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

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

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

Location

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

wed10jun7:30 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.”

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

thu11jun7:30 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. ”

fri12jun7:30 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

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

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

Location

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

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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.”

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.”

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

mon15jun8:00 pmmon11:00 pmIke DweckSae 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

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

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

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

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