Yola Will Bring ‘Sovereign Soul’ To The US On Her Summer 2025 Tour

Name: Youth Lagoon
Start: 2025-4-25T20-20-00-00
End: 2025-4-25T23-23-00-00
Location: White Eagle Hall

april, 2025

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fri25apr8:00 pmfri11:00 pmYouth LagoonRarely Do I Dream World Tour8:00 pm - 11:00 pm White Eagle Hall, 337 Newark Avenue

Time

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

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“Life itself is a thunderstorm,” says Trevor Powers, the Idaho-based songwriter and producer behind the Youth Lagoon moniker. “Life itself is brothers on walkie-talkies… it’s your dog at the backdoor, or a speeding car off in the distance. It’s a gentle voice on the radio. Mom smoking on the porch. The color of sunlight. It’s always right under your nose and so easy to miss. Often, a simple treasure.” In the fall of 2023, that treasure came in the form of a shoebox filled with home videos Powers found in his parents’ basement while he was looking for a pre-war harmonica that once belonged to his grandma. “When I took the tapes home and popped in the first one, it was my brother Bobby and I at the state fair. I was 4 years old choking on a corn dog,” he laughs. “If anything’s a summary of life, that is.” Powers spent the following week recording his favorite moments off the TV — Easter egg hunts, backyard baseball, bloody noses, birthday parties, road trips, and all the life in-between. “I was like a ghost in a lost memory,” says Powers. The vivid intimacies of life and boyhood depicted in Powers’ home movies not only began shaping his songs, but infusing with them. He started sampling the audio and manipulating it into a kind of musical cinematography, fusing past with future. “What I was really consumed with was how much I could zoom in on my actual history,” says Powers. “I wanted to really make someone feel like they were inside my living room in 1993, but rearrange the furniture a bit. Something about combining that level of hyperreality with fairytales of devils and detectives weirdly felt like the truest way to immortalize these pieces of my family.” Rooted in love and childhood memoir, Rarely Do I Dream is a triumph of American gothic imagination — where storybook innocence dissolves into a radioactive billow of teenage drifters, drug-addled hustlers, and old-world folklore. Drifting between propulsive electronica and hallucinatory rock songs, Powers’ singular voice always glows front and center as the neon road sign pointing home. “The more I rewind the tapes of my life, the more I can hear the voice of my soul,” Powers says. “This isn’t nostalgia. Life’s much more messy than that. It’s a dedication to all the parts of who I was, who I am, and who I’m going to be.” With a bent toward rural noir, Powers has found a home in a world where his personal journals and poetic confessions are indistinguishable from the twisted mythologies of habitual sinners and devout barflies. “The summer taught me that life’s a baseball bat to the jaw,” Powers sings on “Gumshoe (Dracula From Arkansas)” — painted with western tremolo guitars, proto-ambient recordings of dogs barking, family talking, and a distorted drumbeat circling it all. On “Neighborhood Scene,” the album’s opening track and one Powers describes as “a postcard to everyone I’ve ever loved,” he turns a remote Idaho cul-de-sac into a land both eternal and sacred, inverting the privacy of home into an open invitation to sit down for dinner. “Do I, do I belong in a country house? Every angel and devil out marchin’ on the lawn. Do I, do I tell Tom that I saw his dad at the ‘No Romance’ bunny ranch? Cowgirl ain’t his mom,” he sings. “Speed Freak,” a dark joyride that showcases Youth Lagoon’s glaring metamorphosis, unleashes a grungy beat while synth bass struts and splinters into a technicolor post-punk spectacle. “This song came from a thought I had of giving the angel of death a hug,” Powers says. “We spend our whole lives running from this thing we can’t outrun. The more I’ve learned to die to myself, the more I’ve learned there is no death. Only transformation. A door opens when you learn to let go of the identity you’ve been building your whole life. Someone told me a couple years ago, ‘I have good news for you and I have bad news. The bad news is Trevor is doomed. There’s no hope for Trevor. The good news is — you’re not Trevor.’ When I heard that, it clicked.” After taking an eight-year hiatus away from Youth Lagoon, Powers returned to the alias with the acclaimed Heaven Is a Junkyard in early 2023, an album of warped Americana that brought his focus back home. Youth Lagoon’s first album in nearly a decade pushed the project into a neo-western realm both deeply literary and musically vast, centered around an upright piano and static-coated electronics. “I had ended Youth Lagoon years ago because I lost who I was,” Powers says. “Then life jumped me in an alley and gave me a beating. That suffering changed my frequency. Now my ideas are a river. I can’t keep up.” Delicate yet aggressive, innovative yet classic, Rarely Do I Dream is Youth Lagoon’s most comprehensive and audacious album to date. A treasure trove of home movies, twangy fuzz guitars, sun-bleached synths, classical pianos, blown-out drums, and Powers’ spellbinding melodies all feel like an old photograph that’s been reanimated in a strange and distant future. “This was the first time I’ve ever used guitar instead of piano as my main writing tool,” says Powers. “Anytime I’m horrified and on a knife-edge creatively I know I’m doing something right. I need that feeling of knowing I could either be making the greatest thing I’ve ever made or something so bad it could be career suicide. Anything short of that, I’ve failed myself. After the Heaven Is a Junkyard tour, I was fully in the moment and appreciated all of it… then I said to myself, ‘Ok, moving on.’ I have zero interest in repeating myself.” Powers’ ability to relentlessly push and evolve the project forward has taken Youth Lagoon into a territory both fiercely original and strikingly expansive. Recorded with co-producer and mixer/engineer Rodaidh McDonald, Rarely Do I Dream marks a seismic transformation, a mammoth leap forward, and an instant, indelible landmark in Youth Lagoon’s revered discography. With a profound love and dedication to family, along with his own brand of genre-bending noir rock, Powers’ has achieved what he set out to do. “I wanted to make an album that feels like life itself…” says Powers.

