Luna
ALL AGESSTANDING ROOM ONLY LUNA Luna was a New York band formed in 1991 by singer/guitarist Dean Wareham after the breakup of Galaxie 500. The band made seven studio albums before disbanding in 2005. After a ten-year break, they reunited and toured in 2015, and in 2017 released a new LP — A Sentimental Education and an EP of instrumentals — A Place of Greater Safety. Other recent reissues include a deluxe 2xLP version of their classic Penthouse album (on Rhino) and another 2xLP set Lunafied that collects all the covers the band recorded in the 1990s. Now scattered around the country (Los Angeles, New York and Austin) the band retains the same lineup that operated from 1999 to 2005: Dean Wareham on vocals/guitar, his wife Britta Phillips on bass, Sean Eden on guitar, and Lee Wall on drums. A Luna Timeline: 1992. Dean Wareham recruits Justin Harwood (ex-Chills) on bass and Stanley Demeski (ex-Feelies) on drums to record Lunapark for Elektra Records. After completing the album, the band places an ad in the Village Voice and thus adds Sean Eden on guitar. Eden, who is Canadian by birth and a trained actor, plays lead guitar on the excellent Indian Summer EP (aka the Slide EP). 1993. The band records their second album, Bewitched, featuring “California,” “Tiger Lily” and “Friendly Advice.” 1995 Luna’s classic third album, Penthouse (1995) is recorded in New York City, featuring guests Tom Verlaine (Television) and Laetitia Sadier (Stereolab). The band signs to Beggar’s Banquet in Europe. Rolling Stone calls it “one of the essential recordings of the ‘90s” 1997 Lee Wall replaces the travel-weary Stanley Demeski on drums, and the band records Pup Tent, their fourth album for Elektra. 1998 Luna recorded their fifth album The Days of Our Nights. 1999 Justin Harwood moves back to his home country (New Zealand), and is replaced on bass by Britta Phillips. 2000 finding themselves between contracts, the band quickly records a live album — Luna Live! for the Arena Rock label. 2002 the band sign to Jetset Records, record Romantica, co-produced by Gene Holder (DB’s) and Dave Fridmann (Mercury Rev). Romantica was followed by the mini-LP Close Cover Before Striking. 2004 Luna record their Rendezvous album in Brooklyn, NY. Produced by Bryce Goggin with minimal overdubs, it captures the band more-or-less live. 2005 After a farewell tour, on February 28 the band play their last show at New York’s Bowery Ballroom. 2015 After ten years away, the band announces a commemorative world tour. The lineup is the exact ’99-’05 group: Dean Wareham and Sean Eden on guitar, Lee Wall on drums, and Britta Phillips (now married to Mr Wareham) on bass. 2016 Captured Tracks label release a vinyl box set comprising Luna’s five albums recorded for Elektra and a bonus LP of rarities. 2017 Double Feature Records release the band’s first new material since 2004, the covers LP A Sentimental Education and instrumental EP A Place of Greater Safety. 2018 Run-Out-Groove releases the double LP Lunafied — containing all the covers the band recorded during the 1990s.
