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april, 2026

wed01apr7:00 pmwed10:00 pmSons of LegionSoul to SØL Tour7:00 pm - 10:00 pm Bowery Ballroom, 6 Delancey Street

thu02apr6:30 pmthu10:00 pmPhoneboy6:30 pm - 10:00 pm White Eagle Hall, 337 Newark Avenue

Time

(Thursday) 6:30 pm - 10:00 pm

Location

White Eagle Hall

337 Newark Avenue

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Phoneboy’s third album, Heartbreak Designer, out in April 2025, is the next chapter for the indie-rock group, blending their signature infectious energy with a more refined, introspective sound. Following the success of Moving Out, the album explores love, loss, and self-discovery, marking a new level of depth in their songwriting and production.

Formed in 2018 by Wyn Barnum, Ricky Dana, and James Fusco, Phoneboy started as three college friends making music in a scene with little space for indie rock. What began as campus shows soon turned into packed venues, millions of streams, and a reputation for high-energy performances. After years of playing alongside the band, longtime friend Jordan Torres officially joined on keys and vocals, bringing a fresh dynamic to their sound.

“This is the most complete record we’ve made,” says the band. “It’s still us at the core, but we pushed ourselves further creatively.” Produced in Brooklyn with Ayad Al Adhamy, Heartbreak Designer builds on the band’s hook-driven style while experimenting with new textures and influences. Lead single “I Look Alive” has already made waves, landing in Sirius XM/Alt Nation’s Top 18 and setting the stage for the full release.

With this record, Phoneboy isn’t just evolving—they’re defining their place in the indie rock landscape. Catch them on tour this year as they bring Heartbreak Designer to life on stage.

thu02apr7:30 pmthu9:00 pmHudson Freeman7:30 pm - 9:00 pm Ukie Club, 847 N Franklin Street

fri03apr7:00 pmfri10:00 pmShadows Become Substance7:00 pm - 10:00 pm Debonair Music Hall, 1409 Queen Anne Road

fri03apr7:00 pmfri11:00 pmHunter HayesThe Evergreen Tour7:00 pm - 11:00 pm The Stone Pony, 913 Ocean Ave N

fri03apr7:30 pmfri11:00 pmThe Brook & The BluffWerewolf Tour7:30 pm - 11:00 pm Webster Hall, 125 E 11th Street

Time

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

Location

Webster Hall

125 E 11th Street

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The Brook & The Bluff return to their rock & roll roots with Werewolf – a high-voltage, live-inspired album that turns up the amps, pushes the tempo, and howls in four-part harmony. Fueled by the sharp songwriting and stacked vocals that have defined their catalog, the collection captures the raw, supercharged energy of the band’s concerts. After nearly a decade of nonstop touring – earning hundreds of millions of streams with fan favorites like “Halfway Up” and “Everything Is Just a Mess” – the band regrouped in Nashville, meeting every morning to write and rehearse like their early days in Birmingham, Alabama. Life unfolded in the background: weddings, divorces, real-world growing pains. Inside the room, it was all music. The band channels the swamp rock spirit of legendary artists like Creedence, Petty, and The Eagles, delivering loud, melodic, deeply human songs like lead single “Super Bowl Sunday” – a crashing, introspective anthem about ego and emotional blind spots. “The goal was to treat the record like a live set,” says frontman Joseph Settine. And that’s exactly what they’ve done. Armed with a new album and an unflinching spirit, The Brook & The Bluff are ready to hit the road again on their upcoming 2026 Werewolf tour. The band boasts a history of sold out headline tours across the continent, a number of major festival performances, and have supported artists like Noah Kahan, Mt. Joy, The Avett Brothers, Ashe, and Rainbow Kitten Surprise.

sat04apr7:00 pmsat10:00 pmNot Leaving Sober7:00 pm - 10:00 pm The Stone Pony, 913 Ocean Ave N

sat04apr7:00 pmsat11:00 pmBathsCERULEAN World Tour7:00 pm - 11:00 pm Littlefield, 635 Sackett Street

Time

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

Location

Littlefield

635 Sackett Street

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The innovative electronic pop project of Los Angeles-area producer Will Wiesenfeld, Baths immerses listeners in atmospheric songs where fantasy and real life meet. The glitchy pop of 2010’s Cerulean introduced Wiesenfeld’s soothing-yet-challenging approach, which turned darker and more cathartic on 2013’s Obsidian. With 2017’s Romaplasm, Baths’ music reached newly emotional heights, a trend that Wiesenfeld continued on 2020’s frequently confessional Pop Music/False B-Sides II. On 2025’s GUT, he paired this soul-baring with sounds that were equally experimental and sensual.

A classically trained musician, Wiesenfeld began making music at an early age while growing up in Los Angeles. He studied piano from age four until age 12, then became fascinated with electronic music ranging from Euro-pop to trance to IDM as a teen. Wiesenfeld found his true inspiration after discovering Björk’s music, and while attending Hamilton High School’s music academy, taught himself guitar, contrabass, and viola. He also developed a distinctively layered production style, mixing sounds like clicking pens and running water with electronics and live instruments.

Wiesenfeld’s first project was [Post-Foetus], which released The 1st Will Wiesenfeld EP in 2007. The following year, he began crafting ambient compositions under the name Geotic. Soon, he added the Baths moniker — a tribute to his love of relaxing in the tub — to the fold. Invited by the like-minded producer Daedelus to play at the L.A. venue Low End Theory, he became a regular performer at the club and signed to Anticon Records in 2009. In 2010, Wiesenfeld had a busy release schedule: Along with remixes for Fol Chen, Shlohmo, and Rafter, that year [Post-Foetus]’ album The Fabric and Geotic’s Mend arrived. It was also the year that Baths’ debut album, Cerulean — which Wiesenfeld recorded in his bedroom over a couple of months — appeared. Cerulean won acclaim for its immersive production and delicate melodies, and in 2011, Wiesenfeld built on this praise with Pop Music/False B-Sides, a collection of outtakes and previously unreleased music. Around this time, he remixed Gold Panda, Son Lux, and Lali Puna (one of his favorite acts) and collaborated with Daedelus and Dntel among others.

In 2012, an extended illness left Wiesenfeld bed-ridden for months. The experience — along with his research about the Dark Ages and his desire to perform with a full band — informed his second album, 2013’s Obsidian, a cathartic set of songs that was darker and more direct than his earlier music. The record reached number 15 on Billboard’s Top Dance/Electronic Albums. That year, Wiesenfeld also worked with Ryan Hemsworth and Flying Lotus and began scoring the animated TV show Bee & Puppycat. In 2014, Baths issued a remix of Grizzly Bear’s “Will Calls” and the Ocean Death EP, which continued Obsidian’s fascination with love and death.

For a few years, Wiesenfeld concentrated on Geotic releases, culminating with the release of the project’s official debut album, Abysma, on Ghostly in March 2017. He returned as Baths later that year, first in July with the theme song for the video game Dream Daddy: A Dad Dating Simulator and again in November with the full-length Romaplasm, an album inspired by the escapism and romance of comics, anime, and games. Along with releasing Geotic’s second album, Traversa, in October 2018, Wiesenfeld’s work as Baths during this time included remixes for WHY?, Tomas Barfod, Let’s Eat Grandma, and Imogen Heap. In May 2020, he issued Baths’ Pop Music/False B-Sides II. A set of tracks recorded during the years between Obsidian and Romaplasm that featured newly written lyrics, it arrived on Wiesenfeld’s own Basement’s Basement label along with a remastered reissue of Pop Music/False B-Sides. That year, Wiesenfeld also issued the Geotic album Oxperls and teamed up with Lala Lala on the single “€ € € €^^%%!!!!!heaven!!!!!!”

Over the next few years, Wiesenfeld pursued a wide array of projects as Geotic and Baths. He released 2022’s To Not Now, Nor to Ever, Despair, 2023’s Oversight, and 2024’s The Anchorite under the former moniker, and a trio of singles (“Slut Hymn,” “Projecting a Life,” and “Do I Make the World Worse”) as well as collaborations with Bambina and Hrishikesh Hirway under the latter name. Also in 2023, two volumes of the Bee & Puppycat soundtrack were released under his own name. Wiesenfeld delivered Baths’ fourth proper album, GUT, in February 2025. A no-holds-barred exploration of his sexuality as a gay man, the album also dug into painfully honest feelings that were reflected in noisy textures inspired by Protomartyr and A Frames. – Biography by Heather Phares

sat04apr8:00 pmsat11:59 pmJOSEPHCloser To Happy Tour8:00 pm - 11:59 pm Music Hall of Williamsburg, 66 North 6th Street

Time

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

Location

Music Hall of Williamsburg

66 North 6th Street

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Named after a small town in northeast Oregon, Joseph is a harmony-driven folk-pop duo comprised of Portland-based sisters Natalie and Meegan Closner. Initially a trio with third sister Allison Closner, the band’s self-released 2014 debut melded an earthy indie folk style with the lush dynamics of pop and rock, and helped them earn a contract with ATO Records. They followed it up with 2016’s more expansive full-length, I’m Alone, No You’re Not. After an EP and handful of singles, Joseph further engaged with their rock side on 2019’s dynamic Good Luck, Kid. Over the next two years the band offered stripped-down versions of their songs on a pair of Trio Sessions then returned in 2023 with the folk-rock hybrid of The Sun, their third full-length. After Allison’s departure in 2024, Natalie and Meegan recast Joseph as a more rock-oriented duo and released the punchy Closer to Happy in early 2026.

Eldest sister Natalie Closner initially began touring as a solo singer/songwriter in the early 2010s before recruiting younger twin sisters Meegan and Allison to form a proper band. With their bewitching close harmonies and rustically modern sound, they bear a resemblance to similarly minded sister acts like Sweden’s First Aid Kit and English trio the Staves. Their debut album, Native, Dreamer, Kin, was released in early 2014. Before long, they were approached by Dave Matthews’ ATO Records, which signed Joseph in 2015. After co-writing some of their new material with Ethan Gruska (the Belle Brigade) in Los Angeles, they headed to Omaha to record their label debut with producer Mike Mogis (Conor Oberst, Jenny Lewis). Released in the summer of 2016, I’m Alone, No You’re Not expanded on the band’s folk-inspired sound, introducing lush new pop textures. Stay Awake, a seven-track EP, followed in 2017 with the single “Sister Winter” b/w “Rest” arriving a year later. With their third album, 2019’s Good Luck, Kid, Joseph further distanced themselves from the folk-oriented style of their earlier work and leaned more heavily into their pop and rock influences. Just one year later, the band took yet another tack, stripping down their sound completely for the sparse Trio Sessions, Vol. 1 EP. Using only their voices accompanied by guitar or piano, Joseph recorded alternate bare-bones versions of their more recent material. A second edition, Trio Sessions, Vol. 2, appeared in late 2021.

Working with producers Tucker Martine and Christian Langdon, Joseph returned to the studio to record their third album. Released in April 2023, The Sun found a natural middle ground between the band’s more organic folk elements and their expressive, tuneful pop side. In August 2024, Joseph announced that Allison Closner would be stepping away, leaving her two sisters to rebrand as a duo. Marking the change as a turning point, Natalie and Meegan embraced a spikier alt-rock sound on 2026’s Closer to Happy, their first as a duo. – Biography by Timothy Monger

mon06apr7:00 pmmon10:00 pmHayley Williams7:00 pm - 10:00 pm Franklin Music Hall, 421 N. 7th Street

Time

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

Location

Franklin Music Hall

421 N. 7th Street

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Hayley Williams is a 3x GRAMMY winning singer, songwriter and musician best known for her role as the frontperson of legendary rock band Paramore. With her incredible range and delivery, Billboard ranked her at #13 on their list of 50 Greatest Rock Singers of All Times saying, “when it comes to singers in contemporary rock, Hayley Williams reigns supreme.” Frequently listed as a source of inspiration from contemporary performers as varied as Chappell Roan, Doechii and Billie Eilish – she’s also appeared on a wide variety of albums and singles as a collaborator and guest vocalist including Turnstile’s latest “Seein’ Stars”, Moses Sumney’s “I Like It I Like It,” and Taylor Swift’s “Castles Crumbling.” Swift went on to have Paramore open the first ever The Eras Tour show that debuted in Arizona and later they went on to open all dates on the European leg of her world tour.

At just 16 she brought the band to the masses with the release of their album All We Know Is Falling which was certified Gold and just celebrated its 20 year anniversary last week. The band’s breakthrough came with 2007’s Riot!, powered by the success of the 6X certified platinum single “Misery Business.” In 2009, Brand New Eyes solidified their place in the rock landscape. Paramore’s self-titled 2013 album marked a commercial and critical peak, with the platinum single “Ain’t It Fun” earning Paramore their first Grammy win for ‘Best Rock Song’ in 2015 and further nominations for ‘Best Rock Album.’ 2017’s After Laughter introduced a polished, ‘pop-influenced sound that continued to attract acclaim with the breakout single “Hard Times.” After a long hiatus, in 2023, they returned with This Is Why, a full grown, alternative-leaning record that earned the band two Grammy wins for ‘Best Alternative Song’ and ‘Best Rock Album’ making Paramore the first female-fronted rock band to ever win the category in its 31-year history.

tue07apr7:00 pmtue10:00 pmHayley Williams7:00 pm - 10:00 pm Franklin Music Hall, 421 N. 7th Street

Time

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

Location

Franklin Music Hall

421 N. 7th Street

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Hayley Williams is a 3x GRAMMY winning singer, songwriter and musician best known for her role as the frontperson of legendary rock band Paramore. With her incredible range and delivery, Billboard ranked her at #13 on their list of 50 Greatest Rock Singers of All Times saying, “when it comes to singers in contemporary rock, Hayley Williams reigns supreme.” Frequently listed as a source of inspiration from contemporary performers as varied as Chappell Roan, Doechii and Billie Eilish – she’s also appeared on a wide variety of albums and singles as a collaborator and guest vocalist including Turnstile’s latest “Seein’ Stars”, Moses Sumney’s “I Like It I Like It,” and Taylor Swift’s “Castles Crumbling.” Swift went on to have Paramore open the first ever The Eras Tour show that debuted in Arizona and later they went on to open all dates on the European leg of her world tour.

At just 16 she brought the band to the masses with the release of their album All We Know Is Falling which was certified Gold and just celebrated its 20 year anniversary last week. The band’s breakthrough came with 2007’s Riot!, powered by the success of the 6X certified platinum single “Misery Business.” In 2009, Brand New Eyes solidified their place in the rock landscape. Paramore’s self-titled 2013 album marked a commercial and critical peak, with the platinum single “Ain’t It Fun” earning Paramore their first Grammy win for ‘Best Rock Song’ in 2015 and further nominations for ‘Best Rock Album.’ 2017’s After Laughter introduced a polished, ‘pop-influenced sound that continued to attract acclaim with the breakout single “Hard Times.” After a long hiatus, in 2023, they returned with This Is Why, a full grown, alternative-leaning record that earned the band two Grammy wins for ‘Best Alternative Song’ and ‘Best Rock Album’ making Paramore the first female-fronted rock band to ever win the category in its 31-year history.

tue07apr7:00 pmtue11:00 pmPale Ramon7:00 pm - 11:00 pm Union Pool, 484 Union Avenue

Time

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

Location

Union Pool

484 Union Avenue

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Pale Ramon is a Brooklyn based band founded by co-writers Emanuel Ayvas (Emanuel and the Fear) and Kevin Plessner (Oceanographer / Monuments) who are supported by good friends Grant Zubritsky (Nick Murphy f.k.a. Chet Faker / Maggie Rogers / Verite), David Lizmi (MsMr / Innov Gnawa), and Justin Hoffman (Johnny V Lewis / Kaylyn Rock).

It was a chance meeting at Larry Lawrence in Brooklyn at 2am on a Tuesday night in late 2015 where Emanuel Ayvas (Emanuel and the Fear) and Kevin Plessner (Oceanographer / Monuments) first sparked a conversation in the almost empty bar. Realizing they lived around the block from one another, the two quickly became good friends, getting together weekly to talk and play music. Within a month they realized they had written an album’s worth of material and both agreed they needed to see what it all would sound like with a band.

Soon thereafter, good friends Grant Zubritsky (Nick Murphy f.k.a. Chet Faker / Maggie Rogers / Verite), Justin Hofmann (Are There Jungles/ Johnny V Lewis), and David Lizmi (MsMr / Innov Gnawa) all entered the picture, and over the next year, with David and Grant trading off the role of bass player, the five wrote arrangements and played a handful of shows to prepare the recording of the debut EP.

On November, 15th 2018 – Pale Ramon released Pale Ramon – LIVE at Vibromonk Studios as a YouTube Exclusive 35 minute video. The video was shot at Vibromonk Studio in Williamsburg, Brooklyn. The video was recorded by Dan Shatzky, mixed and mastered by Christian “Leggy” Langdon, and shot by Alex Munro.

The self-titled studio production of the EP was released on April 17th 2019.

The band recently completed their sophomore album, Annie, which will be released in 2021.

wed08apr7:00 pmwed10:00 pmGeorgia ParkerPumpkin Tour7:00 pm - 10:00 pm Baby's All Right, 146 Broadway

wed08apr8:00 pmwed11:00 pmWhitney8:00 pm - 11:00 pm Music Hall of Williamsburg, 66 North 6th Street

Time

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

Location

Music Hall of Williamsburg

66 North 6th Street

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Whitney is a folk rock/Americana band from Chicago, formed in 2015 by guitarist Max Kakacek and drummer/vocalist Julien Ehrlich following the breakup of their previous band, Smith Westerns . Their music blends elements of folk, soul, and country, characterized by Ehrlich’s falsetto vocals and a nostalgic, summery sound.

The band’s debut album, Light Upon the Lake, released in June 2016, received critical acclaim for its warm tones and introspective lyrics. Their second album, Forever Turned Around (2019), continued their exploration of themes like love and friendship, further solidifying their place in the indie music scene. In 2020, they released Candid, an album of cover songs, showcasing their versatility and appreciation for diverse musical influences.

In 2022, Whitney released Spark, marking a shift towards a more classic pop sound while retaining their signature emotional depth. The band continues to evolve, captivating audiences worldwide with their heartfelt performances and timeless melodies.

Revered in their hometown of Chicago the Mayor of the city created a Whitney day to honour their contribution to the local music scene.

Whitney has many international tours under their belt, performing at festivals like Lollapalooza Music Festival, Newport Folk Festival, Coachella Music Festival. They’ve also completed tours across Australasia boasting performances at Australia’s iconic, Laneway Festival. In Europe and the UK, they’ve played Primavera Sound, Green Man Festival, Iceland Airwaves, etc.

wed08apr9:00 pmwed11:59 pmPretoria9:00 pm - 11:59 pm Mercury Lounge, 17 E Houston Street

Time

(Wednesday) 9:00 pm - 11:59 pm

Location

Mercury Lounge

17 E Houston Street

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Pretoria is a five-piece independent rock band founded in Grand Rapids, MI by high school friends Josh Bilisko, Rob Gullett, and Ben DeWitt in early 2018, releasing the now-archived Pretoria EP. The group briefly featured Evelyn Timmis as a guitarist and singer, ultimately parting ways later in 2019. Talented multi-instrumentalist Matt Burdick then joined as a guitar and synth player.

During these early days, the group released works such as “Lafayette Ave,” the band’s Capetown EP, and highly-praised, music-festival-winning single “Keep Two-Stepping.” Propelled by this success, Pretoria continued writing and releasing indie rock and pop oriented songs like “Gently,” “Skinny Dip,” and “Expert” – making all sorts of friends as well as a name for themselves in the Midwest.

Having weathered the effects of COVID-19, the band returned in full force in 2021 with the addition of Matt Pavlock on guitar. Together, over the next two years, the group would release a cover of “Harvest Moon” by Neil Young, Certainly, a two-sided single “I Blew It / Roller Derby,” “Fat Chance,” and their full-length debut album Where Will the Night Take Us?

With the 2024 on the horizon, the band began planning a move from Grand Rapids to Chicago, IL. They kept excitement flowing with new indie-pop flare singles Seven and Televisional, the latter of which was supported by friend and producer Jake Rye at Social Recording Company. They partnered with Sparta Distribution and bid farewell to Grand Rapids at longtime beloved venue The Pyramid Scheme and re-established in Chicago. The conclusion of 2024’s liveshows was where Pretoria would bid loving farewells to Josh Bilisko and Matt Pavlock as they embarked in new careers. Bringing a familiar face from their hometown scene, Trevor Sharnas (former front man of Future Misters) would take up the mantle of guitar; with Ben moving to guitar from kit as well. Together, the newly Chicago-based group would carry the torch, aiming for 2025 to be its biggest year yet.

Full of endearing personalities, Pretoria is exactly the sort of DIY music scene gem you want to catch live and meet after the show.

thu09apr7:00 pmthu10:00 pmSunbeam Sound Machine7:00 pm - 10:00 pm Public Records, 233 Butler Street

thu09apr7:00 pmthu11:00 pmEliza Edens7:00 pm - 11:00 pm Union Pool, 484 Union Avenue

Time

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

Location

Union Pool

484 Union Avenue

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On Eliza Edens’ sophomore album We’ll Become the Flowers, she seeks to understand what happens after the end. Whether grappling with heartache or a loved one’s mortality, the Brooklyn-based songwriter reimagines endings not as finite events but as devotional experiences that give way to new beginnings. Edens takes inspiration from folk luminaries such as Nick Drake, Karen Dalton and Elizabeth Cotten, sowing her compositions with introspection born from her own grief. What emerges is a glowing collection of songs that serve as a map through tumult, toward hope.

