[CANCELED] The Moss
ALL GREY EAGLE SHOWS THIS WEEK HAVE BEEN CANCELED DUE TO THE IMPACT OF HURRICANE HELENE. REFUNDS WILL BE ISSUED AS SOON AS WE ARE ABLE. THANK YOU FOR YOUR PATIENCE AND GRACE DURING THIS UNPRECEDENTED TIME. ALL AGESSTANDING ROOM ONLY $1 CHARITY FEE: $1 from every ticket sold will be donated to The Moss Foundation (A fund administered by The Community Foundation of Louisville), which raises money for various charity organizations. Previous charity fees have gone towards planting trees around the world, and disaster relief after the Maui wildfires.THE MOSSIn a musical landscape with fewer boundaries than ever before, THE MOSS’s exuberant brand of alternative rock spans genres, eras, and even oceans. The Utah-via-Hawaii group was born on the shores of Oahu in 2015, as teenage buddies Tyke James (vocals/guitar) and Addison Sharp (guitar) picked up a gig serenading diners at local taco trucks in between surf sessions. Naturally, their songs took shape in the spirit of the island, imbued with the joyfulness and breeziness of reggae culture yet cut with the introspection and communal spirit of mainland indie acts like Pinegrove and Cage the Elephant. By 2018, the duo had grown, enlisting Willie Fowler on drums and Addison’s brother Brierton on bass, and traded in beaches for the Great Salt Lake. They hit the stage at spots like local cornerstone Kilby Court, live-testing their modern-indie-meets-’60s-blues with a wide-eyed exuberance that translated effortlessly into their 2019 self-released debut, Bryology. Colored by the sound of Stratocasters jamming through reverb-cranked Fender amps, all backed by bouncy rhythms, Bryology marked a big step for the still-young quartet – but, true to The Moss’s nature, was still hard-coded with a DIY ethos. “We basically had no budget,” James remembers fondly. “We bought some nice mics and an interface and I ended up learning how to mix while we were recording.” The follow-up, 2021’s Kentucky Derby, brought a more aspirational, blue-sky tilt to the foundation they’d laid on Bryology, expanding the group’s sonic arsenal while keeping the relatable lyrical style and sun-soaked sentiment at the forefront. “I’m really proud of how we’ve evolved as a band over time,” Addison Sharp says. “It feels like we’ve taken every different influence and mashed them all together to create something that feels really special.” “Bryology seemed like a collection of separate songs we put together to make an album, whereas Kentucky Derby is a similar thought and story coming together to collectively make a more cohesive album,” adds Brierton Sharp says, noting the album’s tracks are sneakily arranged in pairs of two that seamlessly flow into one another. “Each song could be listened to on its own, or you could listen to them all and get a broader sense of our intention.” “There’s something special that happens when you get an immediate reaction to a song,” says James. “Whether it’s during a live show or even just a songwriting session, if there’s a reaction from people in the room, you know you’re on the right track.” hey, nothing
Mannequin Pussy
ALL AGESSTANDING ROOM ONLYMANNEQUIN PUSSYMannequin Pussy’s music feels like a resilient and galvanizing shout that demands to be heard Across four albums, the Philadelphia rock band that consists of Colins “Bear” Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. “There’s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ,” says Dabice. “The ethos of this band has always been to bring people together.” Their latest I Got Heaven, which is out March 1 via Epitaph Records, is the band’s most fully realized LP yet. Over 10 ambitious tracks which abruptly turn from searing punk to inviting pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It’s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive.Following the 2019 release of their critically acclaimed third album Patience, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band’s official lineup. Where the band members’ personal lives were in transition with breakups, changing living situations, and periods of self-reevaluation, their time together on the road was a grounding and clarifying force. “There was so much going on in our lives that it was the perfect opportunity to recalibrate who we were as people and musicians,” says Regisford. The band changed their entire formula, choosing to write together in Los Angeles with producer John Congleton over slowly crafting tracks at home. “When I’ve written songs, it’s usually a very solitary process,” says Dabice. “So this was shedding a lot of those hermit-like qualities to do something intensively collaborative. Your best work comes when you allow other people into it.”By December 2022, the band had 17 new songs written with Congleton in Los Angeles. “Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be,” says Regisford. New member Maxine Steen, who has made music with Dabice for years including their side project Rosie Thorne, was especially essential to the writing sessions. The album opener “I Got Heaven” initially started as one of Steen’s demos. “When she showed it to me I knew it was going to be fun because the verses have this hard-hitting and aggressive approach but the chorus allows for a really soaring melody,” says Dabice. The result is electric. Over walloping guitar riffs, Dabice defiantly yells, “And what if I’m an angel? Oh what if I’m a bore? And what if I was confident would you just hate me more?I Got Heaven is a visceral and stunning album for people who aren’t content with the status quo, made by people who challenged themselves and got out of their comfort zone. ”We’re supposed to be living in the freest era ever so what it means to be a young person in this society is the freedom to challenge these systems that have been put on to us,” says Dabice. “It makes sense to ask, what ultimately am I living for? What is it that makes me want to live?”MARGARITAS PODRIDAS