King Buffalo w/ L.A. Witch
ALL AGES STANDING ROOM ONLY KING BUFFALO King Buffalo is the trio of vocalist/guitarist Sean McVay, bassist Dan Reynolds, and drummer Scott Donaldson. Since forming in 2013, the self-proclaimed “heavy psych” band has made its name via 4 Full-lengths, 4EPs, and tours with Clutch, Uncle Acid and the Deadbeats, All Them Witches, The Sword, and Elder. L.A. WITCH L.A. Witch have always exuded an aura of effortless cool, whether it manifested as the Americana noir and laconic back-to-basics rock n’ roll of their self-titled debut or the blistering austere adventurism of their sophomore album Play With Fire. The band—comprised of Sade Sanchez (guitar/vocals), Irita Pai (bass), and Ellie English (drums)—began as an informal affair, but the sultry and beguiling reverb-draped songs they created caught on with the public, moving the project beyond the insular space of the band’s friends and peers in Southern California into the broader world. On their latest album, DOGGOD, the trio push their craft beyond their previous creative and geographical confines, opting to craft the material in Paris, recording the tracks at Motorbass Studio on the Rue de Martyrs. DOGGOD explores broader swaths of sonic terrain, employs a greater arsenal of tones, and probes larger existential and cosmic themes, all while retaining the band’s signature sense of the forbidden, the forsaken, and the foreboding. DOGGOD is a way of tackling the universal riddle tangled in the spiritual nature of love and devotion. “I feel like I’m some sort of servant or slave to love,” says Sanchez. “There’s a willingness to die for love in the process of serving it or suffering for it or in search of it… just in the way a loyal, devoted servant dog would.” The album title is a palindrome fusing together DOG and GOD—an exaltation of the submissive and a subversion of the divine. It’s a nod to the purity of dogs and an acknowledgement of their unconditional love and protective nature that’s at odds with the various pejoratives associated with the species. “There is this symbolic connection between women and dogs that expresses women’s subordinate position in society,” Sanchez explains. “And anything that embodies such divine characteristics never deserved to be a word used as an insult.” These conflicted explorations of love and subservience manifest themselves in L.A. Witch’s fusion of their trademark smooth and smoky garage alchemy with a newfound utilization of post-punk’s disciplined reserve and icy instrumentation. Album opener “Icicle” captures the band journeying out of the proto-punk, psychedelia, and gritty riffage of the ‘70s into the chorus-drenched guitars and forlorn minimalism of Joy Division and early The Cure. A parallel is drawn between romantic suicide and martyrdom that carries over into the second song, “Kiss Me Deep.” Here Sanchez describes a love so pure that it transcends time and carries over into multiple lifetimes. It’s a song about passion delivered in the worldly and wounded stoicism of early goth pioneers. From there, the band segues into the lead single “777,” a song about devotion to the point of death. A propulsive beat, a driving distorted riff, and Sanchez’s ethereal vocals come together to create a song that’s both dire in its fatalism and sensual in its faithful passion.
HAPPY LANDING w/ The Band Solstice
ALL AGESSTANDING ROOM ONLY HAPPY LANDING HAPPY LANDING is an American band formed in Oxford, Mississippi in 2020 by Matthew Hendley (lead vocals, guitar), Keegan Christensen (vocals, keys), Jacob Christensen (drums, vocals), Andrew Gardner (fiddle, vocals), and Wilson Moyer (bass/guitar, vocals). The group pioneers a new wave of folk music, captivating audiences internationally with their energetic live shows and fresh sound, blended from the roots of southern rock, punk and folk. After debut festival appearances at Bonnaroo, Lollapalooza, and Summerfest, the band’s sophomore album, Big Sun, comes in 2026 paired with a major headline tour of the US & Canada. THE BAND SOLSTICE The Band Solstice, formed in 2019 by childhood friends, has grown from a summer-solstice idea into a rising indie-rock force known for their energetic shows and evolving sound. Now students at The University of Tennessee, the group channels influences from Kings of Leon, Dawes, Mt. Joy, and Dr. Dog into a style all their own. Frontman Marty Gee delivers powerful, emotive vocals, anchored by the tight rhythm from drummer Grayson Strayder and bassist Maddox Frazier. Jacob Greene adds depth and lush keyboard textures, while Jackson Frazier’s expressive guitar work brings soaring riffs and melodic solos that define the band’s signature feel. With their debut album slated for early 2026, The Band Solstice prepares to bring new music to new cities as they step confidently into their next chapter.
