sound's release, Blind Pilot added four new members to the touring lineup. This swelled the band's sound, making 2011's acclaimed We Are the Tide a more fleshed-out, lush affair. The group then signed with ATO for their third LP, which would be five years in the making. Still operating as a six-piece, they released And Then Like Lions in the summer of 2016. The LP cracked the Top Ten on the Billboard alternative, folk, indie, and rock charts. Artistic crises marred Nebeker in the years to come, with a particularly sinister bout of writer's block driving him to desperate measures. After reading, therapy, and writer's trips failed, he challenged himself to compose the band's long-gestating fourth album in a single month. Produced with sonic heft by Josh Kaufman, the resulting In the Shadow of the Holy Mountain was released in 2024.

sat25jan8:00 pmsat11:00 pmRebounder8:00 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street

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

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Kung Fu Necktie

1248 N Front Street

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Rebounder is the band of New York City native producer and writer Dylan Chenfeld, with his brother Noah Chenfeld, joined by Cobey Arner and Zack Kantor. Rebounder has received praise from NME, DIY, Notion, The Fader, Pigeons and Planes, and has been played on Ezra Koenig’s Time Crisis. Rebounder has toured with the likes of Phoenix, MUNA, Twin Shadow, How Long Gone / Chris Black, Dayglow, The Neighbourhood, and Cautious Clay. They have played private shows for the NME, and done a campaign for J.Crew. Rebounder’s debut track “Japanese Posters” recently crossed 27 Million Streams on Spotify, with the project now boasting more than 400,000 monthly listeners on the platform. New single “Sunset Vision” has been championed at AAA radio, hitting full rotation at WFUV in NY, 91X in San Diego and WEHM in Long Island, among other stations. The song was performed live in a WFUV session, and remixed by Rob from Phoenix. 2024 will see Rebounder release their third EP, “Sundress Songs”, and do a second nationwide headline run. The new EP was co-produced with Adam Thein (Djo). New Single “Sunset Vision” was just released, and and it is off to a great start at AAA radio, it has been added at WFUV, 91X, WEHM among other stations.

sat25jan8:00 pmsat10:00 pmSoccer Mommy8:00 pm - 10:00 pm EST Union Transfer, 1026 Spring Garden Street