sat26apr8:00 pmsat11:00 pmMagdalena Bay8:00 pm - 11:00 pm Franklin Music Hall, 421 N. 7th Street

Time

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

Location

Franklin Music Hall

421 N. 7th Street

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Somewhere in the ether/net of our collective social cosmos soup floats the magical, masterful pop music of Magdalena Bay, the duo from Los Angeles composed of Mica Tenenbaum and Matthew Lewin. While the pair may claim California as its terra firma, its true home is in the clouds, from where the two emit and output the unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and bombastically warped neo-hooks for which the group has become celebrated. Transmitting in both the audio and video realms, Magdalena Bay is an entity adroitly suited for these times, caught in a haze of the known and felt while pushing sonic landscapes woven with the now into the next. Having met as teenagers in a high school music program in their hometown of Miami (Tenebaum having moved to Florida at age 1 from Buenos Aires), each quickly recognized a kismet and kindred spirit in the other, resulting in the formation of a band, the prog outfit Tabula Rasa, as well as a romance. Lewin was a self-styled guitar shredder armed with his dad’s prog and concept rock records — The Wall, The Bends, Genesis, Fiona Apple — while Tenenbaum was a pianist and singer dipping toes in indie (Modest Mouse) and emo (My Chemical Romance) rock as well as pop made by princesses (Shakira, Britney). Both could read music and Lewin had even studied music theory, also teaching himself how to produce, record, and mix while making two Tabula Rasa records. The pair took a brief break from dating and headed to different colleges but kept the band together, often trading eight-hour bus rides from Penn to Northeastern and vice versa to rehearse, before eventually realizing two things: one, their relationship was too real to be denied, and two, no one young likes prog. “It was like, ‘No one's listening to our prog music, what a shame,’” Tenebaum says with a laugh. “We were excited to try something different. So we got into the mechanics of ‘what does it mean to write a pop song?’ and ‘what is this craft?’ and that was the beginning of Magdalena Bay.” “I remember thinking, ‘Pop music is simple, so we should be able to make it,’” Lewin says. “And then, of course, there's way more to it, lots of complexities in the writing and production that I wasn't aware of. We had no artistic perspective at that point because we were still figuring out the genre and how to make something that resembled pop music before we could think about how we could make it interesting. So that was our early process.” Holding tight to that all-encompassing genre descriptor (“We make pop, but what really is pop anyway?” Tenenbaum asks, while Lewin counters, “We're a pop group making pop music; all the rest is implied…I think it's fun to imply that pop music is a wide range of things”), the duo released a grip of EPs and singles before launching its debut album Mercurial World in the fall of 2021. Many outlets, while uniformly praising its melodic hooks, sing-song vocals, and meticulously-crafted production, called it “synth-pop,” which is probably the most specific subgenre Lewin and Tenenbaum will allow. Regardless, the mark had been made, and Magdalena Bay soon began to gather respect, adulation, and fans in the true currency of the day: streaming numbers, social media followers, support slots, festival appearances, and creative collabs. All the while, aided by its highly stylized online aesthetic and internet presence, the band was inching closer to realizing something of an artistic perspective after all. “We love extending the world of our music past sound into videos or a website or graphics or whatever it might be,” Tenenbaum says. “We like to think of them as one and the same, but I think it has to start with the music,” Lewin says. “We're trying to create an atmosphere or an emotional quality with it.” “It's the jumping off point that inspires the rest,” Tenenbaum agrees. “But as the years have gone by, as we’ve made more and more videos and such, the process has become more integrated. We were having visual ideas, which was never the case before. I guess people call it ‘world-building."

