Joywave
ALL AGESSTANDING ROOM ONLY JOYWAVE Joywave are at an exciting point in their career. Not only have the act survived the pressures of their major-label debut and the dreaded sophomore slump, they’ve established themselves as the kind of band that you’re as likely to hear at a hip record store as you are at the grocery store. That said, there’s a difference between ubiquity and evolution and with their fifth full-length Permanent Pleasure, Joywave—vocalist/multi-instrumentalist Daniel Armbruster, guitarist Joseph Morinelli and drummer Paul Brenner—lean into guitar and string sections without sacrificing the signature sound that’s endeared the band to countless fans, whether they know it or not, over the past eleven years. Rochester, New York, isn’t necessarily known for its bustling entertainment industry, but it is rich in culture and creativity. The trio’s hometown is integral not only to the theme of Permanent Pleasure (audio samples from 1984 historical compilation release, The Rochester Sesquicentennial, bookend the album), but also to Joywave’s overall identity. Despite international acclaim and major-label success, the band maintain a DIY work ethic that keeps them grounded in the present moment while always reaching toward the future. We go to our studio and make a record with total creative freedom and we turn it in and the label tells us we did a great job,” Armbruster explains. This arrangement is a rarity in the music industry these days—but like all things Joywave, somehow it works out in a way that makes perfect sense for them. Once again produced by Armbruster at the band’s own Rochester-based studio, The Joycave, Permanent Pleasure is an unfiltered vision of the band’s creativity that sees them stepping outside of their sonic comfort zone. “I think this is probably our least keyboard [heavy] record,” Armbruster explains, adding that in some ways Permanent Pleasure was a reaction to the more cohesive and linear construction of 2022’s Cleanse. “On Permanent Pleasure we blew everything apart again: We’re switching out drum components and everything we can between songs and freeing ourselves again from the box of ‘it has to be super cohesive’ because I always want to rage against what we did last time. But five records in, we’re a lot better at writing and recording, so it’s bringing back a little bit of the all-over vibe of the first record, but on the other side of the experience. We’ve gone through a wormhole.” That feeling of artistic liberation is the unifying sonic characteristic of the album, from the futuristic downtempo groove of “Sleepytime Fantasy” to the hypnotic dancefloor vibe of “Brain Damage.” Permanent Pleasure also sees the band expanding their own musical conventions, the most obvious being the fact that they enlisted an actual orchestra to play on these songs instead of relying solely on software as they have in the past. “We’ve always done virtual instruments before but we wanted to have it real this time around, so we had the Rochester Philharmonic Orchestra play on five of these songs,” Morinelli, who wrote out the sheet music for them, explains. That amalgamation of electronic and organic instrumentation is evident on songs like “He’s Back,” which is political, personal, petrifying and playful, seemingly all at once. LITTLE IMAGE
Evening Elephants + The Get Right Band
ALL AGESSTANDING ROOM ONLY EVENING ELEPHANTS Emerging out of an illegal backyard party in Los Angeles, the duo of Sam Boggs, a disgraced LA skit actor, and Brandon Leslie, a tarot card-reading hip-hop producer, bonded over the love of two things – music and cigarettes. With the sunrise approaching and cigarette butts piled up, a three-day bender had just started to take its toll on Sam, when he and Brandon (aka B) recognized one another as kindred spirits. They plotted a jam session within weeks of meeting, adopted the name Evening Elephants (inspired by Naruto), and began disrupting the norm around L.A. Evening Elephants started throwing showcases in the same backyard they met in, bringing in over 150 RSVPs in 48 hours for