Edens sings and writes with an equally tender reverie as in her 2020 debut album Time Away From Time. But where We’ll Become the Flowers diverges, is in its narrative vulnerability. Each song is bursting: with sorrow, with anger, with the miracle of existence. “I wrote this album out of emotional necessity,” Edens says. “I had just gone through a breakup. And around the same time, my mother was diagnosed with a neurodegenerative disease. I was spending a lot of my time trying to understand what it means to watch the hopeful person who raised me seem to slowly fade away before my eyes.” As the pandemic loomed, Edens turned to music: “This project was a rope I used to pull myself out of misery, to view the despair I was feeling from a different angle. It was also my escape.”

After a successful crowdfunding campaign, Edens recorded We’ll Become the Flowers during a two-week session in July 2021 in a Minneapolis attic. She worked with her trusted friends and collaborators – co-producer and bassist Pat Keen, audio engineer and guitarist Dexter Wolfe, and drummer Shane Leonard. Going into each session, they envisioned an atmosphere of experimentation which led them to reconceptualize many of Edens’ songs. “I Needed You,” for example, changed from “a glum breakup waltz” into “a song that’s feeling good about feeling bad,” Edens says, recalling Leonard’s words after he suggested changing the time signature.

In We’ll Become the Flowers, Edens’ voice rings out sweet yet sorrowful; playful yet certain; hers is a voice capable of embodying emotion in all its complexity. When Edens asks, in the record’s opener, “How do I get there?” she stretches out the last word as if to emphasize its infinite possibilities. Yet Edens never remains in the abstract; instead, she takes us along on her emotional journey, speaking honestly, intimately, and specifically about her process: “I tried to start by weeding through the trauma in my bones,” she sings in the next verse of “How.” “To rearrange the memories / Forgive and not keep score.” In “Tom and Jerry,” Edens’ songwriting becomes more whimsical. “Oh it’s getting so hard to choose / And I’m chewing on all the alternate routes,” Edens sings, using a playful rhyme with alliterative echo.

In “I Needed You,” Edens uses the repetition of her hook to convey how her feelings toward her former lover have shifted over time. The first time she sings, “I needed you,” her voice is steeped in nostalgia, romanticizing the lover’s “flannel shirt and calming words.” But the final time Edens sings, “I needed you,” her tone has shifted: she’s harsher, irreverent even – and as if in response to remembering how much she thought she needed them, she breaks into laughter. But Edens’ conviction as a songwriter comes across most clearly in “For the Song.” “And when the rage comes around,” she sings, “And every critic’s tearing up her ground / The truth becomes power.” In this last phrase, her voice is as direct and unwavering as her words.

Creating We’ll Become the Flowers started as a way for Edens to plant her grief. What took root, however, is a series of offerings. These come in the form of scenes that are both familiar yet deeply personal to Edens: singing loudly on the highway, wandering a graveyard, dancing in the wilderness, watching her mother plant flowers, wishing to create her own shine, reminding herself that the only seed worth planting is hope. Through Edens’ words, we glimpse the possibility of change, of forgiveness, of acceptance and, in numinous spurts, joy. If we see Edens’ album as a conversation—between Edens and herself and between Edens and the listener—then the conversation opens with a question that she poses in the first song, “But how do I get there?” In the album’s denouement, “Julia,” Edens returns to this question, changed, and with a final offering: “The pen is in your hand,” she reminds us. “And the key is in your certainty.”

thu09apr7:30 pmthu11:00 pmClutchSuffer No Evil US Tour7:30 pm - 11:00 pm Starland Ballroom, 570 Jernee Mill Road Event Organized By: WSOU

Time

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

Location

Starland Ballroom

570 Jernee Mill Road

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When they debuted in the early ’90s, Maryland hard rock workhorses Clutch combined elements of funk and metal inspired by Faith No More and Led Zeppelin. Through the decades, they built a devoted fan following through constant touring and hit alt-rock crossover albums, starting in the late ’90s with Clutch and The Elephant Riders and extending into the 2000s. By the 2010s, the veteran quartet reached new heights, achieving late-era success with 2013’s Earth Rocker and 2015’s Psychic Warfare, which both peaked in the Top 15 of the Billboard 200. Extending their reach into the 2020s, they issued their 13th album Sunrise on Slaughter Beach in 2022 and followed it with an archival live series titled PA Tapes.

Formed in 1991 in Germantown, Maryland, the group included Neil Fallon (vocals), Tim Sult (guitar), Dan Maines (bass), and Jean-Paul Gaster (drums). They built a local following through constant gigging, and after just one 7″ single (the classic Earache release “Passive Restraints”) Clutch were signed by EastWest Records. Their debut LP, Transnational Speedway League, followed in 1993. A self-titled album appeared two years later and afforded Clutch some mainstream exposure. They jumped to the larger Columbia label for 1998’s Elephant Riders, and many thought the group might join its sonic cousins Korn and Deftones in the alternative metal winner’s circle. That didn’t quite happen. But it didn’t matter, because a quality fan base continued to thrive for Clutch. Pure Rock Fury appeared in 2001, and the similarly uncompromising Blast Tyrant came three years later as their first for DRT Records. Their seventh full-length, Robot Hive/Exodus, followed in 2005 and featured the first lineup change since the early ’90s, the addition of organist Mick Schauer.

Clutch’s numerous side releases included a groove-based album (2000’s Jam Room) as well as Live at the Googolplex and the rarities record Slow Hole to China, both issued in 2003. Also issued in 2005, Pitchfork & Lost Needles combined Clutch’s 1991 Pitchfork 7″ with unreleased demos and early tracks. In the fall of 2006 the band hit the studio with producer Joe Barresi (Kyuss, Melvins) to record its next album; the resulting From Beale Street to Oblivion appeared in March 2007. In 2008 Clutch released a CD/DVD compilation of live tracks from shows in New Jersey, Pittsburgh, and Sydney titled Full Fathom Five: Audio Field Recordings 2007-2008 on their own label, Weathermaker Music. The band followed up in 2009 with Strange Cousins from the West before delivering its tenth album, Earth Rocker, in 2013. Buoyed by the success of that album (their highest-charting release ever) and eponymous lead single, Clutch continued their relentless touring through late 2015, when they released their 11th album, Psychic Warfare. Topping the rock/hard rock charts, the effort landed just outside the Top Ten of the Billboard 200, making it their highest-charting effort to date. They promoted the album with another extensive tour that carried them into 2018, when follow-up Book of Bad Decisions was released. Like its two predecessors, the album was another Top 20 hit on Billboard, spawning singles “Gimme the Keys” and “In Walks Barbarella.” To close the decade, the band issued a steady stream of one-off tracks under the banner of the “Weathermaker Vault Series.” In late 2020, they collected those songs on the compilation Weathermaker Vault Series, Vol. 1, which featured rarities like “Run John Barleycorn Run” from a 2014 split single with Lionize, and a cover of Pappo’s Blues’ “Algo Ha Cambiado.”

Their first newly recorded set of the 2020s arrived in 2022 with Sunrise on Slaughter Beach, a taut, eight-song attack that balanced their usual muscle with backing vocals from Deborah Bond and Franchell “Frenchie” Davis. It peaked at 89 on the Billboard 200 but reached 12 on the Independent Albums chart. Clutch devoted the following year to another archival series, PA Tapes, featuring five different concerts taped straight from the soundboard. – Biography by John Bush

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thu09apr8:00 pmthu11:00 pmWhitney8:00 pm - 11:00 pm Music Hall of Williamsburg, 66 North 6th Street

Time

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

Location

Music Hall of Williamsburg

66 North 6th Street

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Whitney is a folk rock/Americana band from Chicago, formed in 2015 by guitarist Max Kakacek and drummer/vocalist Julien Ehrlich following the breakup of their previous band, Smith Westerns . Their music blends elements of folk, soul, and country, characterized by Ehrlich’s falsetto vocals and a nostalgic, summery sound.

The band’s debut album, Light Upon the Lake, released in June 2016, received critical acclaim for its warm tones and introspective lyrics. Their second album, Forever Turned Around (2019), continued their exploration of themes like love and friendship, further solidifying their place in the indie music scene. In 2020, they released Candid, an album of cover songs, showcasing their versatility and appreciation for diverse musical influences.

In 2022, Whitney released Spark, marking a shift towards a more classic pop sound while retaining their signature emotional depth. The band continues to evolve, captivating audiences worldwide with their heartfelt performances and timeless melodies.

Revered in their hometown of Chicago the Mayor of the city created a Whitney day to honour their contribution to the local music scene.

Whitney has many international tours under their belt, performing at festivals like Lollapalooza Music Festival, Newport Folk Festival, Coachella Music Festival. They’ve also completed tours across Australasia boasting performances at Australia’s iconic, Laneway Festival. In Europe and the UK, they’ve played Primavera Sound, Green Man Festival, Iceland Airwaves, etc.

thu09apr8:00 pmthu11:00 pmAvery Cochrane8:00 pm - 11:00 pm MilkBoy, 1100 Chestnut Street

fri10apr7:30 amfri11:00 pmDeaf Andrews7:30 am - 11:00 pm Kung Fu Necktie, 1248 N Front Street

Time

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

Location

Kung Fu Necktie

1248 N Front Street

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Conceived in the daydreams of adolescence, Deaf Andrews has blossomed from their roots, into a unique sonic flower of indie pop rock. Emerging from Charlotte, NC, the band is the creative collaboration of five friends—Nick Hayes (vocals), Mike Sherrard (guitar), Ross Schumann (bass), Andrew Kingsley (guitar), and Braedon Nelson (drums)—each bringing their own unique perspective and energy to make music that is both personal and universal.

With a dedication to pushing creative boundaries and connecting emotionally, Deaf Andrews prioritizes capturing the raw, electrifying energy of their live performances. The result is a sound that is both organic and direct, channeling the spirit of classic rock and roll while embracing the experimental freedom of modern indie pop. With each release, Deaf Andrews continues to carve out their own space in the musical landscape, offering listeners a rich and dynamic experience that is as thought-provoking as it is electrifying.

The band’s latest double-single, marks a new chapter in their evolving sound. With their tracks “Wait on Me” and “Small Talk,” Deaf Andrews continues to showcase their ability to blend catchy indie pop-rock with introspective, emotionally charged lyrics. “Wait on Me” playfully captures the tension of anticipation, weaving together vulnerability and hope through infectious hooks and layered instrumentation. Meanwhile, “Small Talk” takes a darker yet thoughtful approach, examining the awkwardness and disconnection that can arise in casual relationships with a punchy rhythm and a deeper lyrical undertone. Both tracks reflect the band’s unique talent for turning personal experiences into relatable, engaging music that resonates with listeners on a deeper level.

fri10apr7:00 pmfri10:00 pmBad SunsACCELERATOUR7:00 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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Los Angeles indie rock combo Bad Suns fuse vivid, modern indie rock hooks with classic post-punk influences. They found success with their 2014 debut album, Language & Perspective. After three records on the Vagrant label, the quartet signed with Epitaph to release 2019’s Mystic Truth. They remained with the label for other releases including 2022’s Apocalypse Whenever and 2025’s Accelerator.

Comprising vocalist Christo Bowman, drummer Miles Morris, guitarist Ray Libby, and bassist Gavin Bennett, Bad Suns formed in 2012 in Woodland Hills, California. The bandmembers were all relatively young, ranging in age from 19 to 22, but took cues for their sound from ’70s and ’80s post-punk pioneers like the Cure and Elvis Costello. Blending the angsty songwriting influences from those legends with a brighter, more contemporary hook-heavy indie rock sound, Bad Suns’ debut single, “Cardiac Arrest,” went viral in 2013, leading to a deal with Vagrant Records and the 2014 release of the Transpose EP. Working with producer Eric Palmquist (Wavves, the Mars Volta), the band issued their full-length debut, Language & Perspective, later that summer and it reached number 24 on the Billboard Top 200. A tour with the 1975 and appearances at festivals like SXSW and Coachella followed as they readied their next album, again enlisting Palmquist to produce. Disappear Here arrived in September 2016 and made a decent run at the charts, this time reaching number 109.

Early the following year, the release of the single “This Was a Home Once” was followed by the news that Bad Suns had switched from Vagrant to Epitaph. A second single, “Away We Go,” appeared in 2018 in advance of their third album, Mystic Truth, which was released in early 2019. During 2020 and early 2021, Bad Suns issued a string of singles, including “Baby Blue Shades” and “When the World Was Mine,” ahead of their cinematic fourth album, Apocalypse Whenever. Produced by longtime collaborator Eric Palmquist, the LP appeared in January 2022. The group kept the momentum going in 2023 with the release of Infinite Joy, a six-song EP that dealt with themes of struggle, self-reflection, addiction, and recovery. The band’s joyous fifth album, Accelerator, arrived in 2025. – Biography by Fred Thomas

fri10apr7:00 pmfri10:00 pmAnyhow7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

fri10apr7:30 pmfri10:30 pmSix Sex7:30 pm - 10:30 pm Elsewhere Space, 599 Johnson Avenue

Time

(Friday) 7:30 pm - 10:30 pm

Location

Elsewhere Space

599 Johnson Avenue

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SIX SEX took her first steps in 2019 with the debut EP Fantasy and the singles “Purple” and “SpaceX”, experimenting with a more rave and electronic sound. Sensuality with a touch of mischief and humor became her trademarks and immediately set her apart within the Argentine scene.

In 2021, the hit Duro” marked a turning point in her career and served as the first preview of her second EP, the now classic ÁREA 69 , released in February 2022. With this record, she went from captivating underground party audiences to performing on stages at Lollapalooza, Cosquín, and Primavera Sound, as well as touring through Montevideo, Mexico City, and the rest of Argentina. Later that year, she followed with the singles “Putishoot”, “Demonio”, “Lento”, “Perreo maldito” and “Tu amante”, raising the bar with each release, expanding her sonic palette, and setting trends as a leading figure in the perreo scene.

Six Sex’s 2023 was spent exploring perreo with the successful singles “REBOTA” y “UNA GATA”, and her highly anticipated third EP: 6X, which she presented on stages in Buenos Aires, Mexico, and Miami. In parallel, she collaborated with Mexican artist Emjay on the track “Ziploc” and contributed to the new album of renowned American producer LSDXOXO. SATISFIRE, her fourth EP, was met with praise from both audience and critics. The lead single, “4 noviosS”, became an anthem of high-BPM intensity and was chosen by Remezcla as the #1 dance song of 2024.

2025 started off with a sold out show for 3000 fans presenting the new X-Sex EP, including collaborations with world-known producers such as MCR-T, dj g2g, DBBD, Stickle and Moritz Dauner, and a highlight feature with one of Argentina’s most prestigious artists Dillom, quickly achieving number 1 on Argentina’s Viral 50 chart with their new track “Tocame”.

fri10apr8:00 pmfri11:00 pmSnow Tha ProductBefore I Crashout Tour8:00 pm - 11:00 pm Union Transfer, 1026 Spring Garden Street

Time

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

Location

Union Transfer

1026 Spring Garden Street

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Latin GRAMMY-nominated and multi-platinum selling singer, rapper, and actress, Claudia Feliciano, better known as Snow Tha Product, has positioned herself as one of the leading female artists of the new generation.

The daughter of Mexican parents, Snow Tha Product was born in San Jose, California. Raised in a musical environment, Snow’s father and uncles were part of a mariachi group, inspiring her to pursue her dreams in music. Her incomparable sound has been deeply influenced by her Mexican roots, as well as childhood idols such as Maria Felix, Gloria Trevi, and Alejandra Guzman. Her influences, authenticity and creativity have given her artistic versatility to create a sound that effortlessly fuses Rap, Hip Hop, R&B, Trap and Reggaeton while simultaneously becoming an undoubted social change agent for Mexican culture and the LGBTQ community

Securing collabs with contemporary rap heavyweights like Tech N9ne and Ty Dolla $ign out of the gate, Snow propelled herself to international recognition in 2013 with the release of hits like “Play,” “Hello,” and “Doing Fine.” Having built a strong fan base, in 2016 she released her first EP, “Half Way There… Part 1,” which debuted Top 10 on Billboard’s, “Heartseekers Albums” chart. In 2016 she also released “Immigrants” alongside K’naan, Residente, and Riz Ahmed. The song was part of the acclaimed album “The Hamilton Mixtape” – produced by multi-award winning artist Lin Manuel Miranda, earning Snow her first MTV Video Music Award in 2017. That same year, the multifaceted artist demonstrated the versatility of her talent by giving life to the character of “Lil’ T,” in the successful series “Queen of The South.”

In 2020, the singer-songwriter participated in the hit “Feeling Good” alongside international rap legend Snoop Dogg, Natanael Cano, Ovi and Chicano CNG. The music video has surpassed 8.7M views and was one of the most revolutionary releases of the year, marking the first time that the worlds of rap and hip hop merged with the regional Mexican genre.

By 2021, Snow Tha Product solidified her spot as one of the leaders of Rap’s new generation thanks to impactful projects such as her collaboration with music producer Bizarrap on “BZRP Music Sessions #39,” which debuted in the top 20 of “Billboard’s “Latin Digital Song Sales” chart and entered the “Billboard Global Excl. U.S.” chart. Dominating digital platforms, the single became a digital trend and its music video has surpassed 230M views. The song was also featured in NBA 2k22 and was nominated for the Latin GRAMMYS® for “Best Rap/Hip Hop Song.”

In 2023, Snow Tha Product embarked on a US 32 city sold out headlining tour while also simultaneously participating in Amazon Music’s documentary to celebrate 50 years of Hip Hop, “Hip Hop x Siempre.” She was also nominated for, MTV MIAW, “Artista + Flow,” Premios Tu Musica Urbana’s, “Top Artista Nueva Femenino,” and for Premios Juventud’s, “La Nueva Generación Femenina,” where she also made her award show debut alongside Chiquis performing their song, “Ni Muerta.”

Beyond her musical projects, she has demonstrated her global impact through her unmatched versatility in not only music but also other areas of entertainment. She has also had great success in her collaborations with brands, Rockstar Energy, Lexus, Vans, Sidral, True Religion, KFC and McDonald’s and with her podcast, “Everydaydays” on Youtube. The weekly podcast which is filmed live and has had an array of guests from musical legend Pepe Aguilar, pop star Kenia OS, and makeup influencer Adam Ray to name a few.

Snow kicked off 2024 with a Premio Lo Nuestro nomination for, “Best New Female Artist” and announcing her US brand campaign with Got 2 B Color Remix. Most recently she announced her US headlining and Mexico festival tour starting this summer that will hit over 30+ cities, slating 2024 to be one of Snow’s biggest years to date.

fri10apr8:00 pmfri11:00 pmNiko MoonThe American Palm Tour8:00 pm - 11:00 pm Starland Ballroom, 570 Jernee Mill Road Event Organized By: Thunder 106

Time

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

Location

Starland Ballroom

570 Jernee Mill Road

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At a time when the line between country and pop became narrower than ever, vocalist and songwriter Niko Moon found fame with a savvy blend of country lyrics and tunes that incorporated elements of country, pop, R&B, hip-hop, and reggae, all with a distinct Southern accent. He got his foot in the door writing songs for Zac Brown and collaborated with him in his electronic side project Sir Rosevelt before debuting his eclectic sound as a solo act with the 2019 hits “Good Time” and “Drunk Over You.” Both songs later appeared on Moon’s 2021 full-length debut, Good Time. The five-song EP Coastin’ appeared the following year. In early 2024, after a five-year tenure on RCA Nashville, Moon struck out on his own with his independently released second album, BETTER DAYS, as well as an EP, These Are the Days.

Niko Moon was born Nicholas Cowan in Texas, and his family moved to Douglasville, Georgia when he was ten years old. His father was a truck driver who also played music in his spare time but turned down an offer to play drums with a touring band when he learned his wife was expecting a baby. Growing up, music filled the house, and Moon spent plenty of time listening to his parents’ favorites, especially John Prine and Patty Griffin. Inspired by his dad, Moon first learned to play the drums, and then borrowed his father’s guitar (which was deemed off limits) and taught himself to play by watching instructional videos online. Moon was a track star and ran cross country in high school, which led to a scholarship to Sanford University in Alabama. He was more interested in music than academics, though, and dropped out to move to Atlanta, where he played out as often as he could, supporting himself by working in construction and installing insulation.

In time, Moon became friendly with Zac Brown, another Atlanta artist with his own take on country music, and the two began writing songs together. Brown recorded a number of tunes he wrote with Moon (credited as Nic Cowan), including the hits “Homegrown,” “Keep Me in Mind,” and “Loving You Easy.” He also helped write “Heavy Is the Head” — Brown recorded it with guest vocalist Chris Cornell, and it crossed over to the rock charts — and “Back to Life,” recorded by Rascal Flatts. When Brown was interested in experimenting with electronic dance music, he recruited Moon and Ben Simonetti and they formed the group Sir Rosevelt, whose self-titled debut album appeared in December 2017.