PATIO SHOW: ZG Smith & Madison Hughes
– ALL AGES- LIMITED PATIO SEATING IS FIRST COME FIRST SERVEZG SMITH & MADISON HUGHES ZG Smith is the Los Angeles-born, Nashville-based son of an English professor mother and a shipwreck diver and underwater archaeologist father. For over ten years, he fronted the band Smooth Hound Smith who headlined tours in the US, Europe, and the UK and supported artists like The Chicks, Collective Soul, Trombone Shorty, Jamestown Revival, and many more. Following the release of their third album in 2019 and a month-long European tour in February 2020, the band’s eventual hiatus caused Smith to refocus towards other artistic pursuits. “I started seeking out music again like I did when I was younger. I realized that I had been so focused on Smooth Hound Smith and had been trying to push the band forward, that I stopped listening to music just for enjoyment. Because of the pandemic, I had time, so I dug a massive hole in my backyard, leveled it off, and laid a patio of over 1,200 bricks, all by hand. It took me about a month. I would just be out there all day in the sun listening to North African desert blues, EDM, ‘90s hip hop, or bizarre, outsider folk music. A lot of that stuff really informed the music I ended up creating months later.”Madison Hughes makes music that lives in the in-between — the space between falling apart and finding your footing. Her sound pulls from the women who defined late ’90s Americana — Sheryl Crow, Norah Jones, Mazzy Star — and roots it in something country-blues and lived-in. Warm, honest, and a little worn around the edges. Like someone you trust quickly, even if you just met.
Meltt w/ Los Eclipses
ALL AGESSTANDING ROOM ONLY MELTT Meltt’s upcoming third album is the culmination of everything the Vancouver indie-pop quartet have accomplished so far, all the while pushing their sound in new and exciting directions. True to its title, Pathways finds Chris Smith [lead vocals, guitar, bass, keys], Jamie Turner [drums, percussion], James Porter [guitar, keys, bass, vocals], and Ian Winkler [bass, keys, guitar] at multiple forks in the road and deciding to take all of them, submerging their sound in new rippling textures while still retaining the warm, textured glow that their music’s contained since their debut EP Visions in 2017. Thematically, Pathways approaches what Winkler refers to as “four men approaching their 30s and figuring out their paths and lives.” Big topics abound, from relationships and the aftermath of loss to the strange and uneasy feeling that accompanies navigating the modern world at large. “Our tone is usually pretty optimistic and hopeful, but this time we let some darkness in,” Porter says. “There are so many things we experience individually, but when we get in the studio, it’s clear that we’re on a journey together.” Whether you’ve been with them since the beginning or are joining them at this very juncture, Pathways will make you thankful that you’re along for the journey. LOS ECLPISES Los Eclipses is a Franco-Mexican duo composed by French singer Eva de Marce and Mexican producer Dan Solo. The frenetic combination of styles between its members creates a sonic layer full of contrasting nuances: from light to darkness, from melancholy to euphoria, from calm to celebration. Dan’s extensive production experience, along with Eva’s enigmatic and captivating voice, blend together to create a project that has quickly captured the attention of both the public and the media. In just one year since their formation, Los Eclipses have performed more than 50 shows in 10 countries, gracing the stages of renowned festivals and venues such as El Palacio de los Deportes (MX), Francos de Montréal (CAN), Razzmatazz (ES), Viva Pomona & SXSW (USA), Festival Trópico (MX) among others. They have shared the stage with renowned artists such as Empire of the Sun, Underworld, Royskopp, Moodymann, Buscabulla and The Whitest Boy Alive, to name a few. In 2024, Los Eclipses reached a major milestone with the release of their debut album, Eden Sauvage. Deeply inspired by the myth of Adam and Eve, the album fuses electronic and dreamlike tones, exploring the dualities that define the duo through hypnotic melodies and lyrics filled with mystery. With Eden Sauvage, Los Eclipses have established themselves as one of the most exciting and unique revelations in the contemporary electro-pop scene.