their first show. Evening Elephants performed a series of now “legendary” backyard shows, cutting their teeth in front of a fervent audience. OnesToWatch chronicled one of those gigs and emerged as an ardent early supporter. INKED also raved, “With a lust for life and passion for bringing people together, Evening Elephants’ infectious grooves aren’t stopping anytime soon,” while The Luna Collective hailed their “on-brand brutal honesty.” Since their fateful encounter in 2021, the pair went on to quietly generate over 10 million streams and build an audience one fan at a time with a fluid and fiery sound anchored by B’s production with live drums, and peppering sunny melodies with the kind of truths typically reserved for diaries.Evening Elephants gained momentum with Evening Demos EP in 2022 followed by the signature single “Life Is Swell” in 2023 and the standout “Snow On The Bluff,” produced by PJ Bianco (Imagine Dragons, Jonas Brothers) which garnered over 5 million Spotify streams. During their inaugural year as a band, Evening Elephants captivated audiences across the US with performances at legendary venues such as Baby’s All Right, Teragram Ballroom, The Moroccan Lounge, Larimer Lounge, and Lost Lake including sold-out performances in New York City and Denver. The band caught the attention of coveted brands early on such as JuneShine, who sponsored the backyard shows on top of performances at the JuneShine brewery in San Diego. Given the palpable buzz and the level of cult adoration surrounding the band, the Evening Elephants signed to Republic Records and are set to release their debut and much more in 2025. THE GET RIGHT BAND The Get Right Band is a psychedelic indie rock power trio committed to relentlessly following their muses to honest self-expression, to whatever excites them and pushes them into unexplored territory, to capturing some version of truth. American Songwriter writes that the Asheville, NC based group, “filters 60’s/70’s psychedelia and 90’s alternative rock through a modern lens–as if Led Zeppelin, Pink Floyd, and Nirvana co-wrote an album produced by Danger Mouse and Dan Auerbach.”
Free Throw: Those Days Are Gone 10 Year Anniversary Tour
ALL AGESSTANDING ROOM ONLY FREE THROW FREE THROW’s debut album, THOSE DAYS ARE GONE, took the underground by storm when it was released in September 2014, with Brooklyn Vegan hailing lead single “Tongue Tied” for its ability to “successfully bring together Tell All Your Friends dual vocals with American Football’s shimmering guitars.” The sepia-toned emotional resonance of songs like the 6/8 “Two Beers In,” loud/soft dynamism of “Hey Ken, Someone Methodically Mushed the Donuts” and riff-ready “Pallet Town” painted a portrait of the uncertainty and growing pains of life in your 20s: a Groundhog Day of bad luck, bad love, and bad habits, set atop inventive rhythms, Midwestern-inspired guitars and tightly wound catharsis. It’s this unfiltered honesty that helped the Nashville-based quintet immediately connect with a new generation of listeners, spawning tens of millions of streams and tours with the likes of New Found Glory and The Wonder Years. To celebrate the 10-year anniversary of Those Days Are Gone, Free Throw will embark on a U.S. tour in early 2025, performing the record in full alongside fan favorites from their five-album catalog – melding these timeless songs with their reputation for raucous live sing-alongs. “We didn’t quite know Those Days Are Gone was going to be as special as a lot of people consider it today, but we thought that we had something really good,” singer/guitarist Cory Castro says. “ There’s been so much that’s happened since then, but in some ways, it still feels like yesterday.” ## BEN QUAD Although the old adage of ‘if it ain’t broke, don’t fix it’ is something that Oklahoma four-piece Ben Quad knew before they began making their new EP, Ephemera, they decided to wholeheartedly ignore it. Since forming in 2018, the band—Sam Wegrzynski (lead vocals/rhythm guitar), Henry Shields (backing vocals/bass), Edgar Viveros (lead guitar) and Isaac Young (drums)—have released three split EPs and their 2022 debut album, I’m Scared That’s All There Is. Those records, alongside tours with Hot Mulligan, Arm’s Length and Forests have helped establish Ben Quad as one of the emo/indie/punk bands around—a hybrid all those scenes and sounds that works incredibly well, both live and on record. HARRISON GORDON