Having established himself as a tunesmith and behind-the-scenes figure, Moon felt the time was right to step out on his own, and he struck a deal with RCA Nashville as a solo act. In July 2019, he released two songs, “Good Time” and “Drunk Over You,” which found a welcoming audience; “Drunk Over You” received over 1.3 million streaming plays, while “Good Time” did even better, racking up more than 2.1 million plays. With his profile on the rise, Moon presented his fans with a third track, “Way Back,” in October 2019. These songs were collected on the Good Time EP, released in 2020; that year also brought the single “Dance with Me.” He released Good Time Campfire Sessions, a digital EP collection of alternate versions of his earlier singles, in early 2021. A new rendition of “Good Time” with Shaggy followed, and Moon released “No Sad Songs.” Finally, in August of that year, he issued his full-length debut, Good Time, which peaked at number 12 on the country charts and cracked the Billboard 200. 2022 saw the release of the breezy EP Coastin’, which included the hit single “Easy Tonight.” Near the end of 2023, Moon announced his departure from RCA Nashville and released an independent single, “Falling for You,” on his own Happy Cowboy Records imprint. The hooky track was the first taste of BETTER DAYS, his sophomore album, which he released in January 2024. The album reached number 13 on the Top Heatseekers chart and boasted a handful of popular cuts including the title track, “Fishin’ in the Dark,” and the Hardy-featuring “Ain’t No Better Place.” Moon followed it up later in the year with an EP, These Are the Days, featuring a collaboration with Michael Franti. – Biography by Mark Deming

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fri10apr(apr 10)11:30 pmsat11(apr 11)1:00 amCassius11:30 pm - 1:00 am (11) Webster Hall, 125 E 11th Street

Time

10 (Friday) 11:30 pm - 11 (Saturday) 1:00 am

Location

Webster Hall

125 E 11th Street

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Cassius, a long-running project that was a new addition to the top ranks of French electronica circa 1999, actually comprised two of the scene’s most experienced producers: Philippe Zdar and Hubert Blanc-Francart (aka Boombass). Besides their productions for Mo’ Wax as La Funk Mob, the duo had also manned the boards for several excellent LPs by French rapper MC Solaar. They first met back in the late ’80s, working in the same studio (Zdar was an engineer, and Boombass was just learning the trade). Boombass worked with MC Solaar, and joined Zdar to release two EPs on Mo’ Wax as La Funk Mob in 1994. Zdar also teamed with Etienne De Crecy (of Super Discount) to release an LP as Motorbass. Finally, Zdar and Boombass came together in 1996 as Cassius. Combining the jazzy hip-hop of Boombass with Zdar’s phase’n’filter acid-disco, Cassius debuted with the single “Cassius 1999,” a club anthem and British Top 20 hit, late in 1998. The full-length 1999 appeared early the following year. Cassius returned in 2002 with Au Rêve and again in 2006 with 15 Again. The group would spend the next decade on hiatus, although Zdar kept busy with production and remixes, working with the likes of Chromeo, Phoenix, Cat Power, and the Beastie Boys. The latter two artists returned the favor when the duo re-emerged in 2016 with “Action,” featuring Cat Power and the Beasties’ Mike D. The single landed on the concept album Ibifornia, released later that same year. Philippe Zdar died in June 2019 after falling from the window of a tall building. – Biography by John Bush

sat11apr6:00 pmsat9:00 pmTrue Jackson6:00 pm - 9:00 pm Mercury Lounge, 17 E Houston Street

sat11apr7:00 pmsat10:00 pmGlen HansardDon't Settle Tour7:00 pm - 10:00 pm The Stone Pony, 913 Ocean Ave N

Time

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

Location

The Stone Pony

913 Ocean Ave N

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Not many heroes of indie folk have won an Oscar or created the basis of a successful stage musical, but Glen Hansard is an artist who can wear both of those feathers in his cap. As a member of the Frames and the Swell Season, Hansard won acclaim for his literate, intelligent, and passionate songwriting and his nuanced vocals, and he went on to win similar accolades as a solo artist. Hansard first gained an audience for the limber but emphatic indie rock he created as a member of the Frames, then gained international fame with fellow singer and songwriter Markéta Irglová in the duo the Swell Season, whose emotionally open, primarily acoustic indie folk became the centerpiece of the award-winning independent romantic drama Once. After going out on his own with his 2012 solo debut, Rhythm and Repose, Hansard has shown a stylistic diversity as he embraced the sound of ’70s singer/songwriters on 2015’s Didn’t He Ramble, vintage soul on 2018’s Between Two Shores, and an eclectic swing between subtle folk and noisy indie rock on 2019’s This Wild Willing and 2023’s All That Was East Is West of Me Now. Forward, the first new Swell Season release in over 15 years, appeared in 2025.

Glen Hansard was born in the Ballymun section of Dublin on April 21, 1970. Early on, he was far more passionate about music than he was about schoolwork, and when he was 13, on the advice of a teacher who felt he had a future as a musician, he dropped out and started making a living busking on the streets of Dublin. Hansard spent five years playing on the streets and working on his songwriting, and in his late teens, his parents helped him bankroll the recording of a demo of his original material. He made 50 copies of the demo, and one of them was heard by noted producer and A&R man Denny Cordell. Cordell was impressed with Hansard’s recordings, and on his recommendation Hansard was signed to Island Records. With a record deal in place, Hansard needed to form a backing band, so in 1990 he rounded up a handful of local buskers and scuffling rock musicians and assembled the first edition of the Frames, the name coming from the large collection of bicycle frames Hansard kept in his backyard (he fixed bikes in his spare time).

While the Frames began playing out in 1990, various matters prevented their first album, Another Love Song, from arriving in shops until September 1992. In the interim, Hansard played the role of Outspan Foster in the hit movie The Commitments. While the film’s success made Hansard a celebrity, he opted to focus on his music rather than acting. When Another Love Song didn’t live up to Island’s sales expectations, however, the Frames had to focus on live work until they landed another deal, this time with ZTT Records, who released the group’s second album, Fitzcarraldo, in 1995. Dance the Devil followed in 1999, as the Frames developed a large and loyal audience in their native Ireland, as well as a passionate cult following in the United States. In 2001, they released their fourth album, For the Birds, through the independent Overcoat Recordings imprint, and Breadcrumb Trail came out the following year. Hansard also found himself in front of cameras again when he signed on as the host of Other Voices: Songs from a Room, a show for Irish television that showcased local talent.

In 2006, after the release of the album The Cost, Hansard took some time off from the Frames to work on a side project, the Swell Season, in which he collaborated with Czech singer and songwriter Markéta Irglová. Through Hansard was 18 years Irglová’s senior, the two connected as partners as well as artists, and they pursued a romantic relationship after completing their self-titled debut album. Around the same time, writer and director John Carney, a former member of the Frames, persuaded Hansard to play the male lead in an independent feature film about an Irish busker who falls in love with an Eastern European immigrant and fellow musician; with Irglová in the female lead, the project was an example of art imitating life. When Once was released in 2007, it became an international success, and one of the songs Hansard and Irglová wrote and performed in the movie, “Falling Slowly,” earned them an Academy Award for Best Original Song. In 2009, the Swell Season released a second LP, Strict Joy, but by the time the album dropped, Hansard and Irglová had amicably ended their romantic relationship. While they occasionally collaborated on songs, they stopped working under the banner the Swell Season. The Swell Season’s music took on a second life in 2011 when an off-Broadway musical adapted from Carney’s film, also called Once, made its debut. The show moved to Broadway in 2012, and was later staged in the U.K., Canada, Australia, and South Korea.

The Hunger Games: Songs from District 12 and Beyond
While the Frames occasionally regrouped for touring, particularly in Ireland, they had fallen out of making records, and in 2012 Hansard released his first proper solo album, Rhythm and Repose, which was informed by the end of his relationship with Irglová and his relocation to New York City. Later in 2012, Hansard’s track “Take the Heartland” appeared on the soundtrack to the hit movie The Hunger Games, and the following year he joined up with Pearl Jam’s Eddie Vedder to record a cover of Bruce Springsteen’s “Drive All Night,” which was included on a fundraising EP of the same name issued by Anti- in support of music education charity Little Kids Rock. In 2015, Hansard released It Was Triumph We Once Proposed: Songs of Jason Molina, an EP in which Hansard presented reworked interpretations of five songs by his late friend Molina, best known for his work with Songs: Ohia and Magnolia Electric Co.

In September 2015, Hansard returned with a new album of original material, Didn’t He Ramble, followed by an American concert tour. In January 2018, Anti- brought out Hansard’s fourth full-length album, Between Two Shores; in support, he staged an international concert tour, including a special show with the Los Angeles Philharmonic Orchestra. 2019’s This Wild Willing was written during a four-week working vacation in Paris and recorded with a diverse range of collaborators, including noted electronic artists Dunk Murphy and Deasy, and Middle Eastern musicians the Khoshravesh brothers. In 2021 Hansard teamed up with Eddie Vedder, Olivia Vedder, and Cat Power for the soundtrack to the Sean Penn-directed drama Flag Day. (Vedder later recruited Hansard to join his ad-hoc band the Earthlings for a solo tour.) Hansard also helped with the recording of songs for Joe Wright’s 2021 film Cyrano, singing two numbers written by Aaron Dessner and Bryce Dessner of the National.

As Hansard worked on songs for his next album, he needed to see how they would work in front of an audience, so he played a series of unannounced shows at a small pub in Dublin, as he and his accompanists let the songs take shape in front of whoever was on hand that evening. After fine-tuning the music, he and several members of the Frames convened with producer and engineer David Odlum at his home studio, where they recorded 2023’s All That Was East Is West of Me Now. An affecting blend of folkie contemplation and rock & roll force, the album included a guest appearance by Warren Ellis of the Dirty Three and Nick Cave’s Bad Seeds on violin. In early 2025, The Swell Season returned with “People We Used to Be” and “Stuck in Reverse,” both of which appeared on the album Forward, released later that year. 2026 saw Hansard issue Don’t Settle – Transmissions East & West, a two-volume, career-spanning set recorded live in the studio at Berlin’s Funkhaus on his 55th birthday. – Biography by Mark Deming

sat11apr7:00 pmsat11:00 pmBoys Like GirlsThe Soundtrack Of Your Life Tour7:00 pm - 11:00 pm Wellmont Theater, 5 Seymour Street

Time

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

Location

Wellmont Theater

5 Seymour Street

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Boys Like Girls specialize in sugary, emo-tinged pop punk rooted in late-’90s alternative rock. Based out of the Boston suburbs, the band found mainstream success in 2006 when their eponymous debut album soared to the upper echelons of the Billboard 200. 2008’s Love Drunk fared even better, blazing its way into the Top Ten on the strength of the Taylor Swift-assisted single “Two Is Better Than One.” The group charted a new course in 2012 with the release of the country-pop-leaning Crazy World, their last studio album for over a decade. Boys Like Girls returned in 2023 with the punchy single “Blood & Sugar,” heralding their fourth studio album, Sunday at Foxwoods.

Boys Like Girls formed in Andover in 2004 around the talents of singer/guitarist Martin Johnson, bassist Bryan Donahue, drummer John Keefe, and guitarist Paul DiGiovanni (the last two members being cousins). After posting several demo recordings online, the band’s lively hooks and youthful enthusiasm had garnered them quite a following while also catching the attention of industry players like booking agent Matt Galle (My Chemical Romance, Taking Back Sunday) and producer Matt Squire (Panic at the Disco, Northstar), both of whom contacted the group about working together. Following a national PureVolume-sponsored tour with Hit the Lights and A Thorn for Every Heart, Boys Like Girls entered the studio with Squire to record their debut album. The resulting self-titled effort, which evoked the poppy, punky side of emo, along the lines of Jimmy Eat World and Fall Out Boy, appeared in August 2006 on Red Ink. Although initial sales were slow, the album eventually went gold, and tracks like “Thunder” helped Boys Like Girls maintain a presence on the Billboard charts throughout 2008. Following the release of the concert album/video Read Between the Lines, the band returned to the recording studio to commence work on a second album, which appeared in 2009 under the title Love Drunk. The record, which debuted at number eight on the Billboard 200, included a hit duet with Taylor Swift and featured slick, radio-friendly production. Two years later, the band announced it had parted ways with bassist Donahue. In late 2012, Boys Like Girls released the Crazy World EP, then followed it up with the Crazy World LP. Both releases showed the band, now with new bassist Morgan Dorr, casting off any vestiges of emo-pop in favor of a new country-pop approach.

The band members spent the next decade focusing on other projects while keeping the Boys Like Girls torch alive with sporadic live performances. They returned in full in early 2023 with the release of the propulsive alt-rock single “Blood & Sugar,” ahead of the arrival of their long-gestating fourth studio album, Sunday at Foxwoods, later that year. – Biography by Corey Apar

sat11apr7:30 pmsat10:00 pmMaya Hawke7:30 pm - 10:00 pm Baby's All Right, 146 Broadway

sat11apr7:30 pmsat10:00 pmAshes to Amber7:30 pm - 10:00 pm Ukie Club, 847 N Franklin Street

sat11apr7:30 pmsat10:30 pmSix Sex7:30 pm - 10:30 pm Elsewhere Space, 599 Johnson Avenue

Time

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

Location

Elsewhere Space

599 Johnson Avenue

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SIX SEX took her first steps in 2019 with the debut EP Fantasy and the singles “Purple” and “SpaceX”, experimenting with a more rave and electronic sound. Sensuality with a touch of mischief and humor became her trademarks and immediately set her apart within the Argentine scene.

In 2021, the hit Duro” marked a turning point in her career and served as the first preview of her second EP, the now classic ÁREA 69 , released in February 2022. With this record, she went from captivating underground party audiences to performing on stages at Lollapalooza, Cosquín, and Primavera Sound, as well as touring through Montevideo, Mexico City, and the rest of Argentina. Later that year, she followed with the singles “Putishoot”, “Demonio”, “Lento”, “Perreo maldito” and “Tu amante”, raising the bar with each release, expanding her sonic palette, and setting trends as a leading figure in the perreo scene.

Six Sex’s 2023 was spent exploring perreo with the successful singles “REBOTA” y “UNA GATA”, and her highly anticipated third EP: 6X, which she presented on stages in Buenos Aires, Mexico, and Miami. In parallel, she collaborated with Mexican artist Emjay on the track “Ziploc” and contributed to the new album of renowned American producer LSDXOXO. SATISFIRE, her fourth EP, was met with praise from both audience and critics. The lead single, “4 noviosS”, became an anthem of high-BPM intensity and was chosen by Remezcla as the #1 dance song of 2024.

2025 started off with a sold out show for 3000 fans presenting the new X-Sex EP, including collaborations with world-known producers such as MCR-T, dj g2g, DBBD, Stickle and Moritz Dauner, and a highlight feature with one of Argentina’s most prestigious artists Dillom, quickly achieving number 1 on Argentina’s Viral 50 chart with their new track “Tocame”.

sat11apr8:00 pmsat11:00 pmSnow Tha ProductBefore I Crashout Tour8:00 pm - 11:00 pm Palladium Times Square, 515 Broadway, 44th & Broadway

Time

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

Location

Palladium Times Square

515 Broadway, 44th & Broadway

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Latin GRAMMY-nominated and multi-platinum selling singer, rapper, and actress, Claudia Feliciano, better known as Snow Tha Product, has positioned herself as one of the leading female artists of the new generation.

The daughter of Mexican parents, Snow Tha Product was born in San Jose, California. Raised in a musical environment, Snow’s father and uncles were part of a mariachi group, inspiring her to pursue her dreams in music. Her incomparable sound has been deeply influenced by her Mexican roots, as well as childhood idols such as Maria Felix, Gloria Trevi, and Alejandra Guzman. Her influences, authenticity and creativity have given her artistic versatility to create a sound that effortlessly fuses Rap, Hip Hop, R&B, Trap and Reggaeton while simultaneously becoming an undoubted social change agent for Mexican culture and the LGBTQ community

Securing collabs with contemporary rap heavyweights like Tech N9ne and Ty Dolla $ign out of the gate, Snow propelled herself to international recognition in 2013 with the release of hits like “Play,” “Hello,” and “Doing Fine.” Having built a strong fan base, in 2016 she released her first EP, “Half Way There… Part 1,” which debuted Top 10 on Billboard’s, “Heartseekers Albums” chart. In 2016 she also released “Immigrants” alongside K’naan, Residente, and Riz Ahmed. The song was part of the acclaimed album “The Hamilton Mixtape” – produced by multi-award winning artist Lin Manuel Miranda, earning Snow her first MTV Video Music Award in 2017. That same year, the multifaceted artist demonstrated the versatility of her talent by giving life to the character of “Lil’ T,” in the successful series “Queen of The South.”

In 2020, the singer-songwriter participated in the hit “Feeling Good” alongside international rap legend Snoop Dogg, Natanael Cano, Ovi and Chicano CNG. The music video has surpassed 8.7M views and was one of the most revolutionary releases of the year, marking the first time that the worlds of rap and hip hop merged with the regional Mexican genre.

By 2021, Snow Tha Product solidified her spot as one of the leaders of Rap’s new generation thanks to impactful projects such as her collaboration with music producer Bizarrap on “BZRP Music Sessions #39,” which debuted in the top 20 of “Billboard’s “Latin Digital Song Sales” chart and entered the “Billboard Global Excl. U.S.” chart. Dominating digital platforms, the single became a digital trend and its music video has surpassed 230M views. The song was also featured in NBA 2k22 and was nominated for the Latin GRAMMYS® for “Best Rap/Hip Hop Song.”

In 2023, Snow Tha Product embarked on a US 32 city sold out headlining tour while also simultaneously participating in Amazon Music’s documentary to celebrate 50 years of Hip Hop, “Hip Hop x Siempre.” She was also nominated for, MTV MIAW, “Artista + Flow,” Premios Tu Musica Urbana’s, “Top Artista Nueva Femenino,” and for Premios Juventud’s, “La Nueva Generación Femenina,” where she also made her award show debut alongside Chiquis performing their song, “Ni Muerta.”

Beyond her musical projects, she has demonstrated her global impact through her unmatched versatility in not only music but also other areas of entertainment. She has also had great success in her collaborations with brands, Rockstar Energy, Lexus, Vans, Sidral, True Religion, KFC and McDonald’s and with her podcast, “Everydaydays” on Youtube. The weekly podcast which is filmed live and has had an array of guests from musical legend Pepe Aguilar, pop star Kenia OS, and makeup influencer Adam Ray to name a few.

Snow kicked off 2024 with a Premio Lo Nuestro nomination for, “Best New Female Artist” and announcing her US brand campaign with Got 2 B Color Remix. Most recently she announced her US headlining and Mexico festival tour starting this summer that will hit over 30+ cities, slating 2024 to be one of Snow’s biggest years to date.

sun12apr7:00 pmsun10:00 pmJennifer Castle7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

sun12apr8:00 pmsun11:00 pmAlice Phoebe LouOblivion Tour 8:00 pm - 11:00 pm Webster Hall, 125 E 11th Street

Time

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

Location

Webster Hall

125 E 11th Street

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Alice Matthew (aka Alice Phoebe Lou) is a South African singer/songwriter with a distinctive voice and a style that combines ethereal bedroom pop with elements of folk, synth pop, jazz, and blues. Emerging in 2014, Lou has issued a handful of EPs and five full-length efforts (Orbit, 2016; Paper Castles, 2019; Glow, 2021; Child’s Play, 2021; and Shelter, 2023). “She,” a track she contributed to the 2017 documentary Bombshell: The Hedy Lamarr Story, was included on the Oscars’ shortlist for Best Original Song.

The daughter of a pair of documentary filmmakers, Lou was born and raised in the small Cape Peninsula town of Kommetjie. A multi-instrumentalist by the age of 14, she spent her formative years as a street musician in Europe, honing her skills for passerby in Berlin, where she would eventually move. Lou self-released her debut EP, Momentum, independently in 2014. Two years later, she issued her first long-player, Orbit, which earned accolades in the German press and elicited praise back home in South Africa. The following year saw the release of the EP Sola, as well as the appearance of the one-off single “She,” which was used in the acclaimed documentary Bombshell: The Hedy Lamarr Story. Paper Castles arrived in 2019 and yielded the sumptuous hit single “Something Holy,” followed by an extensive bout of international touring. Later that year, she launched her side project, Strongboi, a diverse lo-fi pop duo with keyboardist Ziv Yamin. Like most musicians at the time, Lou spent 2020 in occupational stasis due to the COVID-19 pandemic, but her creative spark never dimmed, due in large part to having fallen in love and subsequently having her heart broken. She chronicled those tumultuous times on 2021’s aptly named and transcendent Glow and its surprise late-year follow-up Child’s Play. 2023 saw the release of Strongboi’s eponymous debut album and Lou’s assured and inviting fifth studio long-player, Shelter. The deeply reflective standalone single, “The World Above,” arrived early the following year. – Biography by James Christopher Monger

sun12apr8:00 pmsun11:00 pmR.A.P. Ferreira8:00 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street

mon13apr8:00 pmmon11:00 pmNever Ending FallMOMENTUM Tour8:00 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street

tue14apr7:00 pmtue10:00 pmLuisa Wilson7:00 pm - 10:00 pm Union Pool, 484 Union Avenue

tue14apr8:00 pmtue11:00 pmAlice Phoebe LouOblivion Tour 8:00 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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Alice Matthew (aka Alice Phoebe Lou) is a South African singer/songwriter with a distinctive voice and a style that combines ethereal bedroom pop with elements of folk, synth pop, jazz, and blues. Emerging in 2014, Lou has issued a handful of EPs and five full-length efforts (Orbit, 2016; Paper Castles, 2019; Glow, 2021; Child’s Play, 2021; and Shelter, 2023). “She,” a track she contributed to the 2017 documentary Bombshell: The Hedy Lamarr Story, was included on the Oscars’ shortlist for Best Original Song.

The daughter of a pair of documentary filmmakers, Lou was born and raised in the small Cape Peninsula town of Kommetjie. A multi-instrumentalist by the age of 14, she spent her formative years as a street musician in Europe, honing her skills for passerby in Berlin, where she would eventually move. Lou self-released her debut EP, Momentum, independently in 2014. Two years later, she issued her first long-player, Orbit, which earned accolades in the German press and elicited praise back home in South Africa. The following year saw the release of the EP Sola, as well as the appearance of the one-off single “She,” which was used in the acclaimed documentary Bombshell: The Hedy Lamarr Story. Paper Castles arrived in 2019 and yielded the sumptuous hit single “Something Holy,” followed by an extensive bout of international touring. Later that year, she launched her side project, Strongboi, a diverse lo-fi pop duo with keyboardist Ziv Yamin. Like most musicians at the time, Lou spent 2020 in occupational stasis due to the COVID-19 pandemic, but her creative spark never dimmed, due in large part to having fallen in love and subsequently having her heart broken. She chronicled those tumultuous times on 2021’s aptly named and transcendent Glow and its surprise late-year follow-up Child’s Play. 2023 saw the release of Strongboi’s eponymous debut album and Lou’s assured and inviting fifth studio long-player, Shelter. The deeply reflective standalone single, “The World Above,” arrived early the following year. – Biography by James Christopher Monger

tue14apr8:00 pmtue11:00 pmWallice8:00 pm - 11:00 pm Music Hall of Williamsburg, 66 North 6th Street

Time

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

Location

Music Hall of Williamsburg

66 North 6th Street

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Merging tuneful indie pop with emotionally honest lyrics, Wallice is a Los Angeles-based singer/songwriter who first found success with the 2020 single “Punching Bag.” After signing with Britain’s Dirty Hit label, her music took on a slightly more jagged alt-rock edge with the EPs 90s American Superstar (2022) and Mr. Big Shot (2023). Wallice delivered her debut album, The Jester, in late 2024.