Teen Jesus and the Jean Teasers
ALL AGES STANDING ROOM ONLY TEEN JESUS AND THE JEAN TEASERS ARIA Award-winning indie-rock four piece Teen Jesus and the Jean Teasers – Anna Ryan (they/she; vocals/guitar), Scarlett McKahey (she/her; guitar/vocals), Jaida Stephenson (she/her; bass) and Neve van Boxsel (she/her; drums) – have gone from strength to strength since the release of their debut EP Pretty Good For A Girl Band (2022), with its lead single ‘Girl Sports’ landing at #55 on the triple j Hottest 100. Their debut album I Love You (2023) landed at #6 on the ARIA Charts, placed at #52 on the Hottest 100 (‘I Used To Be Fun’), with its deluxe I Love You Too (2024) featuring new singles ‘Dull’ ft. Softcult and ‘Please Me’ ft. The Linda Lindas – the former landing at #187 in triple j’s Hottest 200 this year. Now based across Ngunnawal/Canberra, and Naarm/Melbourne, Teen Jesus and the Jean Teasers are just as concerned about issues facing today’s women, non-binary people and young people everywhere as they are with making music that continues to push boundaries and expectations. They are ambassadors for Green Music’s No Music on a Dead Planet, played Rising Tide on Parliament House steps, contributed to the Parliament inquiry into challenges and opportunities within the Australian live music industry and are firm supporters of Michael’s Rule. This is a band never to be pigeonholed, and definitely never underestimated.
of Montreal
ALL AGESSTANDING ROOM ONLY of Montreal Led by songwriter and multi-instrumentalist Kevin Barnes, of Montreal have spent nearly three decades redefining pop, with their kaleidoscopic blend of glam rock, psychedelia, funk, and synth-driven indie rock. Emerging from the Elephant 6 Recording Company in the late ’90s, the band quickly built a cult following for their inventive songwriting and wildly theatrical live performances. From the breakthrough brilliance of Hissing Fauna, Are You the Destroyer? to a steady run of boundary-pushing releases, of Montreal have remained fearless sonic shapeshifters—equally at home crafting hook-laden anthems as they are exploring surreal, experimental textures. The band’s prolific output has led to numerous late-night TV appearances—including The Late Show with David Letterman and Late Night with Jimmy Fallon—and brilliant collaborations with artists such as Solange, Janelle Monáe, and Jon Brion. On stage, they transform concerts into immersive spectacles of color, costume, and cathartic energy. The band has performed across the globe, gracing festival stages at Coachella, Primavera, Lollapalooza, Vive Latino among dozens of others and headlining countless marquee venues, while also amassing hundreds of millions of streams worldwide. With a new tour on the horizon, of Montreal continue to celebrate their legacy while pushing boldly forward—delivering a live experience that is as unpredictable and electrifying as ever. CORMAE CorMae is a garage/punk band from ATX that started with a Social Media ad and a dream and is now evolved into a 5-piece super group with members from several other Austin bands. CorMae’s songs discuss love, life, and first-world problems with songs inspired by sounds of early 00s indie rock and late 90s riot girl bands. Follow along, buckle up, and join in on the gripe.
Built To Spill w/ The Hypos
ALL AGESSTANDING ROOM ONLYBUILT TO SPILLBuilt to Spill was formed in 1993 by Doug Martsch and over the years they have toured extensively and made several albums with a rotating cast of musicians, currently featuring Teresa Esguerra (Prism Bitch) on drums, and Melanie Radford (Blood Lemon) on bass. THE HYPOS The Hypos are an Asheville, NC/ Memphis, TN band built around the collaboration of veteran songwriters Greg Cartwright (Reigning Sound, Oblivians) and Scott McMicken (Dr Dog, Ever-Expanding). Their eponymous debut album is a playful blend of sounds and styles that is wonderfully hard to categorize but easy to enjoy. Joined by Evan Martin on drums, Kevin Williams on bass and Krista Wroten on violin, the Hypos world is a lush landscape of bouncing rhythms and Earthy acoustics. Scott’s unmistakable voice, brimming with curiosity and wonder, makes the perfect traveling companion to Greg’s road worn croon as they investigate all the sonic possibilities on their 10 song LP. Also, they like Frogs. A lot. What else do you need to know? Oh yeah, this fine album was lovingly mixed by Matt Ross-Spang.