of Montreal: The Sunlandic Twins 20th Anniversary Tour
ALL AGESSTANDING ROOM ONLY of Montreal On of Montreal’s seminal album The Sunlandic Twins, songwriter and multi-instrumentalist Kevin Barnes followed up their 2004 Polyvinyl debut, Satanic Panic in the Attic, with what became the band’s most commercially successful album to date. Originally released in April 2005, The Sunlandic Twins marked a significant turning point for of Montreal, showcasing Barnes’ evolving songwriting and a shift towards a more electronic and dance-oriented sound. The album’s vibrant blend of synth-pop and psych rock helped cement its status as a fan favorite and a defining moment in the band’s career. Iconic tracks like “Wraith Pinned to the Mist and Other Games” and “The Party’s Crashing Us” became some of the most beloved songs in the band’s extensive catalog. WAGGING Wagging is Alison, Mark & Emily: three friends making harmony-driven, primitive pop in Asheville, NC
The Weather Station: Humanhood Tour
ALL AGESSTANDING ROOM ONLY THE WEATHER STATION It takes only 10 seconds for Tamara Lindeman to pull us to the floor on Humanhood, the seventh and most arresting album she has ever made as The Weather Station. “I’ve gotten used to feeling like I’m crazy—or just lazy,” she sings at the start of “Neon Signs,” her voice at once a soft whisper to a confidant and a full-throated confession to a crowd. “Why can’t I get off this floor? Think straight anymore?” If you don’t know this feeling, consider yourself blessed, because it seems these days like our true modern malaise, that unbound sense of not knowing how or what it is we’re supposed to contribute to this fractious world, or if we even have the energy or will to try. That disoriented sense is the emotional throughline of Humanhood, written during one of the most difficult periods of Lindeman’s life and rendered with a rock band with improvisational chops just as she began to recover by reckoning with a complicated truth: Sometimes, life simply tries to dismantle us, and we must accept that in order to survive. From the outside, 2022 likely appeared a banner year for Lindeman. Her 2021 album Ignorance—a deeply personal but widely resonant reflection on climate change, or how we’ve learned to live alongside our own existential undoing—was one of that year’s most celebrated records. 2022, then, was a time of touring, travel, and activism alongside the release of Ignorance’s more austere companion, the beautiful How Is It That I Should Look at the Stars. But at an ostensible new professional peak, she was also going through a mental health crisis she mostly kept hidden. As Lindeman has done for at least 15 years, she turned to songwriting, combining pain, confusion, and flickers of distant hope with ideas about advertising, capitalism, and how we’re meant to feel very specific ways into pages and pages of lyrics. In the past, Lindeman mostly wrote about her past, turning backwards to gain perspective. But for Humanhood, she worked with the present as she tried to endure it. Humanhood, then, radiates with new urgency—and emerges as a sort of tether, offered up here for any of us else feeling disconnected from the vertiginous reality of right now. SISTER RAY Born and raised in the Alberta prairies of Sturgeon County, and now based in Toronto, the 25-year-old artist earned widespread attention with their acclaimed debut effort, Communion and follow up EP, Teeth. If Communion was fueled with an intentional sense of urgency, for their songwriting to serve as a vehicle for excavating revelations in motion, Sister Ray’s new album Believer yearns in a different direction. It rings with the certainty that self-assurance is cultivated through the cracks of discomfort.