Creative from a young age, Wallice Hana Watanabe first pursued an acting career in her native California before studying jazz vocals at college in New York. By that point, she had already written numerous songs and decided to leave school and make a go of her music career back in Los Angeles. Working with childhood friend and producer Marinelli, Wallice developed a D.I.Y. indie pop sound that pulled from her early influences like Lorde and Lana Del Rey, which she paired with honest, relatable lyrics. Her 2020 single “Punching Bag” connected squarely on the streaming networks, racking up millions of plays.

Follow-up singles like “23” and “Headache” from her 2021 EP Off the Rails hinted at a more aggressive sound. Wallice soon signed with the U.K. label Dirty Hit, which issued “Wisdom Tooth” in late 2021. Her 2022 EP 90s American Superstar had a harder, though no less melodic, edge that leaned into gritty alt-rock. Later that year, she teamed up with British singer/songwriter and Dirty Hit labelmate Oscar Lang on the fuzzy pop single “I’ve Never Been to L.A.,” then released a quieter fingerpicked solo ballad, “Japan.” It was a temporary reprieve; Wallice’s next EP, 2023’s Mr. Big Shot, resumed her alt-pop direction with sparkling melodies and rousing choruses. All of this served as a precursor to her debut album, The Jester. Released by Dirty Hit in November 2024, the 14-song LP combined Wallice’s various styles into a hybrid of energetic synth pop and indie rock. – Biography by Timothy Monger

wed15apr6:00 pmwed8:00 pmClarion6:00 pm - 8:00 pm Mercury Lounge, 17 E Houston Street

Time

(Wednesday) 6:00 pm - 8:00 pm

Location

Mercury Lounge

17 E Houston Street

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Formed, almost accidentally, in a shared east LA lockout, the members of Clarion came together to write music together in late 2023. Anthony, Saya and Joseph had all had spent time in the local DIY scene of East Los Angeles and in 2024 decided to record the songs they had been writing in a quick three-day sprint. They implemented efforts like layering multiple amps in stereo, panned left to right with different tones, to create an illusion of two guitarists. They tried every idea that came to mind, allowing the songs to become fully realized instead of rushed. The result is an immersive and youthful mix of shoegaze, post-punk, and Japanese rock. These recordings became their debut EP, simply titled Clarion.

The song “Hello Juliet” quickly catapulted them from their local DIY scene to a much bigger stage. Signing with Broke Records in 2025, “Hello Juliet” continued to grow and find more listeners as it currently has more than 20 million streams across platforms. Opportunities to tour with artists like Violent Vira, Rehash, Mexican Slum Rats, and Mind’s Eye followed in 2025 as the band honed their live set and added touring member Javier Flores on drums. Intent on fully earning their touring stripes in 2026, they are heading out on the road supporting shoegaze legends Panchiko and embarking on their own national headline tour.

As busy as they are, community is at the core of Clarion. You can still find them jumping onstage at their local Dennys for a sold out DIY show or hosting their annual Christmas charity benefit show in Pomona.

When they aren’t on tour, they’re back in the room where they started — jamming, debating, refining, and crafting a sound big enough to swallow the space around them. Off the success of their debut EP, they’ve released a handful of singles leading into Blue Fairy, their new EP out March 27.

wed15apr7:30 pmwed10:00 pmKUN7:30 pm - 10:00 pm Terminal 5, 610 W 56th Street

Time

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

Location

Terminal 5

610 W 56th Street

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A singer, songwriter, producer, and actor as well as a Chinese cultural and fashion icon, Kun’s soulful, genre-blending pop takes influence from artists spanning Stevie Wonder and Lana Del Ray but arrives at a dramatic sound all his own. A onetime child actor, alumnus of the boy bands SWIN and Nine Percent, and cast member or competitor on several television series (including winning 2018’s Idol Producer), he went to number one on China’s C-pop singles side chart with his first solo release, “I Wanna Get Love.” Kun made his full-length solo debut with Lost (迷) in 2021; its title track went to number one in China. By the end of 2025, he was appearing regularly on streaming charts around the world and had collected over a dozen chart-topping singles in China, including that year’s classic soul-steeped “Deadman” from his sophomore LP, 2026’s KUN. He has also acquired dozens of brand deals and global ambassadorships, including in the high fashion, perfume, and beverage industries, among others.

Born Cai Xukun in Wenzhou, Zhejiang, China, Kun spent part of his childhood in Huaihua, Hunan, then moved to Shenzhen, Guangdong, for middle school. In April 2012, at the age of 13, he participated in the Hunan variety show Up Young!, leading to acting roles on series including Half a Fairytale and Female Criminal-Police Officer Li ChunChun. In 2015, he began a two-season run on the South Korean music reality show Super Idol, eventually finishing in the Top Three. He returned to China to briefly join the boy band SWIN in 2017. The following year, he competed on the reality show Idol Producer, where he performed his own song, “I Wanna Get Love,” which became his solo debut single. The song spent three weeks at number one on the Mainland China C-pop Single Chart, and his success on the show won him the position of leader of the band Nine Percent. The group released two albums (2018’s To the Nines and 2019’s More Than Forever) before disbanding. Meanwhile, Kun could be seen on the romantic-comedy series I Won’t Get Bullied by Girls, which he had filmed in 2017. By this time, he was polling as one of the most influential celebrities in China.

Kun began performing his solo material at events and in concert venues more frequently as he charted with singles like “Wait, Wait, Wait” and “It’s You,” and he had his first number one hit on China’s main singles chart with 2019’s “没有意外” (“No Exception”). That same year, he collaborated with Jackie Chan on “The Lunar Song,” the theme song for the Chan movie The Knight of Shadows: Between Yin and Yang. In 2020, his sultry single “Lover” went viral as a social-media dance challenge. Released in April of 2021, Kun’s debut album, Lost (迷), included three Chinese number one singles (“Lost,” “怪,” and “感受她”). He got his own wax figure at Madame Tussauds Hong Kong before the end of the year.

Over the next few years, Kun released two live albums and racked up a half-dozen Chinese number ones with stand-alone singles like 2024’s “Afterglow,” an electro-rock track, and 2025 “Deadman,” which invoked classic soul. They foreshadowed the genre-hopping approach of his second album, February 2026’s KUN. – Biography by Marcy Donelson

wed15apr8:00 pmwed11:00 pmRAYEThis Tour May Contain New Music8:00 pm - 11:00 pm Radio City Music Hall, 1260 6th Avenue

Time

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

Location

Radio City Music Hall

1260 6th Avenue

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British singer/songwriter RAYE is a dynamic force of pop music, quickly ascending to become one of the brightest stars of her time both as a headliner and an in-demand collaborator. Her effortlessly smooth vocals and hook-laden songs began to take hold after she showed up as a featured artist on tracks by Jonas Blue and Jax Jones, with her 2020 mini-album Euphoric Sad Songs scoring a Top Ten single with “Secrets.” RAYE had assisted dozens of other artists spanning pop, R&B, rap, and dance music — ranging from Charli xcx and Ellie Goulding to David Guetta and Beyoncé — and was a star in her own right by the time she issued her first album, My 21st Century Blues (2023), containing the number one U.K. hit “Escapism.” After winning Artist of the Year at the 2024 BRIT Awards, RAYE unveiled the elaborate single “Genesis,” followed by the Top Ten 2025 hit “Where Is My Husband!”

A native of South London, RAYE (Rachel Keen) was born and raised in Tooting before she moved to Croydon in her teens. Starting her career at the age of ten, she was guided by her father and her guitar teacher. Her interest in music quickly led to small charity gigs and singing in her local church. By 2012, RAYE had enrolled in the prestigious BRIT School to perfect her craft, but she left after two years (in 2014) due to the limitations she was being taught and the desire to create her own rules. Just before the end of 2014, RAYE self-released her R&B-leaning debut EP, Welcome to the Winter. The lead single, “Hotbox,” was noticed by Olly Alexander, aka Years & Years, who got in touch with RAYE and arranged a meeting with the A&R department at Polydor.

With major-label backing from Polydor, RAYE kept busy in 2016, including co-writing her single “I, U, US” alongside Charli xcx appearing as a featured artist on Jonas Blue’s “By Your Side” and Jax Jones’ “You Don’t Know Me” — two Top 20 U.K. hits — and releasing her own Second EP. She was back working with Charli xcx the following year, guesting on the singer’s tracks “Girls” and “Dreamer.” Also in 2017, RAYE scored her first U.K. pop hits as a lead artist with “The Line,” which reached number 65, and “Decline,” a collaboration with Mr. Eazi that peaked at number 15. “Decline” and the subsequent number 41 single “Cigarette,” featuring Mabel and Stefflon Don, led the 2018 EP Side Tape. RAYE was heard around the same time on Kojo Funds’ Top 40 hit “Check.”

RAYE’s ascent continued over the next few years. In 2019, she teamed up with David Guetta for “Stay (Don’t Go Away)” and “Make It to Heaven” (also featuring Morten), amid one-off collaborations as a co-writer for songs by artists including Beyoncé (“Bigger,” off The Lion King: The Gift) and Ellie Goulding (the Top 40 U.K. single “Sixteen”). In November 2020, RAYE released the mini-album Euphoric Sad Songs, the source of the number six U.K. hit “Secrets” (featuring Regard), and the number 37 single “Regardless” (a collaboration with Rudimental). She returned to the U.K. Top Ten in 2021 with the number three single “Bed,” another collaboration with Guetta, and helped take D-Block Europe to number 14 with “Ferrari Horses.”

Also during 2021, RAYE’s mounting frustrations with Polydor — over artistic direction and the label’s refusal to issue her first proper full-length — led to her release from the four-album contract she had signed seven years earlier. RAYE subsequently signed a licensing and distribution deal with Human Re Sources, thereby giving her artistic control. The first singles from RAYE’s debut album arrived the next year. After “Hard Out Here” and “Mascara,” she scored her first number one U.K. hit with the unguarded 070 Shake collaboration “Escapism.” The feat set the stage for the February 2023 arrival of My 21st Century Blues. RAYE co-wrote each song and was assisted chiefly by Mike Sabath. The album charted worldwide, reaching the number two spot in the U.K. and as high as 58 in the States. Her extensive touring included a televised BBC special filmed at Royal Albert Hall that found RAYE accompanied by a 50-person orchestra and gospel choir. This concert was later released as the live album My 21st Century Symphony. She topped the U.K. dance chart that August via “Prada,” Cassö’s smash-hit remix of the D-Block Europe track “Ferrari Horses,” which featured RAYE on vocals. At the 2024 BRIT Awards, she made history by taking home six trophies including Artist of the Year. She also previewed part of an elaborate single titled “Genesis,” the full seven-minute version of which was released in June, peaking at 22 on the singles chart. By the end of the year, she had also picked up her first Grammy nominations, including for Best New Artist and Songwriter of the Year, Non-Classical. September 2025, she was back in the top ten of both the U.K. Singles Chart and the Hot 100 with the funky, horn-driven anthem “Where Is My Husband!” – Biography by Andy Kellman

wed15apr8:00 pmwed11:00 pmThe Growlers8:00 pm - 11:00 pm Brooklyn Steel, 319 Frost Street

wed15apr8:00 pmwed11:00 pmBand of Horses8:00 pm - 11:00 pm Wellmont Theater, 5 Seymour Street

wed15apr8:00 pmwed11:59 pmSkullcrusher8:00 pm - 11:59 pm Music Hall of Williamsburg, 66 North 6th Street

Time

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

Location

Music Hall of Williamsburg

66 North 6th Street

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As Skullcrusher, Helen Ballentine pens airy, introspective songs about uncertainty and the search for identity. While her gentle, ambient-influenced folktronica songs sound nothing like her moniker, they hint at soul-destroying feelings of darkness and emptiness. The Skullcrusher EP, Ballentine’s first collection of songs, quickly earned acclaim when it appeared in 2020. Inspired by memories of her childhood, the project’s full-length debut, the Andrew Sarlo-produced Quiet the Room, followed in 2022. She spent the next three years piecing together her atmospheric second album, 2025’s And Your Song Is Like a Circle. An accompanying live EP followed in 2026.

Originally from Upstate New York, Ballentine started playing piano as a child, and guitar as a high school student. She moved to Los Angeles and earned a degree in graphic design, but while working full-time in a gallery, she became dissatisfied with her career path and quit her job. Instead, she decided to pursue music, and began developing her first songs. Working with producer and musician Noah Weinman, she recorded a self-titled EP as Skullcrusher, and Secretly Canadian released it in July 2020.

It was well-received, and Ballentine wrote the bulk of Skullcrusher’s debut album alone in her Los Angeles apartment amid unusual heat in the summer of 2021. Vivid memories of her childhood in Mount Vernon, New York, were her main inspiration. When it came time to record the songs, she and Weinman enlisted producer Andrew Sarlo (Big Thief, Hovvdy) to join them at Chicken Shack, a studio on a farm in the Hudson Valley. The resulting 14-song Quiet the Room arrived on Secretly Canadian in October 2022.

Skullcrusher issued a single, a transformed cover of “Worlds Come Back” by the Hated, on Numero Groupl in early 2023, then signed with the Dirty Hit label for the release of her first original material in three years. In July 2025, “Exhale” became the first preview of her sophomore album, October 2025’s And Your Song Is Like a Circle, which was recorded in more piecemeal fashion over those three years. And Your Song Is Like a Circle (Live), an EP containing versions of four songs from the album, appeared in 2026. – Biography by Paul Simpson

wed15apr9:00 pmwed11:59 pmClarion9:00 pm - 11:59 pm Mercury Lounge, 17 E Houston Street

Time

(Wednesday) 9:00 pm - 11:59 pm

Location

Mercury Lounge

17 E Houston Street

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Formed, almost accidentally, in a shared east LA lockout, the members of Clarion came together to write music together in late 2023. Anthony, Saya and Joseph had all had spent time in the local DIY scene of East Los Angeles and in 2024 decided to record the songs they had been writing in a quick three-day sprint. They implemented efforts like layering multiple amps in stereo, panned left to right with different tones, to create an illusion of two guitarists. They tried every idea that came to mind, allowing the songs to become fully realized instead of rushed. The result is an immersive and youthful mix of shoegaze, post-punk, and Japanese rock. These recordings became their debut EP, simply titled Clarion.

The song “Hello Juliet” quickly catapulted them from their local DIY scene to a much bigger stage. Signing with Broke Records in 2025, “Hello Juliet” continued to grow and find more listeners as it currently has more than 20 million streams across platforms. Opportunities to tour with artists like Violent Vira, Rehash, Mexican Slum Rats, and Mind’s Eye followed in 2025 as the band honed their live set and added touring member Javier Flores on drums. Intent on fully earning their touring stripes in 2026, they are heading out on the road supporting shoegaze legends Panchiko and embarking on their own national headline tour.

As busy as they are, community is at the core of Clarion. You can still find them jumping onstage at their local Dennys for a sold out DIY show or hosting their annual Christmas charity benefit show in Pomona.

When they aren’t on tour, they’re back in the room where they started — jamming, debating, refining, and crafting a sound big enough to swallow the space around them. Off the success of their debut EP, they’ve released a handful of singles leading into Blue Fairy, their new EP out March 27.

thu16apr7:00 pmthu10:00 pmTrina7:00 pm - 10:00 pm House Of Independents, 572 Cookman Avenue

Time

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

Location

House Of Independents

572 Cookman Avenue

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Trina had no musical ambition when she was first heard as the assertive and raunchy foil on Trick Daddy’s 1998 Top Five rap single “Nann,” but her whirlwind verse began an enduring and highly influential career. The Miamian proved with the subsequent Da Baddest Bitch (2000), her gold-certified debut, that she could occupy the spotlight. A string of four subsequent Top 20 albums, from Diamond Princess (2002) through Amazin’ (2010) — during which she had a number 17 pop hit with “Here We Go” — not only made Trina one of the most commercially successful rappers of the new millennium, but also paved a path for the similarly bold and provocative likes of Nicki Minaj, Cardi B, and Megan Thee Stallion. Trina has since branched into reality television, starring in Love & Hip Hop: Miami, and has scored a sixth charting album with The One (2019). She has since collaborated with the likes of Latto, Flo Milli, and Smiles Official during the 2020s.

Born Katrina Laverne Taylor, Trina was born and raised in Miami, and came up in the Liberty City neighborhood. Her father was originally from the Dominican Republic and her mother was from the Bahamas. Graduating high school in 1992, she continued her studies to pursue a career in real estate. After she accompanied friends to the video shoot for Luke’s “Scarred,” Trick Daddy, the track’s featured guest, asked her to provide a counterpoint on a song he was recording. Trina declined at first but eventually complemented Trick on “Nann.” Released as a single, it reached number three on Billboard’s rap chart and peaked on the Hot 100 at number 62. Trina was similarly hesitant to accept a solo recording contract offered by Slip-N-Slide, but she joined Trick on the label, and quickly followed the success of “Nann” with Da Baddest Bitch. The album, yielding the title track and equally brash Hot 100 entry “Pull Over,” entered the R&B/hip-hop chart at number 11 and attained gold status within eight months of its March 2000 arrival.

Trina next connected with a higher-profile cast of collaborators that included major personal inspiration Missy Elliott, and in 2002 returned with Diamond Princess. It contained another Hot 100 single, “B R Right” — a Kanye West production with a Ludacris guest verse — and started a streak of full-lengths that reached the Top 20 of the Billboard 200. The similarly star-studded and more polished Glamorest Life arrived in 2005 and was led by the Top 20 pop hit “Here We Go,” a ballad featuring Kelly Rowland with additional songwriting input from Teedra Moses.

Following 2008’s less slick Still da Baddest and 2010’s more sophisticated Amazin’, Trina left Slip-N-Slide and resumed activity with mixtapes, EPs, occasional singles, and appearances on tracks headlined by Juicy J, K. Michelle, and Run the Jewels. More visibly, she starred with Trick Daddy in Love & Hip Hop: Miami. The reality television series premiered in 2018, and the next year — during its four-season run — Trina offered The One, issued in 2019 through Fast Life Entertainment and her own Rockstarr Music Group. Included on the album was the single “BAPS” with Nicki Minaj. Not long after that, Trina hit the Hot 100 again, this time as a featured guest on the remix of “Bitch from da Souf,” headlined by Latto, yet another rapper she inspired. Additional guest verses, and headlining tracks such as “Receipts” and “Clap” (with Latto), followed across 2021 and 2022. She was featured on the 2023 single “No Love Shemix” along with Flo Milli, Maiya the Don, and J.K. Mac, in addition to “So Sexy” by Smiles Official. – Biography by Andy Kellman

thu16apr7:00 pmthu10:00 pmBaby Jane7:00 pm - 10:00 pm Zone One at Elsewhere, 599 Johnson Avenue

Time

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

Location

Zone One at Elsewhere

599 Johnson Avenue

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Baby Jane is an independent electronic artist from Los Angeles blending witch house, hardstyle, and ethereal pop into a sound that’s uniquely her own. Born to Soviet immigrants, she left high school at 14 to pursue songwriting full-time and later attended school to study music production, deepening her ability to shape her own sound. Inspired early on by the melancholic pop music of 1980s Russia, she draws from both her heritage and personal experience to create emotionally resonant, genre-defying work.

Growing up with a strong lisp, she kept her singing private for years, gradually developing a raw and emotional vocal style. Her music began to gain attention online, especially through TikTok and Spotify, where she now reaches nearly a million monthly listeners. In an effort for her grandparents to understand her songwriting, she occasionally includes verses in Russian, adding another layer of intimacy and cultural texture to her work. Her fanbase, known as The Coven, has grown steadily through her consistent online presence, distinctive sound, and unique lore.

At the center of Baby Jane’s world is a self-created mythology called Terem, which includes three archetypes — The Cowboy, The Warrior, and The Goddess. Fans group themselves by an online quiz as part of their initiation into the Coven. This framework helps shape her music, visuals, and the way listeners connect with her project. Some have even gotten tattoos of the Terem symbol.

After nearly stepping away from music entirely, she began writing again during the isolation of the pandemic. That period, followed by her work as a DJ in LA’s underground techno scene led to the development of her “gothic house” sound — a mix of distorted textures, cinematic visuals, and emotional storytelling.

In 2025, she released a string of singles including “Cemetery Date,” “Reincarnate,” “Psychotrance,” and “Eternal Embrace,” leading up to her debut full-length album, A Grave Marked Strange, out June 13.

thu16apr8:00 pmthu9:30 pmKelsey Lu8:00 pm - 9:30 pm Blue Note, 131 W 3rd Street

thu16apr8:00 pmthu11:00 pmRAYEThis Tour May Contain New Music8:00 pm - 11:00 pm Radio City Music Hall, 1260 6th Avenue

Time

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

Location

Radio City Music Hall

1260 6th Avenue

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British singer/songwriter RAYE is a dynamic force of pop music, quickly ascending to become one of the brightest stars of her time both as a headliner and an in-demand collaborator. Her effortlessly smooth vocals and hook-laden songs began to take hold after she showed up as a featured artist on tracks by Jonas Blue and Jax Jones, with her 2020 mini-album Euphoric Sad Songs scoring a Top Ten single with “Secrets.” RAYE had assisted dozens of other artists spanning pop, R&B, rap, and dance music — ranging from Charli xcx and Ellie Goulding to David Guetta and Beyoncé — and was a star in her own right by the time she issued her first album, My 21st Century Blues (2023), containing the number one U.K. hit “Escapism.” After winning Artist of the Year at the 2024 BRIT Awards, RAYE unveiled the elaborate single “Genesis,” followed by the Top Ten 2025 hit “Where Is My Husband!”