Time

(Saturday) 8:00 pm - 10:00 pm EST

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Union Transfer

1026 Spring Garden Street

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Soccer Mommy is the stage name of Sophie Allison, a singer/songwriter who channeled the sound of 1990s indie rock into her own distinctive, conversational, and confessional style. Allison developed her voice on a series of self-released bedroom recordings, which she then parlayed into a record contract with Fat Possum. The label released her critically acclaimed debut album, Clean, in 2018. Color Theory -- the 2020 sophomore set released by Loma Vista/Concord -- found Soccer Mommy continuing to mine guitar-heavy indie rock, yet it also displayed some synth textures in its margins. Allison ventured down this atmospheric path on Sometimes, Forever, the 2022 album she made with Daniel Lopatin of Oneohtrix Point Never. Working instead with Ben H. Allen III (Deerhunter, Belle and Sebastian), she peeled back some of those layers in an effort to go more organic on 2024's Evergreen. While still guitar-centric, it incorporated instruments like strings and flutes. Born May 27, 1997, in Zurich, Switzerland, Sophie Allison relocated with her family to Nashville, Tennessee, when she was two years old. Drawn to music at an early age, she studied guitar while attending the Nashville School of the Arts. Upon her graduation, she adopted the Soccer Mommy moniker for the original songs she uploaded for online streaming, beginning with the Songs for the Recently Sad EP. While attending New York University, Allison continued to self-release Soccer Mommy music. Songs from My Bedroom arrived late in 2015, followed quickly by Songs from My Bedroom (pt. 2) in early 2016. Orchid Tapes released For Young Hearts in 2016. The mini-LP reached five on Billboard's Heatseekers Album charts, helping to pave the way to a contract with Fat Possum. For her first album for the label, Allison tweaked several of her early songs for Collection. After its release in August 2017, Soccer Mommy headed out on the road as a support act for the Drums and Jay Som. Allison teamed with Gabe Wax, a producer and engineer best known for his work with the War on Drugs and Fleet Foxes, for Clean, the first proper studio album by Soccer Mommy. Released in March 2018, the record garnered strong reviews and placed on several best-of-the-year lists. She promoted the album with tours supporting Stephen Malkmus, Paramore, and Vampire Weekend. Soccer Mommy moved to Loma Vista/Concord for 2020's Color Theory. Working again with Gabe Wax, Allison expanded her aural palette on Color Theory, drawing inspiration from old cassette tapes. The record reached 142 on Billboard's Top 200, peaking at seven on its Alternative chart. She switched producers for her third album, recording Sometimes, Forever with Oneohtrix Point Never's Daniel Lopatin. The change in collaborators resulted in an adventurous record that occasionally echoed dream-pop and shoegaze. Upon its June 2022 release, Sometimes, Forever reached 137 on Billboard's Top 200 and topped the Heatseekers chart. After collaborating with Sub Pop act Bully on "Lose You," Allison turned her attention to recording a set of cover songs released in 2023 under the title Karaoke Night. The five-song EP featured Soccer Mommy's take on songs by R.E.M., Sheryl Crow, and Pavement. For her fourth long-player, Allison dialed back the layers of atmosphere present on her previous album in an effort to shine the spotlight on songwriting. While still more textured than her debut, 2024's Evergreen favored more organic sounds, including acoustic guitars, strings, and flutes. Recorded in Maze Studios in Atlanta with producer Ben H. Allen III (Deerhunter, Belle and Sebastian), Evergreen arrived on Loma Vista that October. - Biography by Stephen Thomas Erlewine

sat25jan8:00 pmsat9:30 pmAloe Blacc8:00 pm - 9:30 pm Blue Note Jazz Club, 131 W 3rd Street

Time

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

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Blue Note Jazz Club

131 W 3rd Street

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sat25jan(jan 25)10:30 pmsun26(jan 26)12:00 amAloe Blacc10:30 pm - 12:00 am (26) Blue Note Jazz Club, 131 W 3rd Street

Time

25 (Saturday) 10:30 pm - 26 (Sunday) 12:00 am

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Blue Note Jazz Club

131 W 3rd Street

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sun26jan8:00 pmsun9:30 pmAloe Blacc8:00 pm - 9:30 pm Blue Note Jazz Club, 131 W 3rd Street

Time

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

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Blue Note Jazz Club

131 W 3rd Street

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sun26jan8:00 pmsun11:00 pmHarf. & Thomas RowlandBound For Heartache Tour8:00 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street

sun26jan(jan 26)10:30 pmmon27(jan 27)12:00 amAloe Blacc10:30 pm - 12:00 am (27) Blue Note Jazz Club, 131 W 3rd Street

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26 (Sunday) 10:30 pm - 27 (Monday) 12:00 am

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Blue Note Jazz Club

131 W 3rd Street

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tue28jan7:00 pmtue9:00 pmPom Poko7:00 pm - 9:00 pm Baby's All Right, 146 Broadway

Time

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

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Baby's All Right

146 Broadway

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tue28jan7:00 pmtue11:00 pmElsa y Elmar7:00 pm - 11:00 pm Bowery Ballroom, 6 Delancey Street