sat26apr8:00 pmsat11:00 pmJoe KayIf Not Now, Then When? Tour8:00 pm - 11:00 pm Theatre of Living Arts, 334 South Street

Time

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

Location

Theatre of Living Arts

334 South Street

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Joe Kay is the founder and creative director of Soulection, a globally recognized platform at the forefront of music discovery and curation. Since its inception in 2011, Joe has dedicated over 14 years to building a team and movement that bridges artists, producers, and elevated music lovers from around the world. With his weekly Soulection Radio show on Apple Music 1, now approaching 700 episodes, Joe continues to curate a dynamic selection of sounds that push boundaries, connect cultures, and celebrate innovation. Joe has been one of the leaders in shaping this movement, with roots in SoundCloud, where he was among the first to spotlight producers and beatmakers, amplifying their craft and artistry. His ear for music and ability to recognize gifted artists globally have contributed to the rise of some of today's most influential artists in R&B, Soul, & Electronic music, including Bryson Tiller, Snoh Aalegra, SiR, Brent Faiyaz, Daniel Caesar, Kaytranada, Smino, Masego, Sango, Monte Booker, and many more. Through Soulection Radio, Joe has introduced listeners to an eclectic mix of sounds from across the world. This includes South African sounds such as Amapiano, Afro Tech, Afro House, 3-Step, and Gqom, alongside Afrobeats from Nigeria and Ghana, Kuduro from Angola and Lisbon, and Baile Funk from Brazil. By blending these styles in seamless and intentional ways, Joe has helped bring these innovative and emerging genres to global audiences while honoring their cultural roots. Outside of music, Joe is the founder of Timeless Living, a lifestyle and spatial design brand centered around creating spaces for people to enjoy and find inspiration. This includes his investment property in Yucca Valley, a thoughtfully designed short-term rental where guests can experience the beauty of Joshua Tree through elevated aesthetics and comfort. As a devoted father, wellness advocate, and investor, Joe continues to inspire through his unwavering commitment to creativity, community, and cultural innovation, leaving an indelible mark on music and beyond.

sat26apr8:00 pmsat11:00 pmBartees Strange8:00 pm - 11:00 pm Music Hall of Williamsburg, 66 North 6th Street