A native of South London, RAYE (Rachel Keen) was born and raised in Tooting before she moved to Croydon in her teens. Starting her career at the age of ten, she was guided by her father and her guitar teacher. Her interest in music quickly led to small charity gigs and singing in her local church. By 2012, RAYE had enrolled in the prestigious BRIT School to perfect her craft, but she left after two years (in 2014) due to the limitations she was being taught and the desire to create her own rules. Just before the end of 2014, RAYE self-released her R&B-leaning debut EP, Welcome to the Winter. The lead single, “Hotbox,” was noticed by Olly Alexander, aka Years & Years, who got in touch with RAYE and arranged a meeting with the A&R department at Polydor.

With major-label backing from Polydor, RAYE kept busy in 2016, including co-writing her single “I, U, US” alongside Charli xcx appearing as a featured artist on Jonas Blue’s “By Your Side” and Jax Jones’ “You Don’t Know Me” — two Top 20 U.K. hits — and releasing her own Second EP. She was back working with Charli xcx the following year, guesting on the singer’s tracks “Girls” and “Dreamer.” Also in 2017, RAYE scored her first U.K. pop hits as a lead artist with “The Line,” which reached number 65, and “Decline,” a collaboration with Mr. Eazi that peaked at number 15. “Decline” and the subsequent number 41 single “Cigarette,” featuring Mabel and Stefflon Don, led the 2018 EP Side Tape. RAYE was heard around the same time on Kojo Funds’ Top 40 hit “Check.”

RAYE’s ascent continued over the next few years. In 2019, she teamed up with David Guetta for “Stay (Don’t Go Away)” and “Make It to Heaven” (also featuring Morten), amid one-off collaborations as a co-writer for songs by artists including Beyoncé (“Bigger,” off The Lion King: The Gift) and Ellie Goulding (the Top 40 U.K. single “Sixteen”). In November 2020, RAYE released the mini-album Euphoric Sad Songs, the source of the number six U.K. hit “Secrets” (featuring Regard), and the number 37 single “Regardless” (a collaboration with Rudimental). She returned to the U.K. Top Ten in 2021 with the number three single “Bed,” another collaboration with Guetta, and helped take D-Block Europe to number 14 with “Ferrari Horses.”

Also during 2021, RAYE’s mounting frustrations with Polydor — over artistic direction and the label’s refusal to issue her first proper full-length — led to her release from the four-album contract she had signed seven years earlier. RAYE subsequently signed a licensing and distribution deal with Human Re Sources, thereby giving her artistic control. The first singles from RAYE’s debut album arrived the next year. After “Hard Out Here” and “Mascara,” she scored her first number one U.K. hit with the unguarded 070 Shake collaboration “Escapism.” The feat set the stage for the February 2023 arrival of My 21st Century Blues. RAYE co-wrote each song and was assisted chiefly by Mike Sabath. The album charted worldwide, reaching the number two spot in the U.K. and as high as 58 in the States. Her extensive touring included a televised BBC special filmed at Royal Albert Hall that found RAYE accompanied by a 50-person orchestra and gospel choir. This concert was later released as the live album My 21st Century Symphony. She topped the U.K. dance chart that August via “Prada,” Cassö’s smash-hit remix of the D-Block Europe track “Ferrari Horses,” which featured RAYE on vocals. At the 2024 BRIT Awards, she made history by taking home six trophies including Artist of the Year. She also previewed part of an elaborate single titled “Genesis,” the full seven-minute version of which was released in June, peaking at 22 on the singles chart. By the end of the year, she had also picked up her first Grammy nominations, including for Best New Artist and Songwriter of the Year, Non-Classical. September 2025, she was back in the top ten of both the U.K. Singles Chart and the Hot 100 with the funky, horn-driven anthem “Where Is My Husband!” – Biography by Andy Kellman

thu16apr8:00 pmthu11:00 pmSir Chloe8:00 pm - 11:00 pm Webster Hall, 125 E 11th Street

Time

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

Location

Webster Hall

125 E 11th Street

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Vermont’s Sir Chloe is an artful indie rock group centered on singer/songwriter Dana Foote. They have a sound that combines the punky, literate style of artists like St. Vincent and Fiona Apple with the twangy ’90s-style bombast of the Pixies. After gaining viral fame with the songs “Michelle” and “Animal” in 2019, they released their full-length debut, I Am the Dog, in 2023. Their sophomore album, Swallow the Knife, arrived in 2025.

Sir Chloe came together in 2017 while Foote was a music composition student at Vermont’s Bennington College. Rather than write a senior thesis, she decided to play a concert of original music. To do so, she put together a band, pulling in her brother, drummer Palmer Foote, guitarist Teddy O’Mara, and other friends to round out the ensemble. Naming themselves after Foote’s mother, Sir Chloe stuck together and began posting tracks online. In 2019, their songs “Michelle” and “Animal” went viral on social media, paving the way for the band’s 2020 EP, Party Favors. A second version of “Michelle” followed, as did a cover of Lou Reed’s “Femme Fatale,” and singles like “Sedona,” “Mercy,” and “Company.” In 2023, they released their debut full-length, the John Congleton-produced I Am the Dog. Included was the lead single “Hooves.”

Touring ensued, including stints with Phoenix, Beck, and Halsey. In 2025, they delivered the song “Forgiving” as the lead single off their sophomore album Swallow the Knife. – Biography by Matt Collar

thu16apr8:00 pmthu11:00 pmTigers JawLost On You Tour8:00 pm - 11:00 pm Union Transfer, 1026 Spring Garden Street

Time

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

Location

Union Transfer

1026 Spring Garden Street

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A band whose music has matured from pop-punk to emo to indie rock, Tigers Jaw have earned a growing following for their melodic but insistent music and emotionally powerful lyrics. Always urgent and usually tuneful, Tigers Jaw’s music has been evolving since they began recording, but the constant factors have been a spare yet engaging sense of melody, a willingness to open their hearts and minds to the listener, and an energy that brings a forceful impact to even their most pop-oriented songs. 2008’s Tigers Jaw typified the scrappy, heavily dynamic sound of the band’s early days, 2010’s Two Worlds found them in a more confident mood with a full-bodied sound, 2014’s Charmer was a transitional effort as their emo roots gave way to a poppier, indie-influenced attack, and 2021’s I Won’t Care How You Remember Me demonstrated they could adopt a more polished and thoughtful approach without sacrificing their passion or perspective. The band kicked off a new album cycle in 2025 with the release of “Head Is Like a Sinking Stone,” slated to appear on the LP Lost On You in early 2026.

Tigers Jaw were formed in 2005 in Scranton, Pennsylvania by guitarist and vocalist Adam McIlwee and guitarist and vocalist Ben Walsh. The two began working up material and recruited bassist Dennis Mishko and drummer Mike May; a keyboard player dropped out before the group’s first show, and through mutual friends, Brianna Collins was invited to join the lineup. Several months later, Mike May left the band, and Pat Brier took over on drums, solidifying the band’s membership. In 2006, Tigers Jaw recorded their first album, Belongs to the Dead, on a portable recording rig in an attic where the band rehearsed; the album was released by Summersteps Records, and in 2008, they went into the studio with producer and engineer Joe Loftus to cut their second full-length, simply titled Tigers Jaw, for Photobooth Records. Tigers Jaw’s popularity began to spread, despite the group’s touring opportunities limited by the members’ academic commitments, and in 2010, they signed with Run for Cover Records, which brought out their third album, Two Worlds. (Run for Cover would also reissue the band’s first two albums.) A split EP with the group Balance & Composure was also released the same year, and Tigers Jaw would release split singles with like-minded bands the Sidekicks, Tiny Empires, and Code Orange over the next few years. In 2013, Tigers Jaw released a new single, “Hum” b/w “Cool,” but the group soon made the announcement that Adam McIlwee, Dennis Mishko, and Pat Brier were leaving the lineup, and the band was going on hiatus. While many believed Tigers Jaw was breaking up, Ben Walsh and Brianna Collins made it clear they were keeping the group together, and they set out on a tour with the help of guest musicians Derrick Sherman (guitar), Andrew Fisher (bass), and James Fisher (drums). McIlwee, Mishko, and Brier agreed to rejoin Tigers Jaw in the studio to complete their fourth album, and Charmer was released in the spring of 2014. Spin, the band’s much anticipated fifth studio long-player, was released in May 2017; their first to be recorded as a duo, it was also their major-label debut and the first release on producer Will Yip’s Atlantic imprint Black Cement Records. By 2019 the duo had regrouped as a four-piece with Theodore Roberts playing drums and Colin Gorman on bass. Moving to Hopeless Records that same year, the refreshed group issued their first single, “Warn Me,” for the label at the beginning of 2020. Returning to the studio around the same time, the band set to work on their sixth album, with Yip once again in the producer’s chair. With the COVID-19 pandemic putting touring on hold, the group issued the first results of the sessions at the tail-end of the year, releasing the singles “Cat’s Cradle” and “Lemon Mouth.” The album I Won’t Care How You Remember Me, their most polished effort to date, arrived at the beginning of 2021. A pair of 7-inch singles, the reflective “Old Clothes” and a split with Joyce Manor (“I Saw Water/Constant Headache”), appeared in 2022 and 2023, respectively, followed in 2025 by “Head Is Like a Sinking Stone,” the first single from the band’s seventh long-player, Lost On You. – Biography by Mark Deming

thu16apr8:00 pmthu11:00 pmBrad stank8:00 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street Event Organized By: Dave Kiss Presents

Time

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

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Kung Fu Necktie

1248 N Front Street

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Imagine stepping into a gig to see Barry White and Love Unlimited jamming with Mac DeMarco, or TOPS teaming up with Ween to play through Marvin Gaye’s ‘I Want You’. And centre-stage stands an unlikely lothario, who somehow makes playing such luscious, lustrous sounds look effortless – all with a shot of spirituality thrown in for good measure. Welcome to the world of Brad Stank.

Our man Brad has been on the cusp of something special for a while. In 2017, he uploaded two home-recorded tracks (‘Daddy Blue’ and ‘O.T.D.’) that he had written for his girlfriend at the time. His SoundCloud blew up, going from a dozen plays a day to 500 or more, eventually taking those two songs to 19 million streams at Spotify alone. Meanwhile, the likes of Clash and The Line of Best Fit were heralding him as one to watch, with i-D praising him as being, “Probably the only weirdo Scouse jazz crooner you’ll ever need.” And those talents grew with every release, taking in the ‘Eternal Slowdown’ EP in 2018 and his 2020 debut album ‘Kinky Om’, before lockdown mania took him on a detour into country with the ‘Hank Stankovic’ EP.

But now Brad raises the bar with his upcoming second album ‘In The Midst of You’. The stoned baritone of his voice brings the dusky, after hours vibe to a collection of songs which playfully traverse R&B, laidback psychedelia, and jazz. From the warmth of the live instrumentation and the authenticity of its ‘70s tones, it’s accomplished in a whole new way. If you’ve ever enjoyed Brad’s previous impressively unhurried slow jams, you’ll discover ‘In The Midst of You’ lives up to his early potential with new-found grace and elegance, without losing his original desert dry humour or DIY aesthetic.

“For me it was about taking that next step to where I feel like my sound wanted to go,” begins Brad. “I’ve always been a bit obsessed with Love Unlimited and Barry White and late 70s stuff, so for this album I wanted there to be lots going on, with strings, percussion and piano – but for it still to feel a little bit lo-fi. You always want to make something that feels right at the time.”

Thematically it has evolved too, subtly moving from seductive charms to a recipe for romance. It is romantic in the most direct of ways, whether Brad is purring, “I belong to you” (on, erm, ‘I Belong To You’), or sighing “It’s so unfair that you’re so far away” (‘Long Distance’). They’re lyrics that come from a new relationship, a new muse, or as Brad shyly explains, “A lot of the album was lyrically pointed towards someone in particular, so that was kind of nice.” But it’s also a question of maturity. As he questions, “When you’re getting a little bit older, how long can you really do that cheesy, sexy thing for? Being romantic is still on the same kinda vibe, but it feels natural.”

Amidst the romance, there was a good reason for Brad to bemoan the distance between him and his lover. Between January and March 2023 he spent most of his time darting between his home in Liverpool and Press Play Studio in Bermondsey, London as he recorded ‘In The Midst of You’ – a location that was far better equipped than anywhere he had previously worked in. He recorded much of the album himself: vocals, guitar, bass, drums, percussion, plus some keys which remained from his home-recorded demos. “I like the idea of doing as much as I can and then getting some experts to help with the rest.”

Leading the experts who contributed to ‘In The Midst of You’ was Stereolab’s Andy Ramsey, who co-produced the album with Brad and called on some accomplished contributors, including keys from Stereolab band mate Joe Watson and the arrangement expertise of Sean O’Hagan of The High Llamas. Meanwhile Brad enlisted the help of friends including vocals from Lydia Kitto (Jungle, Ezra Williams), and saxophone courtesy of Rachel Dover (Mike Blue) and Gal Go (King Krule). He also invited Lord Apex – “my favourite uk rapper from the last few years” – to add a “different vibe” with his smoker’s lounge rhymes on the hazily hypnotic ‘Cry Baby’.

The result is ‘In The Midst of You’, which drifts lackadaisically between standout moments such as the sizzling ‘80s soul of ‘My New Heaven’ and the tender sophistication of the ballad ‘Don’t Go, Don’t Go’. The recent single ‘Natty Wine’ sees Brad backed by soulful female vocal harmonies, as its jazzy psychedelia possesses a touch of twanging Americana while warm and vibrant live instrumentation makes for a song as relaxed as a blazing summer Sunday afternoon. And the title track is something else entirely – a sonic journey that begins with downbeat atmospherics before taking flight into joyous, swelling gospel.

Ultimately the album is chilled out escapism, which reflects the concluding words of Jiddu Krishnamurti that are sampled in ‘My New Heaven’: “You have to be a light to yourself in a world that is utterly becoming dark.” And Brad is hoping it presents new rays of opportunities for him too: not only as the first album under a new deal with Sunday Best, but after an unforgettable experience playing SXSW earlier this year, he is also plotting his most extensive touring to date. There’s another big development on the cards too, as he is poised to leave his beloved Liverpool after a decade to embrace London’s music scene with a move to Peckham.

There’s a touch of irony in that Brad never intended to be a solo artist. He grew up in Chesterfield, where his first memory was air drumming to his parents’ Dinosaur Jr. albums. His tastes broadened when he fell down YouTube’s infinite rabbit hole of music, his varied obsessions ranging from Bombay Bicycle Club to Brazilian beats and Ghanaian highlife. Initially a drummer, his first notable band project was Trudy and the Romance, whose flair for ‘50s-tinged doo-wop and rock ‘n’ roll courtesy of songwriter Oliver Taylor inspired Brad to dive deeper into writing himself. But as Brad’s early tracks took off, the opportunity to start his own solo project was too much to resist.

There have been challenges along the way. Brad was one of a number of musicians from the north-west scene who halted all creative endeavours following the tragic death of their friends Her’s in 2019, while the lockdown era not only stopped any opportunity for live shows,but also put his inspiration on pause. Now, however, is Brad’s moment. With ‘In The Midst of You’, there’s only looking up.

Organizer

Dave Kiss Presents

thu16apr10:30 pmthu11:59 pmKelsey Lu10:30 pm - 11:59 pm Blue Note, 131 W 3rd Street

fri17apr8:00 pmfri9:30 pmKelsey Lu8:00 pm - 9:30 pm Blue Note, 131 W 3rd Street

fri17apr8:00 pmfri11:00 pmGood KidCan We Hang Out? Tour8:00 pm - 11:00 pm Brooklyn Steel, 319 Frost Street

fri17apr8:00 pmfri11:00 pmCONCRETE BOYSIt's Us Vol. 2 Tour8:00 pm - 11:00 pm Theatre of Living Arts, 334 South Street

fri17apr10:30 pmfri11:59 pmKelsey Lu10:30 pm - 11:59 pm Blue Note, 131 W 3rd Street

sat18apr7:00 pmsat10:00 pmJuvenileBoiling Point Tour7:00 pm - 10:00 pm Theatre of Living Arts, 334 South Street

Time

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

Location

Theatre of Living Arts

334 South Street

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Simply put, hip-hop might not be the same without Juvenile.

Over nearly three decades, the multi platinum record-breaking New Orleans icon served up a string of classic albums, influenced two generations of stars, and pioneered a sound rooted in Louisiana bounce, yet carried by worldwide rap appeal and ambition. Like all timeless stories though, his stretches back to humble beginnings in the neighborhood his music put on the map: the Magnolia Projects. As if predisposed by destiny to pick up a microphone, he heard Melle Mel’s verse on “The Message” by Grandmaster Flash & The Furious Five, commenced spitting, and never stopped since…

“That’s really when it all started,” he recalls. “I heard Melle Mel saying, ‘Don’t push me, ‘cuz I’m close to the edge’, and that was it. I was only seven-years-old, but I knew I had to rap.”

He made local waves by appearing on DJ Jimi’s “It’s Jimi” in 1991 before bringing a national spotlight to the burgeoning bounce music style on his breakthrough “Bounce for the Juvenile.” After building a fan base on his 1995 debut Being Myself, the production of Mannie Fresh caught his ear, and nothing would be the same. At the time, the in-house Cash Money Records producer cooked up “Drag ‘Em ‘N’ tha River” for UNLV—a group Juvenile brought to the label.

In response, Juvenile recorded “Set It Off” and knew he “had to get with Mannie Fresh.”

“At the beginning, I truly came to Cash Money, because of Mannie Fresh,” he recalls. “I knew his beats were bigger than most artists. There was something there.”

There definitely was…

After his Cash Money Records debut Solja Rags, he crafted an era-defining opus in the form of 400 Degreez. Not only did it go quadruple-platinum, but it also became “the best-selling album in Cash Money Records History.” It produced staples such as the title track, “Ha” (which JAY-Z notably remixed), and “Back That Azz Up.” The latter would be sampled by everyone from Drake to City Girls. The Ringer lauded 400 Degreez among the “20 Best Southern Rap Albums Ever” behind only UGK’s Ridin’ Dirty and OutKast’s Aquemini. Pitchfork bestowed a rare 9.4-out-of-10 rating upon the record, and Kendrick Lamar cited it as one of his “Favorite Albums” in Complex and went so far as to claim, “They had the West Coast on smash. We definitely tried to be like them.” The heat spread far and wide across the United States.

“I remember I had a show with Funkmaster Flex in the Tunnel in New York city around the time 400 Degreez came out,” he recalls. “Everybody told me, ‘Don’t sing no other song, but ‘Ha’. If you sing anything else, they might jump on you and beat y’all up!’ I sang ‘Ha’ for forty minutes straight. It was the hardest place for any artist from the South to break into, but I did. It really broke the mold.”

Around the same time, Juvenile comprised The Hot Boys alongside Lil Wayne, B.G., and Turk. Together, they smashed charts with the Get It How U Live! [1997] and the platinum Guerilla Warfare [1999]. His next solo offering, Tha G-Code, went double-platinum followed by the platinum Project English. Meanwhile, 2003’s Juve The Great emerged as another unsung platinum classic as “Slow Motion” [feat. Soulja Slim] topped the Billboard Hot 100 at #1 for two weeks. He maintained a prolific pace in the ensuing years and collaborated with everyone from Future to Yo Gotti before reuniting with Cash Money Records.

“It’s more like a family reunion than anything,” he smiles. “It’s a friendship that never should’ve separated. Back in the day, Baby and I were always really tight. It’s tighter now. We think differently. We know when we hit the studio, it’s time to work. In the nineties, it was more about trying to control the industry and be at the forefront. We’re not trying to be better than everything out there; we’re just trying to show our fanbase we can still make good music. We have a great chemistry and always have. I thought it was a good idea for him and I to do a project together. He agreed. It was something we wanted to do forever, but never got around to it. I want him to talk that shit. I do my thing. Do your thing brother. That’s what makes our chemistry great.”

The chemistry thrives on their 2019 first full-length collaborative album, J.A.G. It boldly extended Juvenile’s own legacy with unanimous praise from Pitchfork, Rolling Stone, and Billboard as the singles “Just Another Gangsta” and “Dreams” [feat. NLE Choppa] tallied over 20 million total streams and views. Moreover, it preceded the stage for another collaborative effort and an O.G. Cash Money Records reunion on “Ride Dat” [feat. Lil Wayne].

Juvenile also inspires the next generation as his song Young Juve picks up the microphone for a bevy of upcoming singles.

In the end, Juvenile continues to shape and spearhead the future of hip-hop.

“I just want people to enjoy the music,” he leaves off. “I want to keep making good music. It’s all about a positive mood. Birdman and I are going to continue this. We’ve got a whole new breath of fresh air coming from my way. We’re going to get this bread.”

sat18apr7:00 pmsat10:00 pmLetón PéLATAM/U.S. Tour 7:00 pm - 10:00 pm SOBs (Sounds of Brazil), 204 Varick Street

Time

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

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SOBs (Sounds of Brazil)

204 Varick Street

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Leticia Pellicione, mejor conocida como Letón Pé, es una cantautora y actriz dominicana que se ha posicionado como una de las voces más singulares y prometedoras de la nueva escena musical latina. Su propuesta artística se nutre de una fusión audaz de ritmos afrocaribeños, merenhouse, jazz y electrónica, explorando sonoridades contemporáneas sin perder el pulso de sus raíces.