Buck Meek
ALL AGESSTANDING ROOM ONLY BUCK MEEK A gleaner of the forgotten, Buck Meek tips over the familiar and turns the unknown into a companion. On The Mirror, the artist’s fourth solo record and second album released by 4AD, there’s a tender power, countered by immutable vulnerability. With an uncanny curiosity, Meek conjures twin worlds to reveal the uniqueness in the mundane. Inviting in reflection as collaborator and demon as friend, The Mirror doesn’t seek to know but to ask, looking to the shape of a question rather than the illusion of its answer. Meek grew up in Wimberley, Texas, teenage protege to an old guard of mystic Texas songwriters and musicians. He later moved to New York where he met Adrianne Lenker. The two lived in a van while singing their songs across the country before forming Big Thief. The partnership of Meek and producer, James Krivchenia, emerged from a decade of work together in Big Thief. Conceptually, The Mirror emerged from the idea to combine Meek’s band’s live, kinetic energy with an oblique electronic world. The pair invited a collective atmosphere in which simultaneous experiment could occurr––the musicians responded to each other in real time, while their instruments triggered modular synthesizers and electronic magic boxes. The Mirror welcomed in friends, family, longtime collaborators from ranging musical eras of life as vital co-creators. New creative partners and longtime friends like composer and ambient musician Alex Somers joined in on synthesizer, toy microphone, and piano, and Mary Lattimore brought in the sounds of her prismatic harp. Lexical mirrors are handheld, tactile, and kept close throughout the record––each one holding up a new truth. The Mirror aptly embraces the unknown with an abiding curiosity and Meek continues to reveal his skill as translator of human feeling and its endless portals. The Mirror looks for duality, finding it in the weeds and overgrowth. “My demon is my darkness and my darkness is my angel / I taught him how to read, now I’m teaching him to write.”
Hudson Freeman + lots of hands
ALL AGESSTANDING ROOM ONLY HUDSON FREEMAN Hudson Freeman is a brooklyn-based Lofi-folk artist, inspired and forged by the DIY midwest. The 27-year-old Freeman continues to record and perform songs equal-parts resonant, reflective, and poignant. He has quickly emerged as one of indie’s most enthralling new voices. His recent full-length, is a Folk Artist, helped solidify his presence as the kind of songwriter unafraid to tackle life’s most draining contradictions: modern identity, digital disconnection, and faith. Born to Evangelical missionaries, Hudson started writing songs upon a radical break at the age of thirteen when his family suddenly moved from the suburbs of Dallas to The Kingdom of Eswatini. The profound influence of indie big-hitters like Sufjan Stevens and Bon Iver as well as college years spent in Springfield, Missouri made a do-it-yourself midwesterner out of Hudson. Now, his new song “If You Know Me” has recently started drawing in attention from the masses, catapulting Freeman into a wider spotlight than ever. It’s a moody blend of bedroom pop, folk, slowcore, and post-emo, stitched together by a singular guitar riff and mantra-style lyrics, confirming Hudson’s undeniable knack for melody. lots of hands into a pretty room — lots of hands’ debut on Fire Talk Records — exists in the tear-stained early mornings of adolescence, just as the sun makes its first appearance over the horizon and thoughts of the night before begin to subside. A collage of reworked demos, freewheeling session standouts, and swatches of instrumental electronics, into a pretty room offers a touching rumination of grief and loss, growing up and letting go. Billy Woodhouse and Elliot Dryden, the core duo behind lots of hands, first connected in a Newcastle school music program at age 16. Following years of cultivating a dedicated fanbase across 3 self-released records, into a pretty room marks the duo’s first truly collaborative effort, with Dryden often trekking the vast northern English countryside to write and record in Woodhouse’s bedroom studio. Between pints of beer and rounds of Fortnite, the two slowly chipped away at into a pretty room. TORRI WEIDINGER