Time

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

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Bowery Ballroom

6 Delancey Street

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The six-time Latin GRAMMY-nominated singer-songwriter and producer, Elsa y Elmar, has announced her third studio album PALACIO, out 30th August 2024 via her independent label, Elmar Presenta. Much like the sea for which she named herself, the essence of Elsa y Elmar moves with the tides. Yet the anchor to her genre-meandering "spiritual pop" is her unsparing, confessional approach to songwriting. In PALACIO, she plumbs the depths of her soul, searching for a bigger meaning in her most personal anxieties and romantic mishaps; she surfaces with pearls of synthy, alt-pop wisdom to share with others wading in the same deep waters. "It's very complex, the spiritual dimensions of us millennials," says the CDMX-based, Colombian-born artist, whose real name is Elsa Margarita Carvajal. "I try to capture that in my music. We're all about giving others a space for their feelings. That's a pretty spiritual experience!" Produced in collaboration with Latin GRAMMY-winning musical director Julián Bernal (Sebastian Yatra, Kali Uchis), PALACIO serves as a creative sanctuary for Elsa, who teases out her emotional and musical metamorphosis in 11 dynamic songs. Guided by guitars and sparkling with Elsa's pop flair, the album includes only one feature: a cameo from Spanish vocalist, Álvaro de Luna who revels in the alternative contours of "Visto." "Each song is its own genre, a planet in the solar system whose axis is my obsession with knowing myself, exploring myself and improving myself," explains Elsa. "I made PALACIO as an act of trust [in] life, creativity, art, and as an act of rebellion towards the structure and demands of the current music industry," she adds. "In PALACIO, beauty and error, seriousness and play, happiness and sadness, love and heartbreak coexist — but above all, freedom." Born in the Andean town of Bucaramanga, Colombia, the 30-year-old singer-songwriter grew up playing guitar and the flute; she was encouraged to start making music professionally after writing witty, personalized versions of Shakira songs for her friends. Yet upon entering the recording studio for the first time, 16-year-old Elsa felt alienated by the pressure to conform to the industry standards for Latin pop. "These producers not only wanted me to use songs already written for me by a stranger in Miami," she says, "But they said I'd look prettier if I took off my braces. I knew there had to be another way, so I went to school for music." Elsa braved the unforgiving Boston winters to study at the Berklee College of Music, where she graduated in 2015 with a Bachelor's degree in music performance. There she recorded a 2013 EP titled Sentirnos Bien — from which her song, "Me Viene Bien," won the Grand Prize in the Latin category of the 2014 John Lennon Songwriting Contest. She followed up with her 2015 debut album, Rey, an early sketch of her signature electro-pop sound. In 2019, Elsa pumped up the volume with her Caribbean-faring pop album, Eres Diamante, and landed a nomination in the category of Best New Artist at the Latin Grammys that year. In 2020, she was nominated for Best Pop Song, thanks to her work as a co-writer on the Ximena Sariñana single, "Una Vez Más." After releasing her 2022 LP, ya no somos los mismos, Elsa counted three more nominations that year, including for Album of the Year and Best Engineered Album. After surviving the earth-shattering breakup that triggered ya no somos los mismos — and a serious health scare that landed her in a hospital — "I woke up with nothing to lose and full of desire to live and create," says Elsa. She spent the summer traveling with friends in Europe, searching for a more adventurous Elsa. "I went from Berlin to Tenerife, Italy, Madrid," she says. Instead of kissing a procession of hot foreign strangers, as planned, the journey led Elsa back to the songs that built PALACIO. The summer yielded her the Balearic house-inspired track, "Lento Violento," as well as the melancholic dance cut "Drogado de Emociones." In order to bring balance, she pulled back the polish with her angsty punk-pop of "Ke mAL;" and in "A Ella," she cautions the future lover of her abusive ex, with an otherwise light, amiable tone that evokes Cibo Matto. "I don't like to imitate what I hear, so I have to put it through my world," she says of her blended pop sound. "In indie music, you grab the guitar and you just go: 'Wah-wah-wah!' Together with Julián Bernal, my musical partner, we produced the PALACIO songs one by one, with [respect to] the naiveté [and] the impulsiveness of our first ideas." Released this year on March 1, the first day of Women's History Month, Elsa chose the single "entre las piernas" to become her first release in two years. What began as a revelation during the artist's moon time — "I was super PMSing," she says with a laugh — culminated in a pulsating, feminist alt-pop anthem, in which her confidence soars higher than ever before. Directed by Frederick Venet and produced by Georgian animation studio The Crux, the music video depicts a lush, jungle environs populated with colorful vaginal blooms, illustrated in a style that evokes the enduring beauty of Pre-Columbian art. "Women truly carry the world," says Elsa. "How many women at any given moment will be walking around the city center, carrying a mountain of blood between their legs? Beyond blood, we carry so many burdens — we also carry the expectations of how you should behave, how you should look like, how you shouldn't get too angry lest you become hysterical. This is the body that I inhabit as an artist. This is my experience. I needed this to embody myself." Draped in pink and peach chiffon, Elsa becomes the living centerpiece of her own art exhibit, in the video for her latest single: the ethereal folk-pop theme of "palacio<3," a soul-baring invitation into the safe haven she describes as her "Interior Museum of Emotional Landscapes." "Elsa is your friend, your confidant, your diary," she says of the album. "The palace is OUR space, and music is our safe place."