A lo largo de su carrera, Letón Pé ha experimentado de manera constante hasta consolidar un lenguaje musical auténtico y fresco, que la distingue dentro del pop alternativo caribeño.

En 2024, formó parte del “Bolero Apocalíptico US Tour” como artista telonera de los reconocidos Monsieur Periné, presentándose en más de seis ciudades de Estados Unidos, ampliando así su alcance internacional y conectando con nuevas audiencias.

Su impacto no ha pasado desapercibido para la crítica especializada. La revista digital REMEZCLA la ha señalado como la próxima gran diva del pop dominicano, mientras que ROLLING STONE destacó su sencillo ¿Cuándo Se Va’ir El Calor? entre las 25 mejores canciones en español de 2024, ubicándolo en el puesto #7, además de reconocerla como una de las artistas más prometedoras de la escena latina actual.

Durante el 2025, Letón Pé obtuvo su primera nominación a Premios Lo Nuestro en la categoría Artista Revelación Femenina, y fue galardonada en los Premios Soberanos en el renglón de Música Alternativa, consolidando un momento clave en su crecimiento y proyección dentro de la industria.

En 2026 lanzará su primer álbum debut, un proyecto que recoge su evolución sonora y reafirma su identidad artística dentro de la música latina contemporánea.

sat18apr7:30 pmsat11:00 pmGoldFordSpace of the Heart Tour7:30 pm - 11:00 pm Webster Hall, 125 E 11th Street

Time

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

Location

Webster Hall

125 E 11th Street

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GoldFord is a singer-songwriter with a voice that carries weight – rich, emotive, and unfiltered. With a timeless blend of pop and soul, he writes music rooted in truth, vulnerability, and healing. His forthcoming EP, “Space of the Heart”, out September 26th, promises raw, unfiltered songs that balance introspection with catharsis and grapple with heartbreak, healing, and the quiet revelations that come with growth and maturity.

Originally from St. Louis and now based in Los Angeles, GoldFord’s journey to music was far from conventional. After a decade navigating corporate life, a profound personal loss sparked a transformation. Music became not just a dream, but a vital expression of purpose and resilience. His breakout single “Upside Down” announced his arrival, followed by the viral hit “Orange Blossoms,” which garnered over 70 million Spotify streams and earned co-signs from Sam Smith, SZA and Noah Kahan.

As he prepares to bring his new material to audiences worldwide, GoldFord will be embarking on his sold out UK and European tour in Autumn 2025. The tour includes his highly anticipated UK headline debut at London’s Scala on October 22 – a show that has sold out and been upgraded due to overwhelming demand. With a growing fanbase and a distinctive sound, GoldFord is set to make a lasting impact on the global stage.

sat18apr8:00 pmsat9:30 pmSasha Keable8:00 pm - 9:30 pm Blue Note, 131 W 3rd Street

Time

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

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Blue Note

131 W 3rd Street

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‘Treat me nice and I’ll write nice songs about you, treat me badly, I will write nasty songs about you’ says Sasha Keable, with a conspiratorial smile.

For Act Right EP, it was definitely the latter. Written during the aftermath of a deeply painful breakup, the seven-track EP sees the South London singer move through unfiltered rage and despair while ultimately landing in a tender place of compassion and self-love. ‘This EP comes from a place of betrayal and heartbreak’ she says. Sonically, it’s richly soulful, with nostalgic R&B stylings and a sharp feature from Jamaican-born US rapper Beam, but ultimately it’s Sasha’s spellbinding vocals that make Act Right EP pack such a visceral punch. You can hear the anger in her voice in Heartbeat, while Work oozes a newfound confidence.

First single act right may have been where the project began, but it’s a decisive and conclusive post-mortem of the relationship; ‘If you wanted to, you would act right.’ Over a mellow R&B beat, produced by her longtime collaborator, Etienne, Sasha’s voice is strong and scorching, a poignant reminder that this is a woman picking herself right back up, reclaiming her power. act right has a distinctly nineties feel; the storytelling of Faith Evans, the emotion and powerhouse vocals like Mary J Blige.

In the stripped back video, the British Colombian artist sits alone, her cards literally laid out on a table next to her. She doesn’t move from her seat for the full 2 minutes and 54 seconds. ‘The message is really just in the song, it doesn’t need a whole concept,’ she explains. The video is also a subtle nod to her Colombian roots; the bold colours and the way the sunlight hits the faded, sun-exposed wall behind her, while Sasha sings with the aggression of a telenovela. ‘Passion is something huge that comes with being Colombian. I love the traditional music — Cumbia and Vallenatos — there’s a lot of drama in the music, you hear the artists really singing from their soul.’

act right marked the start of a huge healing journey for Sasha. ‘That song was the first time I got my thoughts in a row. The producer knew the whole situation, so it was very easy for me to kind of decompress in the studio.’

Feel Something sees Sasha in the heat of her rage. Written late at night during an alcohol-fuelled songwriting session in Tennessee with Grammy winning producer Taylor Hill and hotly tipped Florida artist P90Pope, Sasha ‘needed to say what I needed to say.’ She was so clear on the message that the song was written in less than two hours. She deftly juxtaposes a choral arrangement (made beautifully from her own layered vocals) with swaggering verses that transplant the listener into a car crash of fiery toxicity that is a destructive relationship.

Ever since her formative teenage years, the 31-year-old musician has always used music as a means of working through heartbreak and trauma, and celebrating joy and love. Growing up, her Colombian mother played Latin music around the house, while visits to her Dad’s included everything from Aerosmith to Seal. As a teenager, she was immersed in South London’s vibrant R&B and rap scene. ‘I’ve always loved storytellers and artists that aren’t afraid to bare their soul’ she says, citing Donny Hathaway, Amy Winehouse and Stevie Wonder as some of the artists that shaped her early songwriting. Sasha, who has been open about her mental health struggles, has always found the process deeply therapeutic, usually writing alone and from a place of pain. ‘I feel like I was put on this earth to find words that other people can’t necessarily say themselves. And to do that, I have to be completely 100% brutally honest with myself.’

She does that in droves on Can’t Stop, another nod to the 90s R&B she grew up listening to. Written after a rebound relationship straight after the breakup the EP centres around, the track contemplates the unintentional hurt Sasha caused another person. ‘It’s probably the song where I’m looking at myself a little bit more, realising maybe I’m not as perfect or as innocent as I thought. I ended up hurting her, because I wasn’t ready for a relationship.’

Last year’s Hold Up marked the first time Sasha had sung about a woman as a love interest, and throughout the EP, Sasha continues to paint a picture of queer love in all its nuances; beautiful, complicated, unrequited, sexy, messy, tender. ‘There are a lot of queer artists coming up who sing about sex, but I’m like, where’s the relationship bit, the real bit?’ You love them then you hate them, that’s always been the place i’ve written from.’

While the EP brings to life the crushing agony of heartbreak, elsewhere, we see a celebratory kind of self-love. Work ft Beam ‘is what it says on the tin; a sexy song.’ Move It Along written with Leon Thomas strikes a more playful tone as Sasha advocates for herself. Smooth and soulful, the beautifully introspective Why asks, ‘Why is it me you give all this love to?’ It could easily be dedicated to a new lover, while several of Sasha’s friends interpreted it as a worship song. However, Sasha’s real intent was ‘to manifest the love I’ve never experienced for myself. The love that I want for myself. People are always going to take your song and use it in a way that’s fitting to them. That’s what I love about music.’

The EP marks a return to Sasha’s intuitive songwriting style. She was just seventeen when she signed a five album deal with Polydor. She released a handful of successful EPs, toured with Disclosure and leant vocals to their 2013 single, Voices. Despite her growing success, as the years passed, she felt creatively stifled as a young woman struggling to navigate the proprietary music industry. After 2021’s Intermission EP, she took a three year hiatus. ‘At that point I had no management, no label, no team, no one. It was just me. At that point, I had nothing left to lose. So I was like, fuck it, I’m just gonna do what I need to do.’

Free from the pressure to churn out hits, Sasha went back to basics, arranging her own sessions and writing most of the songs at her mum’s house, where she’d first learned to read music on a second hand piano. Reconnecting with herself as an artist, Sasha stopped making music for record label executives and went back to distilling her emotions into song. She took control, making sure she had more ownership and creative freedom on her future releases. There’s a notable shift in her recent output. Her authenticity is palpable; she’s been nominated for Best R&B/Soul Act at the 2025 MOBOs, while her latest Colors performance of Why has garnered over a million views. Sasha has an upcoming slot on the BBC’s prestigious Jools Holland show as well as NPR’s legendary Tiny Desk series. Plus, there is surely no greater payoff than getting co-signed by Beyonce, who recently described Sasha as part of a new generation of songwriters who inspire her.

Act Right EP marks the first full EP from Sasha 2.0: wiser, rawer and stronger than ever before. ‘I felt like if I didn’t make this music I might lose my mind’ she says. ‘I made this EP for myself, it’s exactly what I needed.’

sat18apr8:00 pmsat11:00 pmGood KidCan We Hang Out? Tour8:00 pm - 11:00 pm Brooklyn Steel, 319 Frost Street

sat18apr10:30 pmsat11:59 pmSasha Keable10:30 pm - 11:59 pm Blue Note, 131 W 3rd Street

Time

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

Location

Blue Note

131 W 3rd Street

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‘Treat me nice and I’ll write nice songs about you, treat me badly, I will write nasty songs about you’ says Sasha Keable, with a conspiratorial smile.

For Act Right EP, it was definitely the latter. Written during the aftermath of a deeply painful breakup, the seven-track EP sees the South London singer move through unfiltered rage and despair while ultimately landing in a tender place of compassion and self-love. ‘This EP comes from a place of betrayal and heartbreak’ she says. Sonically, it’s richly soulful, with nostalgic R&B stylings and a sharp feature from Jamaican-born US rapper Beam, but ultimately it’s Sasha’s spellbinding vocals that make Act Right EP pack such a visceral punch. You can hear the anger in her voice in Heartbeat, while Work oozes a newfound confidence.

First single act right may have been where the project began, but it’s a decisive and conclusive post-mortem of the relationship; ‘If you wanted to, you would act right.’ Over a mellow R&B beat, produced by her longtime collaborator, Etienne, Sasha’s voice is strong and scorching, a poignant reminder that this is a woman picking herself right back up, reclaiming her power. act right has a distinctly nineties feel; the storytelling of Faith Evans, the emotion and powerhouse vocals like Mary J Blige.

In the stripped back video, the British Colombian artist sits alone, her cards literally laid out on a table next to her. She doesn’t move from her seat for the full 2 minutes and 54 seconds. ‘The message is really just in the song, it doesn’t need a whole concept,’ she explains. The video is also a subtle nod to her Colombian roots; the bold colours and the way the sunlight hits the faded, sun-exposed wall behind her, while Sasha sings with the aggression of a telenovela. ‘Passion is something huge that comes with being Colombian. I love the traditional music — Cumbia and Vallenatos — there’s a lot of drama in the music, you hear the artists really singing from their soul.’

act right marked the start of a huge healing journey for Sasha. ‘That song was the first time I got my thoughts in a row. The producer knew the whole situation, so it was very easy for me to kind of decompress in the studio.’

Feel Something sees Sasha in the heat of her rage. Written late at night during an alcohol-fuelled songwriting session in Tennessee with Grammy winning producer Taylor Hill and hotly tipped Florida artist P90Pope, Sasha ‘needed to say what I needed to say.’ She was so clear on the message that the song was written in less than two hours. She deftly juxtaposes a choral arrangement (made beautifully from her own layered vocals) with swaggering verses that transplant the listener into a car crash of fiery toxicity that is a destructive relationship.

Ever since her formative teenage years, the 31-year-old musician has always used music as a means of working through heartbreak and trauma, and celebrating joy and love. Growing up, her Colombian mother played Latin music around the house, while visits to her Dad’s included everything from Aerosmith to Seal. As a teenager, she was immersed in South London’s vibrant R&B and rap scene. ‘I’ve always loved storytellers and artists that aren’t afraid to bare their soul’ she says, citing Donny Hathaway, Amy Winehouse and Stevie Wonder as some of the artists that shaped her early songwriting. Sasha, who has been open about her mental health struggles, has always found the process deeply therapeutic, usually writing alone and from a place of pain. ‘I feel like I was put on this earth to find words that other people can’t necessarily say themselves. And to do that, I have to be completely 100% brutally honest with myself.’

She does that in droves on Can’t Stop, another nod to the 90s R&B she grew up listening to. Written after a rebound relationship straight after the breakup the EP centres around, the track contemplates the unintentional hurt Sasha caused another person. ‘It’s probably the song where I’m looking at myself a little bit more, realising maybe I’m not as perfect or as innocent as I thought. I ended up hurting her, because I wasn’t ready for a relationship.’

Last year’s Hold Up marked the first time Sasha had sung about a woman as a love interest, and throughout the EP, Sasha continues to paint a picture of queer love in all its nuances; beautiful, complicated, unrequited, sexy, messy, tender. ‘There are a lot of queer artists coming up who sing about sex, but I’m like, where’s the relationship bit, the real bit?’ You love them then you hate them, that’s always been the place i’ve written from.’

While the EP brings to life the crushing agony of heartbreak, elsewhere, we see a celebratory kind of self-love. Work ft Beam ‘is what it says on the tin; a sexy song.’ Move It Along written with Leon Thomas strikes a more playful tone as Sasha advocates for herself. Smooth and soulful, the beautifully introspective Why asks, ‘Why is it me you give all this love to?’ It could easily be dedicated to a new lover, while several of Sasha’s friends interpreted it as a worship song. However, Sasha’s real intent was ‘to manifest the love I’ve never experienced for myself. The love that I want for myself. People are always going to take your song and use it in a way that’s fitting to them. That’s what I love about music.’

The EP marks a return to Sasha’s intuitive songwriting style. She was just seventeen when she signed a five album deal with Polydor. She released a handful of successful EPs, toured with Disclosure and leant vocals to their 2013 single, Voices. Despite her growing success, as the years passed, she felt creatively stifled as a young woman struggling to navigate the proprietary music industry. After 2021’s Intermission EP, she took a three year hiatus. ‘At that point I had no management, no label, no team, no one. It was just me. At that point, I had nothing left to lose. So I was like, fuck it, I’m just gonna do what I need to do.’

Free from the pressure to churn out hits, Sasha went back to basics, arranging her own sessions and writing most of the songs at her mum’s house, where she’d first learned to read music on a second hand piano. Reconnecting with herself as an artist, Sasha stopped making music for record label executives and went back to distilling her emotions into song. She took control, making sure she had more ownership and creative freedom on her future releases. There’s a notable shift in her recent output. Her authenticity is palpable; she’s been nominated for Best R&B/Soul Act at the 2025 MOBOs, while her latest Colors performance of Why has garnered over a million views. Sasha has an upcoming slot on the BBC’s prestigious Jools Holland show as well as NPR’s legendary Tiny Desk series. Plus, there is surely no greater payoff than getting co-signed by Beyonce, who recently described Sasha as part of a new generation of songwriters who inspire her.

Act Right EP marks the first full EP from Sasha 2.0: wiser, rawer and stronger than ever before. ‘I felt like if I didn’t make this music I might lose my mind’ she says. ‘I made this EP for myself, it’s exactly what I needed.’

sun19apr5:00 pmsun7:00 pmKino5:00 pm - 7:00 pm Mercury Lounge, 17 E Houston Street

sun19apr6:00 pmsun11:00 pmSave Ferris6:00 pm - 11:00 pm Debonair Music Hall, 1409 Queen Anne Road

Time

(Sunday) 6:00 pm - 11:00 pm

Location

Debonair Music Hall

1409 Queen Anne Road

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SAVE FERRIS is a ska-punk band formed circa 1995 in Orange County, Southern California. Their name is a reference to the 1986 filmFerris Bueller’s Day Off.The band formed after the dissolution of a number of Southern California bands. With Monique Powell as manager, front person, and co-songwriter, the band began to book shows around Southern California to a great underground response.Financed by Powell’s sister, the band released their debut EP “Introducing SAVE FERRIS” on Powell’s label,Starpool Records, in 1996. They ended up selling close to 20,000 copies of their EP out of the trunks of their cars, with huge support from Orange County independent record shops and fans. That year, Powellprovided vocals on theReel Big Fishsong “She Has A Girlfriend Now” on their album “Turn the Radio Off” (Mojo).With Powell as manager and lead, and as favorites of KROQ radio’s legendaryRodney on the Rock, SAVE FERRIS created a presence on LA’s KROQ radio, possibly being the first unsigned band to do this in LA alternative radio history. Later that year, the National Academy of Recording Arts and Sciences gave the band a Grammy showcase award for best unsigned band, earning them a recording contract withEpic Records(SONY).The band released their debut full-length album for Epic in 1997. “It Means Everything” featured several re-recorded tracks from the EP, several new songs, and, on Powell’s urging, a cover of Dexy’s Midnight Runners’ “Come on Eileen,” which the band released as their first official single, and what was to become their most successful single. The band also released “The World is New” as a single which was featured in the film “The Big Hit” starring Mark Wahlburg. Olympic medal winnerTara Lipinski used “The World is New” in her debut program as a professional skater in the nationally telecast 1998 Skate TV Championships.

The band toured extensively in support of “It Means Everything”, opening for bands such as Sugar Ray, The Offspring, and Reel Big Fish. In April 1998, they made their television debut on HBO’s music series “REVERB” and made an on-screen appearance in the cult classic teen film, “10 Things I Hate About You”. The album sold over 400,000 copies, and spawned three Top Ten hits in both Japan and Mexico. With two singles in the Billboard top 100 and full rotation on alternative radio all over the world, SAVE FERRIS has managed to go Platinum internationally.Winter 1998 saw the departure of their drummer. After a thunderously successful main stage tour with the Vans Warped Tour, the band began writing their follow-up to “It Means Everything”. The appropriately-titled “Modified” was released in October 1999. The album saw the band moving away from their ska-punk roots and into pop-punk territory. The band toured nationally with the band “Lit”, of hit single “My Own Worst Enemy” fame. SAVE FERRIS continued to tour in support of “Modified” throughout 2000 and 2001. In August and September 2001 the band did a short tourof the UK. Winter 2002, SAVE FERRIS had the rare opportunity to play front and center at the nationally broadcast Winter Olympics Snowboarding Championships in Salt Lake City, Utah.Still fronted by their original lead singer, SAVE FERRIS has been through a number of changes in their musical lineup through the years…Powell self-financed whatshe called the “For the Fans” SAVE FERRIS US tour in 2003. On March 29, 2003 at Ska Summit 2003 in Las Vegas, SAVE FERRIS played on the main stage to a thunderously positive response.Other appearances of note Ms. Powell has made: “Mayor of the Sunset Strip” film, “Roswell” network television show, “The Conan O’Brien Show”, “Politically Incorrect with Bill Maher”, MTV’s Loveline with Dr. Drew, the “Keenan Ivory Wayans” show, and the “Late Show with Craig Kilbourne”.

sun19apr7:00 pmsun10:00 pmThe Growlers7:00 pm - 10:00 pm The Stone Pony, 913 Ocean Ave N

sun19apr7:00 pmsun10:00 pmThe Chameleons7:00 pm - 10:00 pm The Stone Pony, 913 Ocean Ave N

Time

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

Location

The Stone Pony

913 Ocean Ave N

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The atmospheric pop band the Chameleons formed in Manchester, England, in 1981 from the ashes of a number of local groups: vocalist/bassist Mark Burgess began with the Cliches, guitarists Reg Smithies and Dave Fielding arrived from the Years, and drummer John Lever (who quickly replaced founding member Brian Schofield) originated with the Politicians. After establishing themselves with a series of high-profile BBC sessions, the Chameleons signed to Epic and debuted with the tense, moody single “In Shreds,” produced by Steve Lillywhite and released in March 1982.

The quartet was soon released from its contract with Epic, but then signed to Statik and returned in 1983 with the band’s first full-length effort, Script of the Bridge. What Does Anything Mean? Basically followed in 1985, and with it came a new reliance on stylish production; following its release, the Chameleons signed to Geffen and emerged the following year with Strange Times. The dark, complex record proved to be the Chameleons’ finale, however, when they split following the sudden death of manager Tony Fletcher; while Burgess and Lever continued on in the Sun & the Moon, Smithies and Fielding later reunited in the Reegs. In 1993, Burgess surfaced with his proper solo album Zima Junction. He and his band the Sons of God toured America the following year.

As the ’90s came and went, the four members of the Chameleons UK continued to work on music and see one another on a personal basis. While their own musical projects kept them busy, a reunion was practically inevitable. The Chameleons reconnected in January 2000 to prep for three May dates in England. The acoustic-based, self-released Strip was available by showtime and for a limited time only. Additional European dates followed throughout the summer, and by fall the Chameleons UK played their first American shows in nearly 15 years. Several live efforts appeared shortly thereafter. Why Call It Anything? (2001) marked the Chameleons’ first studio album since 1986’s Strange Times. This Never Ending Now appeared two years later. ~ Jason Ankeny, Rovi

sun19apr7:30 pmsun10:00 pm76th Street7:30 pm - 10:00 pm MilkBoy, 1100 Chestnut Street

sun19apr7:30 pmsun11:00 pmClarion7:30 pm - 11:00 pm Ukie Club, 847 N Franklin Street

Time

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

Location

Ukie Club

847 N Franklin Street

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Formed, almost accidentally, in a shared east LA lockout, the members of Clarion came together to write music together in late 2023. Anthony, Saya and Joseph had all had spent time in the local DIY scene of East Los Angeles and in 2024 decided to record the songs they had been writing in a quick three-day sprint. They implemented efforts like layering multiple amps in stereo, panned left to right with different tones, to create an illusion of two guitarists. They tried every idea that came to mind, allowing the songs to become fully realized instead of rushed. The result is an immersive and youthful mix of shoegaze, post-punk, and Japanese rock. These recordings became their debut EP, simply titled Clarion.