Satsang
ALL AGESSTANDING ROOM ONLY **PRE-SHOW VIP EXPERIENCE TICKETS AVAILABLE** SATSANG Satsang was founded by Montana-based musician Drew McManus in 2014. Known for their heartfelt, genre-blending sound, Satsang merges elements of folk, hip-hop, reggae, and rock, infusing each song with introspective lyrics and a strong message of positivity, spirituality, and social awareness. The name “Satsang” reflects the band’s mission, derived from the Sanskrit words for “truth” (sat) and “company” (sang), symbolizing gatherings aimed at seeking and sharing deeper truths. The band’s music often draws from McManus’s own journey of self-discovery, healing, and connection to nature, as well as his experiences with addiction and recovery. With soulful vocals, acoustic melodies, and rhythmic versatility, Satsang creates a powerful atmosphere in both their recordings and live performances. They have built a dedicated following through their relatable messages about love, unity, and resilience, as well as their active support for social and environmental causes. Over the years, Satsang has released several albums, each resonating with themes of hope, introspection, and community. Their live shows are particularly celebrated for creating a space that feels like a “satsang”—a gathering for connection and upliftment— where fans can come together to share in a collective experience of music, inspiration, and truth-seeking. **PRE-SHOW VIP EXPERIENCE TICKETS INCLUDE: • One general admission ticket • Early venue entry • Intimate soundcheck performance by Satsang (Solo) • Q&A session with Satsang • Collectible tour poster, signed by Satsang • Commemorative pre-show tour laminate • Limited availability SIERRA MARIN Coming from San Diego with deep roots in Hawaii, Sierra Marin is a quickly up and coming revolutionary artist, musical medicine woman and producer. Crossing Genres of reggae, hip hop and folk, Sierra’s music is rooted in catchy hooks and melodies and yet brings the listener to ecstatic states of healing gratitude and remembrance.Whether Performing as a live loop artist or Backed by the talented roots reggae band Roots Ascension, the music is a soundtrack for a new earth community on the rise, bringing to light the beauty of the journey in these potent times of transformation. Sierra’s intentional songs are the soundtrack to an awakening humanity, acknowledging the work one must do to heal through trauma and pain, in order to anchor frequencies of unconditional love, harmony, and beauty on this earth!
Naked Giants: Shine Away Tour 2025
ALL AGESSTANDING ROOM ONLY NAKED GIANTS When Naked Giants formed in 2014, the Seattle trio—vocalist/guitarist Grant Mullen, bassist/vocalist Gianni Aiello and drummer Henry LaVallee—were all eighteen years old, and full of the reckless, restless energy of youth. A decade on, both they and the world have changed immensely. Shine Away—the band’s third full-length, following on from 2018’s SLUFF and 2020’s The Shadow—is very much an acknowledgement of that. It’s an album that doesn’t just reflect on the personal life and times of the three of them and the world at large, but casts a discerning, self-reflective eye on what it’s like to be in, and be, Naked Giants. It’s the sound of a band coming into, and becoming, themselves. Of course, that’s a never-ending process, but for the first time in their career, Naked Giants are taking stock of their journey—who and what they were, are, and want to be. “Our first record was still running on fuel from starting the band as 18 year olds with a rock’n’roll dream,” says Mullen. “Since then, life has changed. We all got day jobs or went back to school, and really grew into ourselves individually. Before, we were anxious to express ourselves in whatever way we could through music. Now, we have more to say, and I think we’ve made a record with more meaning and purpose.” Despite these personal changes Shine Away contains the same sense of impetuous urgency that defined SLUFF. and the band’s preceding 2016 debut EP, R.I.P., and was still to be found within the fabric of The Shadow’s songs, too. So while the band might be removed from their younger selves, there are still traces of those people in these nine songs. “I’ve realized that being an effective communicator is such an important part of being a musician,” adds Aiello. “We’re carrying the typical garage-rock ‘throw it at the wall and see what sticks’ ethos with us to this new phase of life. This time around, there’s room in the music (and in ourselves) not only for the young raucous kids we used to be, but also for the fully emotional people we’re becoming – people with hearts that love and break and ache and all that kind of stuff.” GIRL AND GIRL In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.