Time

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

Location

Music Hall of Williamsburg

66 North 6th Street

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A producer and songwriter who traverses shimmery indie electronica, gritty alt-rock, folk, hop-hip, and more in his unpredictable songs, Bartees Strange emerged from Washington, D.C., in 2020. His eclectic debut album, Live Forever, appeared in October of that year. Farm to Table, his first album on 4AD, arrived in 2022, and in 2024, he issued Magic Boy, a vinyl-only collection of early, mostly unreleased material. Raised in Mustang, Oklahoma, Bartees Leon Cox, Jr. traveled the state with his family as a child, singing in opera productions as well as in churches. As an adult, he moved to Brooklyn to pursue music in a more diverse scene, eventually relocating to Washington, D.C. to work for an environmental nonprofit. It was from there that he released the EP Say Goodbye to Pretty Boy under the stage alias Bartees Strange in March 2020. Inspired by being one of the few Black fans in attendance at a concert by the National the year before, it reworked some of the group's songs with fewer limitations of genre while retaining what he loved about the tracks. A full-length debut of original material, Live Forever, followed on the Memory Music label in October of the same year. The album was widely acclaimed, and Strange toured with artists like Lucy Dacus and Courtney Barnett. He co-produced Oceanator's album Nothing's Ever Fine, which appeared in April 2022. He also signed to his dream label, 4AD, and released his second album, Farm to Table. As sonically diverse as his debut, Strange sings about his family, his personal journey, gives shout-outs to tourmates Dacus and Barnett as well as Phoebe Bridgers and Justin Vernon. His next release was the archival compilation Magic Boy, which was issued exclusively on vinyl in April of 2024. The album included ten genre-hopping tracks Strange recorded before he started making music publicly, eight of which had not been released previously. - Biography by Marcy Donelson

sun27apr7:30 pmsun10:00 pmSUUNS7:30 pm - 10:00 pm Kung Fu Necktie, 1248 N Front Street Event Organized By: Dave Kiss Presents

Time

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

Location

Kung Fu Necktie

1248 N Front Street

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“Evil is very real and having its way, and love is also real and hasn’t lost yet.” That’s how Activity’s Travis Johnson described their third album, A Thousand Years In Another Way. A friend had asked why these songs seemed to capture the strange, heavy feeling of being alive right now better than anything else—and that was his answer. The album doesn’t try to explain this time we’re living in; it simply feels like it. It’s a mix of violence, alienation, and tenderness—reflecting the surreal, dreamlike (or nightmarish) rhythm of daily life. Across ten songs, Activity blends experimental rock, electronics, and found sounds with a sense of paranoia, flickers of hope, and a warped reality. Working with producer Jeff Berner (Psychic TV), the band manipulated sounds and played with room acoustics to create a feeling that’s disorienting—like the air is thick and the walls are listening. Coming out of a period of uncertainty, the Brooklyn-based quartet—Travis Johnson, Jess Rees, Bri DiGioia, and Steven Levine—pieced the album together from fragments: clipped samples, looping guitar lines, ghostly melodies. Rees, DiGioia, and Johnson share vocal and writing duties, shaping a record that feels both deeply personal and strangely alien. There’s a constant sense that things could shift or fall apart at any second—nothing stays one thing for long. The lead single and opening track, “In Another Way,” sets the tone with its raw energy and unsettling refrain: “Who will marry me now? All the good husbands have drowned.” The feeling of instability continues with “We Go Where We’re Not Wanted,” a track built from layered samples and broken rhythms, evoking a society on the brink. Throughout the album, vulnerability coexists with unease. “Piece of Mirror” offers a ghostly, minimalist moment, blending Herman Hesse-inspired lyrics with found sounds and a pulse that feels both innocent and ominous. “Good Memory” and “Her Alphabet” explore the dark side of lost innocence, while “Heavy Breathing” softens the mood with a tender nod to ‘80s synth-pop. “Scissors” pairs heavy, crushing bass with light, sweet melodies, while “Your Dream” and “I Came Here to Harm You” lean into confrontation—diving into resentment and how it quietly creeps into everyday life, both personal and political. The album closes with “A Beast,” a towering, ominous track inspired by Blood Meridian and the Book of Revelation. It reflects on the persistence of evil, but also dares to imagine its end. It’s a fitting conclusion for an album that exists in a bruised, disorienting, and strangely beautiful world.