The song “Hello Juliet” quickly catapulted them from their local DIY scene to a much bigger stage. Signing with Broke Records in 2025, “Hello Juliet” continued to grow and find more listeners as it currently has more than 20 million streams across platforms. Opportunities to tour with artists like Violent Vira, Rehash, Mexican Slum Rats, and Mind’s Eye followed in 2025 as the band honed their live set and added touring member Javier Flores on drums. Intent on fully earning their touring stripes in 2026, they are heading out on the road supporting shoegaze legends Panchiko and embarking on their own national headline tour.

As busy as they are, community is at the core of Clarion. You can still find them jumping onstage at their local Dennys for a sold out DIY show or hosting their annual Christmas charity benefit show in Pomona.

When they aren’t on tour, they’re back in the room where they started — jamming, debating, refining, and crafting a sound big enough to swallow the space around them. Off the success of their debut EP, they’ve released a handful of singles leading into Blue Fairy, their new EP out March 27.

sun19apr8:00 pmsun9:30 pmSasha Keable8:00 pm - 9:30 pm Blue Note, 131 W 3rd Street

Time

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

Location

Blue Note

131 W 3rd Street

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‘Treat me nice and I’ll write nice songs about you, treat me badly, I will write nasty songs about you’ says Sasha Keable, with a conspiratorial smile.

For Act Right EP, it was definitely the latter. Written during the aftermath of a deeply painful breakup, the seven-track EP sees the South London singer move through unfiltered rage and despair while ultimately landing in a tender place of compassion and self-love. ‘This EP comes from a place of betrayal and heartbreak’ she says. Sonically, it’s richly soulful, with nostalgic R&B stylings and a sharp feature from Jamaican-born US rapper Beam, but ultimately it’s Sasha’s spellbinding vocals that make Act Right EP pack such a visceral punch. You can hear the anger in her voice in Heartbeat, while Work oozes a newfound confidence.

First single act right may have been where the project began, but it’s a decisive and conclusive post-mortem of the relationship; ‘If you wanted to, you would act right.’ Over a mellow R&B beat, produced by her longtime collaborator, Etienne, Sasha’s voice is strong and scorching, a poignant reminder that this is a woman picking herself right back up, reclaiming her power. act right has a distinctly nineties feel; the storytelling of Faith Evans, the emotion and powerhouse vocals like Mary J Blige.

In the stripped back video, the British Colombian artist sits alone, her cards literally laid out on a table next to her. She doesn’t move from her seat for the full 2 minutes and 54 seconds. ‘The message is really just in the song, it doesn’t need a whole concept,’ she explains. The video is also a subtle nod to her Colombian roots; the bold colours and the way the sunlight hits the faded, sun-exposed wall behind her, while Sasha sings with the aggression of a telenovela. ‘Passion is something huge that comes with being Colombian. I love the traditional music — Cumbia and Vallenatos — there’s a lot of drama in the music, you hear the artists really singing from their soul.’

act right marked the start of a huge healing journey for Sasha. ‘That song was the first time I got my thoughts in a row. The producer knew the whole situation, so it was very easy for me to kind of decompress in the studio.’

Feel Something sees Sasha in the heat of her rage. Written late at night during an alcohol-fuelled songwriting session in Tennessee with Grammy winning producer Taylor Hill and hotly tipped Florida artist P90Pope, Sasha ‘needed to say what I needed to say.’ She was so clear on the message that the song was written in less than two hours. She deftly juxtaposes a choral arrangement (made beautifully from her own layered vocals) with swaggering verses that transplant the listener into a car crash of fiery toxicity that is a destructive relationship.

Ever since her formative teenage years, the 31-year-old musician has always used music as a means of working through heartbreak and trauma, and celebrating joy and love. Growing up, her Colombian mother played Latin music around the house, while visits to her Dad’s included everything from Aerosmith to Seal. As a teenager, she was immersed in South London’s vibrant R&B and rap scene. ‘I’ve always loved storytellers and artists that aren’t afraid to bare their soul’ she says, citing Donny Hathaway, Amy Winehouse and Stevie Wonder as some of the artists that shaped her early songwriting. Sasha, who has been open about her mental health struggles, has always found the process deeply therapeutic, usually writing alone and from a place of pain. ‘I feel like I was put on this earth to find words that other people can’t necessarily say themselves. And to do that, I have to be completely 100% brutally honest with myself.’

She does that in droves on Can’t Stop, another nod to the 90s R&B she grew up listening to. Written after a rebound relationship straight after the breakup the EP centres around, the track contemplates the unintentional hurt Sasha caused another person. ‘It’s probably the song where I’m looking at myself a little bit more, realising maybe I’m not as perfect or as innocent as I thought. I ended up hurting her, because I wasn’t ready for a relationship.’

Last year’s Hold Up marked the first time Sasha had sung about a woman as a love interest, and throughout the EP, Sasha continues to paint a picture of queer love in all its nuances; beautiful, complicated, unrequited, sexy, messy, tender. ‘There are a lot of queer artists coming up who sing about sex, but I’m like, where’s the relationship bit, the real bit?’ You love them then you hate them, that’s always been the place i’ve written from.’

While the EP brings to life the crushing agony of heartbreak, elsewhere, we see a celebratory kind of self-love. Work ft Beam ‘is what it says on the tin; a sexy song.’ Move It Along written with Leon Thomas strikes a more playful tone as Sasha advocates for herself. Smooth and soulful, the beautifully introspective Why asks, ‘Why is it me you give all this love to?’ It could easily be dedicated to a new lover, while several of Sasha’s friends interpreted it as a worship song. However, Sasha’s real intent was ‘to manifest the love I’ve never experienced for myself. The love that I want for myself. People are always going to take your song and use it in a way that’s fitting to them. That’s what I love about music.’

The EP marks a return to Sasha’s intuitive songwriting style. She was just seventeen when she signed a five album deal with Polydor. She released a handful of successful EPs, toured with Disclosure and leant vocals to their 2013 single, Voices. Despite her growing success, as the years passed, she felt creatively stifled as a young woman struggling to navigate the proprietary music industry. After 2021’s Intermission EP, she took a three year hiatus. ‘At that point I had no management, no label, no team, no one. It was just me. At that point, I had nothing left to lose. So I was like, fuck it, I’m just gonna do what I need to do.’

Free from the pressure to churn out hits, Sasha went back to basics, arranging her own sessions and writing most of the songs at her mum’s house, where she’d first learned to read music on a second hand piano. Reconnecting with herself as an artist, Sasha stopped making music for record label executives and went back to distilling her emotions into song. She took control, making sure she had more ownership and creative freedom on her future releases. There’s a notable shift in her recent output. Her authenticity is palpable; she’s been nominated for Best R&B/Soul Act at the 2025 MOBOs, while her latest Colors performance of Why has garnered over a million views. Sasha has an upcoming slot on the BBC’s prestigious Jools Holland show as well as NPR’s legendary Tiny Desk series. Plus, there is surely no greater payoff than getting co-signed by Beyonce, who recently described Sasha as part of a new generation of songwriters who inspire her.

Act Right EP marks the first full EP from Sasha 2.0: wiser, rawer and stronger than ever before. ‘I felt like if I didn’t make this music I might lose my mind’ she says. ‘I made this EP for myself, it’s exactly what I needed.’

sun19apr8:00 pmsun11:00 pmGoldFordSpace of the Heart Tour8:00 pm - 11:00 pm Union Transfer, 1026 Spring Garden Street

Time

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

Location

Union Transfer

1026 Spring Garden Street

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GoldFord is a singer-songwriter with a voice that carries weight – rich, emotive, and unfiltered. With a timeless blend of pop and soul, he writes music rooted in truth, vulnerability, and healing. His forthcoming EP, “Space of the Heart”, out September 26th, promises raw, unfiltered songs that balance introspection with catharsis and grapple with heartbreak, healing, and the quiet revelations that come with growth and maturity.

Originally from St. Louis and now based in Los Angeles, GoldFord’s journey to music was far from conventional. After a decade navigating corporate life, a profound personal loss sparked a transformation. Music became not just a dream, but a vital expression of purpose and resilience. His breakout single “Upside Down” announced his arrival, followed by the viral hit “Orange Blossoms,” which garnered over 70 million Spotify streams and earned co-signs from Sam Smith, SZA and Noah Kahan.

As he prepares to bring his new material to audiences worldwide, GoldFord will be embarking on his sold out UK and European tour in Autumn 2025. The tour includes his highly anticipated UK headline debut at London’s Scala on October 22 – a show that has sold out and been upgraded due to overwhelming demand. With a growing fanbase and a distinctive sound, GoldFord is set to make a lasting impact on the global stage.

sun19apr8:00 pmsun11:00 pmRitt Momney8:00 pm - 11:00 pm Music Hall of Williamsburg, 66 North 6th Street

Time

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

Location

Music Hall of Williamsburg

66 North 6th Street

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To make Base, Jack Rutter (who performs as Ritt Momney) had to let go of everything. He had to get to the point where he wanted to quit making music. Tear everything down and build it all up again. Rutter had to let go of all the shoulds, and all of the expectations he thought people had for him and his music. So he hit the reset button, forgot about all the noise, and made a record he truly wanted to make. It’s his most realized offering yet: beautiful and weird and cool. A record of lo-fi bedroom rock that radiates warmth and honesty.

Rutter’s story is one of reinventing yourself after viral success. After the release of his debut, Her and All My Friends, Rutter put out a cover of Corinne Bailey Rae’s “Put Your Records On.” The song was an unexpected hit, taking off almost half a year after it was initially released, and landing in the Billboard Hot 100. In 2021, he released his second full-length record Sunny Boy, a record of warm to the touch bedroom pop. And then Rutter started to fall out of love with music. “I was starting to feel like I was making music because I had to,” he says, “but then I realized, I didn’t have to make anything if I didn’t want to.” This release from expectations was like a lightning bolt: Rutter felt a kind of freedom he had not felt in years. Enter Base.

Base is Rutter’s third record. Since Sunny Boy, he’s bought a house in his native Salt Lake City, gotten married, and started treating his hobbies with the same seriousness he treats his music (for a period of time, he was bowling every morning of the week). In other words: he’s made a life for himself. A life where he has created the perfect environment to make music. Base is the product of this freedom. And you can tell from first listen. Base is a roomy, elegant collection of songs.

“I believe in base creativity,” says Rutter, “Some kind of pure being. A solid foundation.” This was the goal with Base: to make a record that is rooted in that sort of boundless creativity. To make it, Rutter joined up with his bandmates, Rick West and Chris Peranich. On his past two records, Rutter would write and produce everything. On Base, he wanted things to be more collaborative. He wanted the record to have more of a live, analog sound. Base was recorded on an 8-track. No screens allowed in the studio during the initial recording. They’d use computers a little bit after the fact, but the goal was to make something that sounded organic. Like “Gunna,” a song about waiting and not knowing what you’re waiting for. The song starts out with acoustic guitars, then Rutter’s voice comes in. “As soon as she gets home,” he sings, “I’m going to be so nice.” There’s a little distortion, cracking open the song like you do with an egg and a fork. Keys and big drums. It’s a little Radiohead, a little Alex G.

Base is a record of intuitive music. For Rutter, that often meant writing what he knew best. Like “The Tank,” which is about the Utah Jazz. Rutter became obsessed with the Jazz’s pursuit of the best draft picks via racking up losses. “There is no pressure when you’re doing terrible,” he says, “But there’s this abstract idea that you could be amazing again in the future.” “The Tank,” is really about basketball. But it’s also about reinventing yourself, getting all the way back to your base and then rising out of the ashes. “Blow it up for Cooper,” sings Rutter in the song’s opening moments. There’s a melancholic quality to the song. But it’s also melancholic in a funny way. A lo-fi slacker anthem. That’s Base: a record about starting over and falling back in love with your art again.

sun19apr10:30 pmsun11:59 pmSasha Keable10:30 pm - 11:59 pm Blue Note, 131 W 3rd Street

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

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Blue Note

131 W 3rd Street

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‘Treat me nice and I’ll write nice songs about you, treat me badly, I will write nasty songs about you’ says Sasha Keable, with a conspiratorial smile.

For Act Right EP, it was definitely the latter. Written during the aftermath of a deeply painful breakup, the seven-track EP sees the South London singer move through unfiltered rage and despair while ultimately landing in a tender place of compassion and self-love. ‘This EP comes from a place of betrayal and heartbreak’ she says. Sonically, it’s richly soulful, with nostalgic R&B stylings and a sharp feature from Jamaican-born US rapper Beam, but ultimately it’s Sasha’s spellbinding vocals that make Act Right EP pack such a visceral punch. You can hear the anger in her voice in Heartbeat, while Work oozes a newfound confidence.

First single act right may have been where the project began, but it’s a decisive and conclusive post-mortem of the relationship; ‘If you wanted to, you would act right.’ Over a mellow R&B beat, produced by her longtime collaborator, Etienne, Sasha’s voice is strong and scorching, a poignant reminder that this is a woman picking herself right back up, reclaiming her power. act right has a distinctly nineties feel; the storytelling of Faith Evans, the emotion and powerhouse vocals like Mary J Blige.

In the stripped back video, the British Colombian artist sits alone, her cards literally laid out on a table next to her. She doesn’t move from her seat for the full 2 minutes and 54 seconds. ‘The message is really just in the song, it doesn’t need a whole concept,’ she explains. The video is also a subtle nod to her Colombian roots; the bold colours and the way the sunlight hits the faded, sun-exposed wall behind her, while Sasha sings with the aggression of a telenovela. ‘Passion is something huge that comes with being Colombian. I love the traditional music — Cumbia and Vallenatos — there’s a lot of drama in the music, you hear the artists really singing from their soul.’

act right marked the start of a huge healing journey for Sasha. ‘That song was the first time I got my thoughts in a row. The producer knew the whole situation, so it was very easy for me to kind of decompress in the studio.’

Feel Something sees Sasha in the heat of her rage. Written late at night during an alcohol-fuelled songwriting session in Tennessee with Grammy winning producer Taylor Hill and hotly tipped Florida artist P90Pope, Sasha ‘needed to say what I needed to say.’ She was so clear on the message that the song was written in less than two hours. She deftly juxtaposes a choral arrangement (made beautifully from her own layered vocals) with swaggering verses that transplant the listener into a car crash of fiery toxicity that is a destructive relationship.

Ever since her formative teenage years, the 31-year-old musician has always used music as a means of working through heartbreak and trauma, and celebrating joy and love. Growing up, her Colombian mother played Latin music around the house, while visits to her Dad’s included everything from Aerosmith to Seal. As a teenager, she was immersed in South London’s vibrant R&B and rap scene. ‘I’ve always loved storytellers and artists that aren’t afraid to bare their soul’ she says, citing Donny Hathaway, Amy Winehouse and Stevie Wonder as some of the artists that shaped her early songwriting. Sasha, who has been open about her mental health struggles, has always found the process deeply therapeutic, usually writing alone and from a place of pain. ‘I feel like I was put on this earth to find words that other people can’t necessarily say themselves. And to do that, I have to be completely 100% brutally honest with myself.’

She does that in droves on Can’t Stop, another nod to the 90s R&B she grew up listening to. Written after a rebound relationship straight after the breakup the EP centres around, the track contemplates the unintentional hurt Sasha caused another person. ‘It’s probably the song where I’m looking at myself a little bit more, realising maybe I’m not as perfect or as innocent as I thought. I ended up hurting her, because I wasn’t ready for a relationship.’

Last year’s Hold Up marked the first time Sasha had sung about a woman as a love interest, and throughout the EP, Sasha continues to paint a picture of queer love in all its nuances; beautiful, complicated, unrequited, sexy, messy, tender. ‘There are a lot of queer artists coming up who sing about sex, but I’m like, where’s the relationship bit, the real bit?’ You love them then you hate them, that’s always been the place i’ve written from.’

While the EP brings to life the crushing agony of heartbreak, elsewhere, we see a celebratory kind of self-love. Work ft Beam ‘is what it says on the tin; a sexy song.’ Move It Along written with Leon Thomas strikes a more playful tone as Sasha advocates for herself. Smooth and soulful, the beautifully introspective Why asks, ‘Why is it me you give all this love to?’ It could easily be dedicated to a new lover, while several of Sasha’s friends interpreted it as a worship song. However, Sasha’s real intent was ‘to manifest the love I’ve never experienced for myself. The love that I want for myself. People are always going to take your song and use it in a way that’s fitting to them. That’s what I love about music.’

The EP marks a return to Sasha’s intuitive songwriting style. She was just seventeen when she signed a five album deal with Polydor. She released a handful of successful EPs, toured with Disclosure and leant vocals to their 2013 single, Voices. Despite her growing success, as the years passed, she felt creatively stifled as a young woman struggling to navigate the proprietary music industry. After 2021’s Intermission EP, she took a three year hiatus. ‘At that point I had no management, no label, no team, no one. It was just me. At that point, I had nothing left to lose. So I was like, fuck it, I’m just gonna do what I need to do.’

Free from the pressure to churn out hits, Sasha went back to basics, arranging her own sessions and writing most of the songs at her mum’s house, where she’d first learned to read music on a second hand piano. Reconnecting with herself as an artist, Sasha stopped making music for record label executives and went back to distilling her emotions into song. She took control, making sure she had more ownership and creative freedom on her future releases. There’s a notable shift in her recent output. Her authenticity is palpable; she’s been nominated for Best R&B/Soul Act at the 2025 MOBOs, while her latest Colors performance of Why has garnered over a million views. Sasha has an upcoming slot on the BBC’s prestigious Jools Holland show as well as NPR’s legendary Tiny Desk series. Plus, there is surely no greater payoff than getting co-signed by Beyonce, who recently described Sasha as part of a new generation of songwriters who inspire her.

Act Right EP marks the first full EP from Sasha 2.0: wiser, rawer and stronger than ever before. ‘I felt like if I didn’t make this music I might lose my mind’ she says. ‘I made this EP for myself, it’s exactly what I needed.’

mon20apr8:00 pmmon11:00 pmGood KidCan We Hang Out? Tour8:00 pm - 11:00 pm The Fillmore, 29 E Allen Street

tue21apr7:00 pmtue10:00 pmBer7:00 pm - 10:00 pm Baby's All Right, 146 Broadway

Time

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

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Baby's All Right

146 Broadway

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Ber’s happiness rushes in all at once. After years of trial and error, living in new cities, studying music in different ways, and finding true love, singer-songwriter Ber (Berit Dybing) has locked in to her best life. Her joy cannot be contained, and it’s spilled over into her debut album, the aptly titled alt-pop/country paradise Good, Like It Should Be.

Named for the album’s closing acoustic ballad, Good, Like It Should Be plays out like a contented sigh – an exhale upon realizing that yes, you deserve a strong, healthy love. Opening up about her journey to naming the album, Ber says, “It took me a really long time to figure out what the album was going to be called and what the track listing was going to be. I weirdly found myself in this place where we had too many songs, which was a blessing and a curse. Every time I would make any iteration of the album track list, it all centered around that song, not because I thought it was going to be some massive hit. But I just love it, and it feels really true. That was always my goal with making an album — for things to feel true.”

It felt like forever to arrive in this place, Ber admits. Growing up in northern Minnesota, Ber moved around a lot with her family, who would fill the house with records by the Beatles, Earth, Wind and Fire, Sheryl Crow, and Laura Marling. In warmer months, Ber’s parents would take her to bluegrass festivals and encouraged her budding interest in music and performing. In addition to playing the cello and guitar, Ber threw herself into local theater productions. “I never really imagined doing the artist thing,” she admits. “I liked playing guitar, and I liked playing Mumford and Sons covers in the one bar that had an open mic in Bemidji. But I never really thought I would be doing what I’m doing today.”

By the time she reached high school, Ber started to dream of a life outside of Minnesota. After graduation, she took a gap year to study jazz in Norway, an adventure that inspired her to remain overseas and continue her music studies in northern England, where she remained for three years. In her second year of music school, Ber uploaded a song to SoundCloud and was contacted by her now-manager. (“I thought I uploaded it private, but I didn’t,” she laughs.) Initially, she wrote with artists, peers, and classmates—both in and outside of school—until she eventually had songs that felt entirely her own.

In 2022, Ber released her first EP, And I’m Still Thinking About That, which she followed up with 2023’s six-song short-player Halfway and 2024’s Room For You EP. Every step has led up to Good, Like It Should Be, an endlessly listenable 12-track project filled with warmth and lyrical depth.

Primarily written in Pepin, Wisconsin and Minneapolis, Minnesota, on a small Korg recorder, Good, Like It Should Be features co-writes and production from songwriters Rob Milton (Holly Humberstone, The 1975) and Bradley Hale (Now, Now), each of whom create sonic cohesion across its tracks, whether it’s the upbeat alt-pop opener “Good, Real” or the more stripped-down “Smooth Ride.” Ber says, “The album feels like a time capsule. It’s mostly about me getting out of my own way and learning how to let some of these good things in. The songs are not only about boys, but they’re about me and how it feels to look inward a little bit more, rather than just describing whatever’s in front of me.”

The harmonizing, Chicks-esque single “Give It All Away” echoes Ber’s realization that she has more power than she used to think. “Writing that song was really fun, and I tear up every time I sing it,” Ber says of “Give It All Away.” “Because I think about all my friends who are so good at spreading themselves thin and not taking care of themselves in the way that I want to take care of them.”