SPELLLING
ALL AGESSTANDING ROOM ONLY SPELLLING SPELLLING, the moniker of the Bay Area experimental pop mastermind Chrystia Cabral, has emerged as a visionary artist, pushing the boundaries of genre and captivating audiences with her richly envisioned albums and enchanting live performances. SPELLLING gained widespread recognition with the release of her critically acclaimed debut album, Pantheon of Me, in 2017. The album showcased her prodigious talent as a songwriter, producer, and multi-instrumentalist. In 2019, she signed to Sacred Bones and released her highly anticipated sophomore album, Mazy Fly, further elevating her artistic vision and expanding her sonic palette. In 2021 she released her breakthrough project, The Turning Wheel, which saw her orchestrating and self-producing an album that features an ensemble of 31 collaborating musicians. The Turning Wheel has become a career-defining opus for the artist. The album received widespread unanimous praise, earning itself The Needle Drops #1 album of the year in 2021. As SPELLLING continues to evolve and explore new musical territories, she further solidifies herself as a once in a lifetime artist. Her ability to create beautiful soundscapes that transport listeners to other realms along with her transcendent live performances have earned her legions of dedicated fans. With each release, SPELLLING invites us on a mesmerizing journey into her world, leaving an indelible mark on the hearts and minds of her listeners. SMUT Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. After years in the DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dream pop, using drum machines and layered, intricate melodies. How the Light Felt brought the band to Chicago, a city with more room for their growing sound. They still faced the modern struggles of the working musician, though: instability, objectification, financial precarity. The band channeled this period of touring, personnel changes, and personal upheavals into their newest musical endeavors.
PATIO (FREE SHOW!): Julianna Jade
– FREE SHOW!!! – ALL AGES – LIMITED SEATING IS FIRST COME, FIRST SERVED Julianna Jade, a local musician in Asheville, NC is an up-and-coming singer, songwriter, and guitarist. Her distinctive sound is inspired by life’s most profound and wistful moments, resulting in a collection of songs that are both emotional, inspiring, and passionate. Her lyrics and melodies have the power to transport you back to a special memory leaving you spellbound. With a beautiful blend of warm acoustic guitar and soulful vocals, listeners are left feeling a tug at their heartstrings and wanting more. Music is food for the soul and Julianna Jade’s music is a perfect reflection of that. FREE SHOW!! Show runs 2pm-3:15. Food and drink available from The Grey Eagle Taqueria. Family friendly show! Come fill your Sunday day with food, drink, fun and some of the best live music Asheville has to offer – all in one place.
Mo Lowda & The Humble: Hurricane Relief Concert
ALL AGESSTANDING ROOM ONLY $20 SUGGESTED DONATION, OR PAY WHAT YOU CAN AT THE DOOR TICKET PROCEEDS TO WILL BE BE DONATED TO HURRICANE RELIEF EFFORTS AND DISPLACED SALVAGE STATION EMPLOYEES MO LOWDA & THE HUMBLE Mo Lowda & the Humble are a self-produced indie rock band hailing from Philadelphia. The band just finished up their fourth LP, to be self-titled and released March 3, 2023 with five singles leading up. Since releasing their debut album in 2013, they’ve vastly expanded the sonic exploration of their recorded material whilst developing a dialed-in, yet energetic live show through persistent touring. In turn, they’ve built a ravenous and loyal following across the country, selling out clubs and theaters throughout the US each year. Mo Lowda’s upcoming self-titled album is their most versatile and ambitious work yet. It visits some previously uncharted sonic territory for the band, while still providing the thoughtful, creative songwriting their fans have grown to love. Visit www.molowda.com for all tickets. YESTERDAY’S CLOTHES Yesterday’s Clothes is a fresh & vibrant indie alternative rock band hailing from Asheville, NC. As a brand new band, Yesterday’s Clothes is all about having fun, being genuine, & rocking the stage. Their exhilarating performances are a testament to their camaraderie and their desire to create a welcoming & inclusive atmosphere for fans. They thrive on the energy exchanged between the stage & the crowd, ensuring that every show is a memorable experience for all. With a deep love for music & a passion for the outdoors, Yesterday’s Clothes find inspiration in both realms. When they’re not creating infectious melodies, you’ll often find them camping & exploring the natural wonders around Asheville. This sense of adventure infuses their music, resulting in a unique blend of indie alternative rock. Embrace the thrill to their irresistible rhythms & be part of the incredible adventure that is Yesterday’s Clothes.