Organizer

Dave Kiss Presents

mon28apr8:00 pmmon11:00 pmMJ Lenderman & The Wind8:00 pm - 11:00 pm Brooklyn Steel, 319 Frost Street

Time

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

Location

Brooklyn Steel

319 Frost Street

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A singer and songwriter from Asheville, North Carolina, MJ Lenderman melds indie folk, roots rock, and skronky guitars with tunes that deal with random details of everyday lives, both past and present. Lenderman had already developed a solid reputation as a sideman -- playing drums behind Asheville songwriter Indigo de Souza and handling lead guitar for noisy indie rockers Wednesday -- when he released his first solo album, 2019's MJ Lenderman, which introduced his mix of noisy and rootsy sounds. 2022's Boat Songs dug deeper into the twangy side of Lenderman's music, and 2023's And the Wind (Live and Loose!) captured the sound of him and his band in full flight. 2024's Manning Fireworks was a breakthrough release that made room for his contemplative acoustic and raucous electric work. Born in 1999, Mark Jacob Lenderman grew up in Asheville, where he shared his father's passion for televised sports (Michael Jordan, Dan Marino, and various professional wrestlers have all appeared in his lyrics). In his teens, Lenderman discovered the music of Mark Linkous of Sparklehorse and Jason Molina of Magnolia Electric Co. and Songs: Ohia, and he was fascinated by their musical storytelling, as well as the fact they came from the South and Midwest, which allowed him to feel a greater connection to their work. (He's also cited Warren Zevon, Leon Russell, and Bob Dylan as early influences on his music.) Lenderman was drawn to the lively music scene in Asheville, and by the time he was 18 he'd begun playing in local bands. After finishing high school, he enrolled at the University of North Carolina in Asheville, where he lasted for three semesters. After moving out of the UNC dorms, he was soon sharing a house with two fellow members of the city's underground music scene, Karly Hartzman and Colin Miller. In 2017, Lenderman recorded a nine-song digital EP, Him, with Miller pitching in as producer, engineer, and drummer; it featured eight originals from Lenderman, and a cover of Jason Molina's "Boys." In 2018, Lenderman joined Asheville songwriter Indigo De Souza's band as a drummer, appearing on the album Take Off Your Pants and a live EP for Audiotree. He also sat in on sessions with the groups Pretend Chess (2018's Crime), Scoutmaster (2019's Winter Ache EP), and Nash to Stoudemire (2019's Faucet EP). The latter project featured housemate Karly Hartzman, and when she began ramping up her new band, Wednesday, she invited Lenderman to play lead guitar. He performed on Wednesday's critically celebrated 2021's LP Twin Plagues, and soon the group was touring the United States and Europe. Despite his busy schedule, Lenderman had already begun promoting his solo career with the release of 2019's MJ Lenderman, which was once again produced and recorded by Colin Miller, who also played bass; Xandy Chemlis, who played steel guitar with Wednesday, also appeared on the album. The Philadelphia-based indie label Dear Life Records took notice of Lenderman, and they issued his next solo album, 2021's Ghost of Your Guitar Solo. His next release for Dear Life, 2022's Boat Songs, would prove to be his critical breakthrough; Lenderman's first album recorded in a professional studio, he played all the instruments except for bass, keyboards, and trumpet, all of which were handled by Miller. Boat Songs' strong reception in the indie music press led to him being approached by Anti- Records, which signed him to a new record deal. In 2023, as Wednesday were winning acclaim for their album Rat Saw God, Lenderman delivered his first album for Anti-, And the Wind (Live and Loose!). March 2024 brought the release of Waxahatchee's sixth album, Tiger's Blood, which featured Lenderman on lead guitar, joining leader Katie Crutchfield, multi-instrumentalist Phil Cook, and drummer Spencer Tweedy. The album was a critical and commercial success, and Lenderman's star rose even higher when he issued his fourth LP, Manning Fireworks, the following September. Including contributions from his Wednesday bandmates Ethan Baechtold, Xandy Chelmis, and Karly Hartzman, the album received rave reviews from Pitchfork, Rolling Stone, and The Guardian, and Lenderman's supporting tour was extended into 2025, with several major cities adding addition shows to meet demand for tickets. Lenderman was also one of over 100 artists who contributed a song to 2024's Cardinals at the Window, a digital benefit compilation produced to raise money for flood relief in North Carolina in the wake of Hurricane Helene's devastating impact. - Biography by Mark Deming

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