Ber’s introspection continues on the tongue-in-cheek country-pop gem “Who’s This,” which finds the singer poking fun at her tendency to gush over a new love. “It’s just a song about me crawling out of my little depression hole and being this happy version of myself,” Ber says. “The world around me sucks, but I’m getting laid, so everything’s fine.”

Euphoric album opener “Good, Real” also revels in the comfort and satisfaction of new love. “When we wrote that song, it was just new feelings for me,” Ber expands. “It felt like I was in a kaleidoscope, trying to navigate a lot of those feelings and being like, ‘Yeah, this does feel good.’ This isn’t scary. I thought everything had to be hard.”

For all of its openhearted joy, Good, Like It Should Be also captures Ber at moments of deep uncertainty, such as on the vulnerable “Book Cover,” which recalls Golden Hour-era Kacey Musgraves in its acoustic country twang. “I remember when I wrote it, I just started crying,” Ber says. “Because all of a sudden I had this image of how it felt to be really overlooked as a person. I wrote it before I’d met my boyfriend, when I was really lonely and felt like I couldn’t get anywhere in the UK, and no one would take me seriously.”

Later, on the sweetly midtempo and beachy “Cool, Boy,” Ber recalls a “pseudo situationship” that taught her what she didn’t want in a romance going forward. “I felt like he was using me a little bit, and he was too cool to actually acknowledge any emotions anywhere. We created a character loosely based on that guy,” Ber says. “That song surprised me a lot. It’s in a different lane than the rest of the album, but in a really fun way. I loved being able to chase a pop song; it took me out of my little country bubble for a moment.”

Finally, on the laid-back “Smooth Ride,” Ber opens up about letting herself genuinely bask in the arms of a great relationship. “I think songs have a way of creeping up on you, and that one existed for a long time until it was right,” she says. “It’s such an effortless love song about trust falling. When it came to looking at songs for the album, and I realized what the album was about, there was finally space for that song.”

As Good, Like It Should Be demonstrates, happiness takes on so many forms, whether it’s discovering her authentic voice as an artist or accepting the love she most deserves. Loving another — and yourself — should be that good.

tue21apr7:00 pmtue10:00 pmYour NeighborsLive In Real Life Tour7:00 pm - 10:00 pm Zone One at Elsewhere, 599 Johnson Avenue

wed22apr8:00 pmwed10:00 pmTimi Dre8:00 pm - 10:00 pm SOBs (Sounds of Brazil), 204 Varick Street

wed22apr8:00 pmwed11:00 pmJuvenileBoiling Point Tour8:00 pm - 11:00 pm Webster Hall, 125 E 11th Street

Time

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

Location

Webster Hall

125 E 11th Street

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Simply put, hip-hop might not be the same without Juvenile.

Over nearly three decades, the multi platinum record-breaking New Orleans icon served up a string of classic albums, influenced two generations of stars, and pioneered a sound rooted in Louisiana bounce, yet carried by worldwide rap appeal and ambition. Like all timeless stories though, his stretches back to humble beginnings in the neighborhood his music put on the map: the Magnolia Projects. As if predisposed by destiny to pick up a microphone, he heard Melle Mel’s verse on “The Message” by Grandmaster Flash & The Furious Five, commenced spitting, and never stopped since…

“That’s really when it all started,” he recalls. “I heard Melle Mel saying, ‘Don’t push me, ‘cuz I’m close to the edge’, and that was it. I was only seven-years-old, but I knew I had to rap.”

He made local waves by appearing on DJ Jimi’s “It’s Jimi” in 1991 before bringing a national spotlight to the burgeoning bounce music style on his breakthrough “Bounce for the Juvenile.” After building a fan base on his 1995 debut Being Myself, the production of Mannie Fresh caught his ear, and nothing would be the same. At the time, the in-house Cash Money Records producer cooked up “Drag ‘Em ‘N’ tha River” for UNLV—a group Juvenile brought to the label.

In response, Juvenile recorded “Set It Off” and knew he “had to get with Mannie Fresh.”

“At the beginning, I truly came to Cash Money, because of Mannie Fresh,” he recalls. “I knew his beats were bigger than most artists. There was something there.”

There definitely was…

After his Cash Money Records debut Solja Rags, he crafted an era-defining opus in the form of 400 Degreez. Not only did it go quadruple-platinum, but it also became “the best-selling album in Cash Money Records History.” It produced staples such as the title track, “Ha” (which JAY-Z notably remixed), and “Back That Azz Up.” The latter would be sampled by everyone from Drake to City Girls. The Ringer lauded 400 Degreez among the “20 Best Southern Rap Albums Ever” behind only UGK’s Ridin’ Dirty and OutKast’s Aquemini. Pitchfork bestowed a rare 9.4-out-of-10 rating upon the record, and Kendrick Lamar cited it as one of his “Favorite Albums” in Complex and went so far as to claim, “They had the West Coast on smash. We definitely tried to be like them.” The heat spread far and wide across the United States.

“I remember I had a show with Funkmaster Flex in the Tunnel in New York city around the time 400 Degreez came out,” he recalls. “Everybody told me, ‘Don’t sing no other song, but ‘Ha’. If you sing anything else, they might jump on you and beat y’all up!’ I sang ‘Ha’ for forty minutes straight. It was the hardest place for any artist from the South to break into, but I did. It really broke the mold.”

Around the same time, Juvenile comprised The Hot Boys alongside Lil Wayne, B.G., and Turk. Together, they smashed charts with the Get It How U Live! [1997] and the platinum Guerilla Warfare [1999]. His next solo offering, Tha G-Code, went double-platinum followed by the platinum Project English. Meanwhile, 2003’s Juve The Great emerged as another unsung platinum classic as “Slow Motion” [feat. Soulja Slim] topped the Billboard Hot 100 at #1 for two weeks. He maintained a prolific pace in the ensuing years and collaborated with everyone from Future to Yo Gotti before reuniting with Cash Money Records.

“It’s more like a family reunion than anything,” he smiles. “It’s a friendship that never should’ve separated. Back in the day, Baby and I were always really tight. It’s tighter now. We think differently. We know when we hit the studio, it’s time to work. In the nineties, it was more about trying to control the industry and be at the forefront. We’re not trying to be better than everything out there; we’re just trying to show our fanbase we can still make good music. We have a great chemistry and always have. I thought it was a good idea for him and I to do a project together. He agreed. It was something we wanted to do forever, but never got around to it. I want him to talk that shit. I do my thing. Do your thing brother. That’s what makes our chemistry great.”

The chemistry thrives on their 2019 first full-length collaborative album, J.A.G. It boldly extended Juvenile’s own legacy with unanimous praise from Pitchfork, Rolling Stone, and Billboard as the singles “Just Another Gangsta” and “Dreams” [feat. NLE Choppa] tallied over 20 million total streams and views. Moreover, it preceded the stage for another collaborative effort and an O.G. Cash Money Records reunion on “Ride Dat” [feat. Lil Wayne].

Juvenile also inspires the next generation as his song Young Juve picks up the microphone for a bevy of upcoming singles.

In the end, Juvenile continues to shape and spearhead the future of hip-hop.

“I just want people to enjoy the music,” he leaves off. “I want to keep making good music. It’s all about a positive mood. Birdman and I are going to continue this. We’ve got a whole new breath of fresh air coming from my way. We’re going to get this bread.”

thu23apr7:00 pmthu11:59 pmStyles P7:00 pm - 11:59 pm House Of Independents, 572 Cookman Avenue

Time

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

Location

House Of Independents

572 Cookman Avenue

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Strongly associated with his group the LOX (aka D-Block), Styles P (or Styles) has managed a successful solo career on the side.

Born David Styles on November 28, 1974, in Queens and raised in Yonkers, he united with childhood friends Jadakiss and Sheek to form the LOX in 1994. The trio went on to sign with Puff Daddy’s record label, Bad Boy. The LOX guested on numerous Bad Boy-affiliated songs and even recorded an album of their own, Money, Power & Respect (1998), which yielded a hit single of the same name. The LOX left Bad Boy soon afterward to join the Ruff Ryder camp, where the trio’s style of hardcore rap fit better alongside other rugged rappers such as DMX. Ruff Ryder released the second LOX album, We Are the Streets (2000), followed by solo albums for each of the members.

Styles’ solo debut, A Gangster and a Gentleman (2002), was led by the Swizz Beatz-produced hit single “Good Times.” Four years later, he returned under the billing Styles P as Ruff Ryders released his much-delayed sophomore album, Time Is Money (2006), in December. Almost exactly one year from that date, signed to Koch Records, the rapper issued his third studio full-length, Super Gangster (Extraordinary Gentleman) (2007). In 2010 he was a featured guest on Rick Ross’ massive hit “BMF (Blowin’ Money Fast),” while 2011 saw him release the Master of Ceremonies album. In 2012 he issued The World’s Most Hardest MC Project with producers like AraabMUZIK and Jahlil Beats behind the boards, but 2013’s Float was produced exclusively by Scram Jones. An accidental leak of his 2015 album A Wise Guy and a Wise Guy led to its early release as the MC dropped the 20-track LP in October of that year.

In 2016, Styles P and the LOX returned with their first album in 16 years, Filthy America…It’s Beautiful. The LP debuted within the Top 50 of the Billboard 200 and was followed by a tour. A year later, Styles released a collaborative album with Talib Kweli, The Seven. 2018’s G-Host, Styles’ ninth studio long-player, featured guest appearances from Nino Man, Dyce Payne, Whispers, and Oswin Benjamin. Months later, he issued the collaborative effort Beloved with Harlem MC Dave East. By the end of 2018, Styles released his third effort that year, Dime Bag. Without rest, he kicked off 2019 with S.P. the GOAT: Ghost of All Time and went on to release yet another mixtape, Presence, before the year was up. – Biography by Jason Birchmeier

thu23apr7:30 pmthu9:00 pmOCTThe PTO Tour7:30 pm - 9:00 pm Kung Fu Necktie, 1248 N Front Street

fri24apr7:00 pmfri10:00 pmBBMAK7:00 pm - 10:00 pm Debonair Music Hall, 1409 Queen Anne Road

Time

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

Location

Debonair Music Hall

1409 Queen Anne Road

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BBMAK is a British pop/rock band that was formed in 1997, comprising of Mark Barry, Christian Burns, and Stephen McNally. The band’s name is an acronym of the first letter of each member’s name.

Known for their harmonies and guitar-driven melodies, BBMAK’s sound has been likened to The Beatles and Oasis. Their music style blends melodic pop with rock and roll influences, making it appealing to fans of both genres.

The group’s debut album, “Sooner or Later” (2000), propelled them to commercial success with hit singles such as “Back Here” and “Still on Your Side,” selling over a million copies worldwide and peaking in the top 40 of the Billboard 200 chart.

Their sophomore album, “Into Your Head” (2002), may not have been as successful as its predecessor but still garnered critical acclaim and included fan-favorite tracks like “Out of My Heart (Into Your Head)” and “Staring Into Space.”

Following the release of “Into Your Head,” BBMAK took a hiatus to focus on their individual projects. However, the band made a comeback in 2018, announcing their reunion and releasing their third studio album, “Powerstation” (2019), which showcased their evolution in sound with electronic and dance influences.

BBMAK has shared the stage with high-profile artists like *NSYNC and Britney Spears and made appearances on notable television shows such as “The Tonight Show with Jay Leno,” “Good Morning America” and “Live with Regis and Kelly.”

BBMAK’s songwriting skills have been praised for producing catchy pop songs with meaningful lyrics, creating a lasting impact on the pop/rock genre, and maintaining a dedicated fanbase worldwide.

They were one of the few bands during the pop explosion of the early 2000s to play their own instruments and write their own songs. Billboard recently named “Back Here” the 9th greatest boy band song of all time.

fri24apr7:00 pmfri10:00 pmBroncho7:00 pm - 10:00 pm Bowery Ballroom, 6 Delancey Street

Time

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

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Bowery Ballroom

6 Delancey Street

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BRONCHO is an Oklahoma band who started life as a scrappy, sometimes goofy pop-punk band powered by vocalist Ryan Lindsey’s off-kilter lyrics and idiosyncratic singing style. The latter elements haven’t changed, but their sound quickly did, as it shifted from giddy pop (the 2013 single “It’s On”) to murky, downer ballads (most of 2014’s Just Enough Hip to Be Woman) and melancholy new wave-inspired songs (as heard on their 2016 album Double Vanity). By the time of 2018’s Bad Behavior, the group merged all of their disparate elements into a cohesive, more straightforward indie sound, which by the time of 2025’s Natural Pleasure, they cast aside for a set of whispery ballads.

BRONCHO was formed in 2010 in Norman, Oklahoma by guitarist/vocalist Lindsey, guitarist Ben King, bassist Jonathan Ford, and drummer Nathan Price. The project began as a loose recording session where Lindsey quickly sketched out a few ideas before sending them around to some friends for advice and ideas. Before long, the careless demos became the basis of a full-on band, with Ford going so far as booking the group a show without consulting the other collaborators on the project. Taking inspiration from early punk acts like the Ramones and the Stooges, and applying liberal amounts of ’80s college rock grit, BRONCHO were born.

The band’s first full-length outing, Can’t Get Past the Lips, surfaced in 2011 and eventually led to press and national touring, and ranking as one of NPR’s best-of-2011 albums, among other accolades. The album was re-released in 2013 on producer Kevin Augunas’ Fairfax Recordings label, and the band started recording a second album. After leaving the label and Augunas, the group issued a single for Park the Van, “Try Me Out Sometime,” in 2011, then returned with a single for CQ Records in 2013. The song, the unstoppably catchy “It’s On,” was used memorably over the end titles on the third season of hit television show Girls.

Moving to a new label, Dine Alone, and down to the trio of Lindsey, King, and Price, the band’s second album, Just Enough Hip to Be Woman, was released in the fall of 2014. They added bassist Penny Pitchlynn and guitarist Mandii Larsen of the Low Litas for the tour that followed, and Pitchlynn stuck around for the next album. The new wave-influenced Double Vanity was released in June of 2016.

The band spent much of the next couple years on the road, opening for Queens of the Stone Age and Cage the Elephant and also headlining their own shows. Along the way, they found time to record their fourth album, Bad Behavior. Inspired by world events and people’s less-than-good behavior, the record was released in October of 2018 by Park the Van. A series of remixes of Bad Behavior songs followed, including reworkings from Computer Magic, Yeasayer, of Montreal, Generationals, and Methyl Ethel. These remixes were collected on 2020 EP Bad. The same year, BRONCHO returned with new single “Friends,” and in 2021, they offered up the slightly twee jangle and breathy vocals of “It’s Complicated.” The group continued touring and working on music, while Lindsey also spent time taking care of his young child. The efforts of their recording sessions resulted in the Natural Pleasure, a record that both breaks with past efforts by being full of relaxed, dreamy ballads and a disco interjection or two. It was released in April of 2025, after which the band embarked on a lengthy tour. – Biography by Fred Thomas

fri24apr7:00 pmfri10:00 pmAlex Ferreira7:00 pm - 10:00 pm SOBs (Sounds of Brazil), 204 Varick Street

Time

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

Location

SOBs (Sounds of Brazil)

204 Varick Street

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Whether holding an acoustic guitar or tinkering with a synthesizer, Dominican artist Alex Ferreira champions the Latin American song form with a generous outpouring of emotion. At heart, he’s a classic romantic, yet he delights in his own restless urge to experiment. This creative impulse mirrors the cities he has called home—Santo Domingo, New York, Madrid, and now Mexico City.

Over the years, Ferreira has built a wildly eclectic catalog, blurring musical borders and traditions. His work has earned Latin GRAMMY® nominations for Best New Artist (2018) and Best Singer-Songwriter Album (2022) for his latest record En Lo Que Llega La Primavera. His albums—praised by Rolling Stone, The New Yorker, and KCRW— move fluidly between Caribbean folk, electro-pop, alternative music, and poetic songwriting.

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Ya sea que esté sosteniendo una guitarra acústica o jugando con un sintetizador, el dominicano Alex Ferreira defiende la canción Latinoamericana permitiendo en ella una generosa efusión de sentimientos. Aunque en el fondo es un romántico clásico, también se deleita en su propia necesidad hiperactiva de experimentar. Esta búsqueda se ve reflejada en las distintas ciudades que ha llamado casa a lo largo de su carrera como Santo Domingo, Nueva York, Madrid y en la actualidad, la Ciudad de México.

Ha construido un catálogo salvajemente ecléctico haciendo líquidas las fronteras y tradiciones musicales, consiguiendo así distintas nominaciones a los Latin Grammys como “Mejor Nuevo Artista” (2018) y “Mejor Álbum Cantautor” por su más reciente disco “En Lo Que Llega La Primavera” (2022). Sus álbumes, que han sido reseñados por medios como Rolling Stone, The New Yorker y KCRW, presentan canciones que juegan con el folklore caribeño, el electro-pop y la música alternativa.

sat25apr7:00 pmsat10:00 pmBroncho7:00 pm - 10:00 pm Bowery Ballroom, 6 Delancey Street

Time

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

Location

Bowery Ballroom

6 Delancey Street

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BRONCHO is an Oklahoma band who started life as a scrappy, sometimes goofy pop-punk band powered by vocalist Ryan Lindsey’s off-kilter lyrics and idiosyncratic singing style. The latter elements haven’t changed, but their sound quickly did, as it shifted from giddy pop (the 2013 single “It’s On”) to murky, downer ballads (most of 2014’s Just Enough Hip to Be Woman) and melancholy new wave-inspired songs (as heard on their 2016 album Double Vanity). By the time of 2018’s Bad Behavior, the group merged all of their disparate elements into a cohesive, more straightforward indie sound, which by the time of 2025’s Natural Pleasure, they cast aside for a set of whispery ballads.

BRONCHO was formed in 2010 in Norman, Oklahoma by guitarist/vocalist Lindsey, guitarist Ben King, bassist Jonathan Ford, and drummer Nathan Price. The project began as a loose recording session where Lindsey quickly sketched out a few ideas before sending them around to some friends for advice and ideas. Before long, the careless demos became the basis of a full-on band, with Ford going so far as booking the group a show without consulting the other collaborators on the project. Taking inspiration from early punk acts like the Ramones and the Stooges, and applying liberal amounts of ’80s college rock grit, BRONCHO were born.

The band’s first full-length outing, Can’t Get Past the Lips, surfaced in 2011 and eventually led to press and national touring, and ranking as one of NPR’s best-of-2011 albums, among other accolades. The album was re-released in 2013 on producer Kevin Augunas’ Fairfax Recordings label, and the band started recording a second album. After leaving the label and Augunas, the group issued a single for Park the Van, “Try Me Out Sometime,” in 2011, then returned with a single for CQ Records in 2013. The song, the unstoppably catchy “It’s On,” was used memorably over the end titles on the third season of hit television show Girls.

Moving to a new label, Dine Alone, and down to the trio of Lindsey, King, and Price, the band’s second album, Just Enough Hip to Be Woman, was released in the fall of 2014. They added bassist Penny Pitchlynn and guitarist Mandii Larsen of the Low Litas for the tour that followed, and Pitchlynn stuck around for the next album. The new wave-influenced Double Vanity was released in June of 2016.

The band spent much of the next couple years on the road, opening for Queens of the Stone Age and Cage the Elephant and also headlining their own shows. Along the way, they found time to record their fourth album, Bad Behavior. Inspired by world events and people’s less-than-good behavior, the record was released in October of 2018 by Park the Van. A series of remixes of Bad Behavior songs followed, including reworkings from Computer Magic, Yeasayer, of Montreal, Generationals, and Methyl Ethel. These remixes were collected on 2020 EP Bad. The same year, BRONCHO returned with new single “Friends,” and in 2021, they offered up the slightly twee jangle and breathy vocals of “It’s Complicated.” The group continued touring and working on music, while Lindsey also spent time taking care of his young child. The efforts of their recording sessions resulted in the Natural Pleasure, a record that both breaks with past efforts by being full of relaxed, dreamy ballads and a disco interjection or two. It was released in April of 2025, after which the band embarked on a lengthy tour. – Biography by Fred Thomas

mon27apr7:00 pmmon10:00 pmTrevor JacksonThe Healing Out Loud Tour7:00 pm - 10:00 pm SOBs (Sounds of Brazil), 204 Varick Street

Time

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

Location

SOBs (Sounds of Brazil)

204 Varick Street

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American multi-hyphenate Trevor Jackson juggles dual careers as an actor and pop-oriented R&B artist. The Indiana native found regular work as a television actor in the early 2010s, then launched a concurrent music career in the middle of the decade. After finding an audience with releases like 2015’s In My Feelings and the back-to-back albums, Rough Drafts, Pt. 1 and 2, Jackson took a leading role on the comedy-drama Grown-ish. Rather than curtailing his music career, he became more prolific, issuing a barrage of singles and EPs leading up to the 2025 release of the ambitious full-length I Love You, Goodbye (The Greatest Breakup Album of All Time). That same year, he joined the cast of long-running hospital drama Grey’s Anatomy.

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, Jackson 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 he 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 debut album 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 ahead of his 2019 follow-up, Rough Drafts, Pt. 2.

In the early part of the next decade, Jackson maintained his role on Grown-ish, while continuing to push his music career forward with the 2021 full-length The Love Language, and EPs like 2022’s Show Me Diamonds and 2024’s Heads Up and He Don’t Know. This prolific run of releases helped build anticipation for his next full-length, 2025’s deeply personal I Love You, Goodbye (The Greatest Breakup Album of All Time). – Biography by David Jeffries

Fueled by Monster Energy, the 10-city run marks Jackson’s return to the stage following the release of I Love You, Goodbye, a project that underscores his continued evolution as a recording artist and live performer. Known for blending cinematic R&B production with emotionally direct songwriting, Jackson’s live show pairs vocal precision with dynamic stage presence. The Healing Out Loud Tour will give audiences their first opportunity to experience the new material live alongside fan favorites from his growing catalog.

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