tue28jan8:00 pmtue11:00 pmBen BarnesWhere The Light Gets In Tour8:00 pm - 11:00 pm Theatre of Living Arts, 334 South Street

wed29jan8:00 pmwed11:00 pmBlind Pilot8:00 pm - 11:00 pm Bowery Ballroom, 6 Delancey Street

Time

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

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Bowery Ballroom

6 Delancey Street

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thu30jan7:00 pmthu10:00 pmJoy OladokunThe Blackbird Tour7:00 pm - 10:00 pm Irving Plaza, 17 Irving Place

Time

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

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Irving Plaza

17 Irving Place

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Observations From a Crowded Room Joy Oladokun gets emails. She meets people. There are DMs. Fans of the Arizona-bred singer-songwriter express how they feel before and after seeing one of her shows. Some say they have entered her gigs feeling depressed, unseen and scared, but they leave in a different headspace entirely — upbeat, acknowledged, more confident. Others explain that seeing people like themselves onstage—Black, queer, funny, all of the above — inspires them. With her seemingly bottomless well of melodies and conversational couplets, her inviting buoyancy and infectious guffaw, Joy Oladokun is a human mood elevator. “I think that's beautiful,” she says of receiving these missives. So beautiful in fact that Oladokun decided that she wanted to get in on that action and craft an album “that was a version of what I've been able to give to other people for myself.” Enter Observations From a Crowded Room, a 15 track collection of 12 songs and 3 interludes, written, produced, and largely performed by Oladokun, which build on and expand her pop-folk sonic palette with electronic flourishes and lush harmonies. The record was created at a critical juncture in Oladokun’s life. She was assessing her perch in the world and the industry after the success of previous albums (2021’s in defense of my own happiness and 2023’s Proof of Life) garnered universal high praise, a slew of famous fans and collaborators like Sheryl Crow, Jason Isbell, Noah Kahan and Chris Stapleton, sold out headlining tour dates and opening slots with John Mayer and Hozier. It also invited scrutiny. She began questioning whether she should pursue something else. “I think for me it was a pivotal moment of thinking, ‘I don't know what good there is in this for me anymore. I know what it does for my management. I know what it does for the fans. But I don't know what good this is for my heart and my head anymore,’" she recalls of the bleak place in which she began to find herself. Then she started recording Observations From a Crowded Room. “This album became a way for me to write things, feel things, process things,” she says. “Because, as the producer, I just had to sit with these songs for so long. It became really healing in a sense of, ‘I made this. I'm listening to an album that I genuinely love. All the sounds and bits and bobs came from me with the help of just an engineer.’ It was transformative. So it started out as, ‘I quit,’ and it has ended up as a fresh start.” “I used music to dig myself out of that hopeless headspace and land at a place that if my career ends tomorrow, for whatever reason, I made this record, I made the other records that I'm so proud of,” she shares. “And I did it in a way that was true to me, and now in a way that feels sustainable to me.” What was the inspiration for the title Observations From a Crowded Room? I'm a tried-and-true introvert, and this job, as much as I love it, requires me to walk a tightrope with my social energy tank. I think I spent a lot of time last year being in rooms full of people like me, full of people unlike me, and everything in between, and then I would come back to the back room of the bus or to a hotel and just sit and reflect on what this new phase of my career in my life meant for who I am and how I'm living. I just wanted to write about my life in real time as it's happening and dig into the ways that this job affects me, because I was starting to feel a lot of the repercussions. There is a sense of leveling up here, musically, lyrically, vocally, as your own producer. There are more electronic burbles, psychedelic sounds, an expansion of the range of your singing voice. What was your mission statement? I try to consider myself an artist that's only in competition with myself. I want the next record to be better than the last, and better can mean production, can mean songwriting, can mean anything, but it’s always intentional. I feel the mark when I hit it and I feel like for this record, what it meant to be better than Proof of Life was to increase the moment to moment, present vulnerability that I could bring. You also still love a big pop hook even as you’re experimenting with other moods. I sort of think of myself as a carpenter of songs. I’m not making an art piece that you watch go by and don’t participate with. I'm building a table for people to use, that you interact with every day. That's why I lean on catchy melodies, because it's part of what helps people remember. I hope that someone goes around and sings “Am I” and starts asking themselves, "Am I the only one who's losing the race, looking for grace?" I want people to have something musical that they can latch onto when they feel that way. There are two tracks on the album that seem to address you potentially moving on from Nashville, “Letter From a Blackbird and “The Birds.” Do you plan on leaving? I just wanted to be honest about what it was like to be Black and gay in Nashville in a time where everyone's saying that they're doing better, they're trying to be better, where I'm the face of progress that Nashville is supposed to be making, but a lot of those people have done everything that they can to make sure that I couldn't even get to this point. I have thought about leaving, but if half of my music is about how we all belong to each other, then part of what I'm doing throughout this album is challenging myself to say “I have to have the uncomfortable conversations too. I have to be in a room and bring these things up. I can't just sit in my house and smoke weed and hang out with the dogs somewhere in the woods.” What do you hope people take away from the album? That if they feel like feel like the world has gotten weird, that they are not alone in that. That is the overarching theme, specifically for this record. “Does anybody feel like it's getting hotter under the sun?” I do also feel that way and I'm just opening the conversation.

thu30jan8:00 pmthu10:00 pmZach Fox8:00 pm - 10:00 pm Union Transfer, 1026 Spring Garden Street

thu30jan8:00 pmthu10:00 pmSoccer Mommy8:00 pm - 10:00 pm EST Brooklyn Steel, 319 Frost Street

Time

(Thursday) 8:00 pm - 10:00 pm EST

Location

Brooklyn Steel

319 Frost Street

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thu30jan8:30 pmthu11:00 pmThe Suitcase Junket8:30 pm - 11:00 pm World Cafe Live - Philly, 3025 Walnut Street

Time

(Thursday) 8:30 pm - 11:00 pm

Location

World Cafe Live - Philly

3025 Walnut Street

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The Suitcase Junket is multi instrumentalist Matthew Lorenz. Solitary on stage and on the road, Lorenz' mind is crowded with characters, narratives, voices, imagery, sounds as wide and varied as mountain throat singers and roadhouse juke boxes, plus newsreels of the planet's destruction and salvage. A master of musical imagination -- NPR World Cafe The overall sound lands somewhere between the Avett Brothers and early, dirty Black Keys. There is a Tom Waits vibe in the fuzzy megaphone reverb mic, and something ancient, near tribal, in his whistles and moans -- The Boston Globe A living, breathing, throat-singing, road-tested, avant-garde, one-man-band who is in a state of perpetual motion… gutsy, fuzzed-out, groove-laden psych rock – NPR This guy's a maniac — a one-man band, dumpster-guitar-playing maniac. Strumming a salvaged guitar, banging on a box of cutlery, and releasing a dynamite voice, The Suitcase Junket is the real deal — and one of the most electric souls we've ever seen on stage – Mass MoCA's FreshGrass Now this is the shit I'm talking about, Jack. The Suitcase Junket is a lo-fi, low-tuned, low-down blast of end-times folk blues. It's crude; it's magnificent. With a stage set-up that resembles a junkyard foley stage or Fred Sanford's living room, The Suitcase Junket — one man band leader Matt Lorenz — incants and intones like a cross between Hound Dog Taylor and a Tuvan throat singer who has swallowed a bird. Take the singer-songwriter idiom, give it a low grade fever and a guitar and this is what you get. Captivating, mesmerizing, and gone ... real gone – Rochester City Newspaper Jaw-dropping... It’s the biggest sound I’ve ever heard come from a solo performer. Matt is definitely his own thing and it is something. The live experience is pretty, darn unforgettable — Beale Street Caravan Bluesy guitar riffs, tenacious melodies and a singing voice both weathered and nimble. You don’t need to witness his physics-defying performance to be captivated; the music stands on its own... astonishing – WBUR Boston

fri31jan7:00 pmfri10:00 pmJoy OladokunThe Blackbird Tour7:00 pm - 10:00 pm The Stone Pony, 913 Ocean Ave N

Time

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

Location

The Stone Pony

913 Ocean Ave N

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fri31jan8:00 pmfri11:00 pmHotel Mira8:00 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street

fri31jan8:00 pmfri11:59 pmReal EstateMore Tour8:00 pm - 11:59 pm White Eagle Hall, 337 Newark Avenue

Time

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

Location

White Eagle Hall

337 Newark Avenue

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A band for 15 years now, with a half-dozen records to its canny name, Real Estate knows how the press cycle inevitably goes: Someone somewhere at last had a realization about what their songs needed to say and how they should sound, so (at least according to brief biographies like this one) they finally made the best album of their career. But here’s the thing: Real Estate has been so consistently compelling for those 15 years, with their coruscant indie rock shuffles perfectly reflecting the spellbinding glow of suburban ennui, that they know when they have done it. That is, they know when they have written songs that shimmer and fetch and radiate despite or because of the gloom lurking in their grooves. It is the gift and curse of self-awareness, of sticking together since childhood. So Real Estate, in turn, needs you to know that Daniel—their sixth full-length album, recorded in an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and songwriter Daniel Tashian—is quite possibly their best album. In 11 compulsively tuneful songs, they connect the uninhibited wonder of their earliest work with the earned perspective of adulthood. What more could you need from Real Estate at 15? Martin Courtney knew he wanted to write a pop record, a set of instantly accessible songs where the chorus arrived in, say, the first 40 seconds. During the last decade, or essentially since making Atlas, Real Estate did what was only natural for any beloved and freshly aging indie rock institution: They gently pushed back against praise as an effortlessly melodic and quietly radiant band. Colors darkened. Textures curdled. Songs stretched toward the six- and even seven-minute mark. But what if, as Courtney and cofounder Alex Bleeker often say these days, they again just “Let Real Estate be Real Estate,” to shimmer and fetch and radiate without hesitation or second guesses? Courtney actually learned of Tashian through his daughter, who adored an album he’d produced, Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had never really worked with anyone who wasn’t already a bud. There in Dave Cobb’s famous Nashville lair, Tashian was not shy with his outsider advice about how to boost this song or that one, even playfully throwing the occasional candy bar to emphasize he wanted to hear more. Real Estate had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the background music of their youth. Tashian helped lead them back toward it, toward an improved edition of the less self-conscious band they’d been at the start. Daniel certainly sounds like classic Real Estate, simply leveled up with the subtle but unabashed touches of a producer who has actually lived inside pop powerhouses. The chiming guitars and plaintive verses of “Haunted World” summon the band that first emerged to acclaim in 2009, with Courtney doing his best to sing his way around existential confusion. But in the chorus, dexterous instrumental harmonies (that’s Nashville ace Justin Schipper on pedal steel) and faint backing vocals propel the song anew, its tight hook snagging in a second. Tashian suggested they fortify the refrain, and he was right. Or there’s the marvelous thrum of “Airdrop,” with Bleeker’s busy bass and Sammi Niss’ insistent drums pushing Courtney into the wistful chorus as if he’s riding a hang glider. “The sun went down/We let it,” he sings four times to end the song, the lines essentially built to be cooed back at him from a crowd. “Never been so contented/I won’t ever forget it.” That’s Real Estate’s long-relatable smiling sadness, lifted in proper Music City style. Listen, too, for Real Estate’s squiggly versions of classic Nashville licks during “Flowers,” where the mercury of pedal steel and the twinkle of a Wurlitzer illuminate acoustic strums like stars in the night sky. A song of dislocation and constancy, it’s a reminder of the common way we use music no matter the genre or scene—to find our way forward. Daniel is a complete string of these compulsive moments: the crisscrossed harmonies of “Water Underground,” the delightful sway and rise of “Market Street,” the enchanting but deceptive simplicity of “Interior.” Real Estate manages the rarest of pop tricks here—to sound effortless but be artful, with all the flourishes and tricks tucked so smartly into songs that you only spot them when you unpack what makes all the tunes so winning and sticky. But this, of course, is not the Real Estate of their MP3-blog salad days. Four members are married, with Niss in a long-term relationship. There are actual kids in the equation now. And the world outside has darkened considerably in 15 years, in all those ways that require no recounting here. Time and again, Daniel wrestles with that juxtaposition—external alienation and madness, internal responsibility and hope. These are songs of confusion, of trying to find a way to be present and better in broken times. “Now and then, I can pretend the sun is shining,” Courtney admits during “Freeze Brain,” the keys of Matthew Kallman and guitars of Julian Lynch framing a lambent haze around him. “Let’s let some light in.” Ain’t that the struggle, to find some joy despite all the forces that filch it from us? In Nashville, all five members of Real Estate shared a rental, cutting up in close quarters after the imposition of separation of these last few years. Several days into recording, they were discussing album titles when someone suggested “Daniel,” simply because it seemed funny to bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to take its music seriously without taking itself or its perception too seriously? Absolutely. Daniel is a record of wonderful pop songs, its string of hooks and stream of worry irresistibly connected in the way few bands have ever done better than Real Estate. But perhaps just as important, it is an expression of the self-acceptance that can come with maturity, with realizing it’s enough to be who you want to be. “What is it that you want to hear? There’s only so much time,” Courtney croons during “You Are Here,” Daniel’s ingenious and strutting finale. “Best we can do is be happy here/Sing another line.” It is a mission statement for Real Estate at 15, a reminder that they are the band of their childhood dreams and that is cool. To that end, they’ve never been better at being Real Estate than they are right now, on Daniel, their new best album yet.

fri31jan8:30 pmfri10:00 pmMolly Lewis8:30 pm - 10:00 pm World Cafe Live - Philly, 3025 Walnut Street

fri31jan8:30 pmfri11:00 pmShyGodwin8:30 pm - 11:00 pm MilkBoy, 1100 Chestnut Street

Time

(Friday) 8:30 pm - 11:00 pm

Location

MilkBoy

1100 Chestnut Street

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ShyGodwin, a punk and hardcore punk artist from Philadelphia, is a force to be reckoned with. They have established themselves as a force to be reckoned with in the punk scene with their raw and unapologetic sound. Intense and combative melodies that stoke the listener's passion are delivered by ShyGodwin's music, which represents the rebellious spirit of punk. Their lyrics address issues of societal unrest, individual adversity, and the need for change, striking a chord with listeners who yearn for authenticity and a voice for the marginalized. ShyGodwin incorporates ferocious guitar riffs, piercing percussion, and passionate vocals into their music, drawing influence from punk pioneers like The Ramones and Bad Brains. Every note exudes their unfettered passion and shameless attitude, enthralling audiences and leaving them wanting more. The music of ShyGodwin has an even more violent edge when it enters the hardcore punk genre. It is impossible to ignore the electric environment they create with their unrelenting energy and searing auditory onslaught. ShyGodwin has cemented their position as a key player in the hardcore punk scene with their electrifying concerts and unwavering devotion to their craft. A rallying cry and an anthem for individuals who defy convention and challenge the status quo, ShyGodwin's music is a call to action. In the punk and hardcore punk genres, their unrelenting passion and unwavering dedication to their work make them a formidable force to be reckoned with. ShyGodwin's powerful performances leave a profound influence on everyone who has the opportunity to hear their unadulterated sound.