The Lemon Twigs
ALL AGESSTANDING ROOM ONLYTHE LEMON TWIGS Following the release of Everything Harmony, which garnered acclaim from Questlove, Iggy Pop, Anthony Fantano, The Guardian, and countless others, The Lemon Twigs—the New York City rock band fronted by brothers Brian and Michael D’Addario—have once again captured the attention of the music listening public. They are in their premature “comeback” stage, and coming back this early has its benefits; the brothers have the energy of 24- and 26- year-olds, plus the experience and songwriting chops of seasoned musicians, having recorded their first album, Do Hollywood, nearly a decade ago at ages 15 and 17. Set for release less than a year after their last album, A Dream Is All We Know is a joyous affair. As the title suggests, it’s less of a sober look at the darker side of life, and more a hopeful sojourn into the realm of dreams. The tone has shifted away from dreary melancholic ballads and moody power pop. Brian and Michael are revisiting their “1968” sound. This album feels closely related to Do Hollywood, but their songwriting and recording techniques have vastly improved over the course of five albums. The brothers combine elements of the Merseybeat sound, the California Beach Boy harmony sound, and Bubblegum to create a unique collection of pop nuggets. (They say it’s part of a new “Merseybeach” movement, sure to catch on, though that fact remains to be seen.) While the album is chock full of progressive pop ideas, it closes with an ode to early rock and roll on“Rock On (Over and Over).” “Rock On” contextualizes the band as part of a lineage of rock and roll that’s never really stopped. In every decade there have been bands that have put their own spin on the music and “push(ed) it on down to the line.” But none have done it with the attention to detail and raw talent of these brothers. For The Lemon Twigs, it took almost a decade for critics and audiences alike to present them with the major accolades they’ve earned this past year. While their initial records were appreciated for the musical proficiency they displayed, the brothers’ past few records have communicated their ideas with more clarity and emotional resonance. In other words, “It took too long to say ‘rock on.” SLIPPERS Slippers’ debut album is called So You Like Slippers?. It’s a cheeky title that feels akin to the kind of scrappy, winking power pop and garage rock that Slippers mastermind Madeline BB is both inspired by and a master of. But if there’s a nit to pick, it’s with the question mark–because there’s really no question about it: you like Slippers. The songs are short but lasting, the sound is raw but punchy, the melodies seem to be precisely calibrated to immediately stick in your brain and stay there, but it all feels fun and effortless in the way that good guitar pop should. This is some of the most downright likable music you will hear this year. So maybe you don’t even know it yet, but you like Slippers.
Stop Light Observations
ALL AGESSTANDING ROOM ONLYSTOP LIGHT OBSERVATIONS Stop Light Observations is a dynamic five-piece group hailing from Charleston, South Carolina. Their versatile sound is a unique blend of blues, pop, and indie rock infused with electronic beats and the soulful vocals of Will Blackburn. From songs like “2young” to “Security” their music is a true reflection of their unique personalities, and their live shows are a testament to their authenticity and raw talent. SLO is Will Blackburn (vocals), William Mahoney (bass), Oleg Terentiev (drums), David Beam (guitar) and Noah James (keys). MANTRA Mantra is a 4-piece indie rock band based in Charleston, SC formed by Ben Patrick (guitar/vocals) and Noah James (piano) in the summer of 2019. Their sound is a blend of rock, folk, and pop elements. From songs like “Lost Your Home” and “Waiting” you will hear the band’s unique ability to blend sounds and create a feeling within their music. Their debut album “Quarterlife”, recorded with Wolfgang Zimmerman (Susto, Brave Baby, Band of Horses) was released in September of 2024 and can be found on all streaming platforms. Other members:Justin McCraney (bass,vocals)Alex Brouwer (drums)
Summer Salt: Driving Back to Hawaii Fall Tour
ALL AGESSTANDING ROOM ONLYSUMMER SALTThis June, trop-pop outfit Summer Salt—formed around the duo of singer/guitarist Matthew Terry and drummer, multi-instrumentalist Eugene Chung—will release their fifth LP, Electrolytes, via their new record label AWAL. Produced by Carlos de la Garza (Paramore, Ziggy Marley, The Linda Lindas), Electrolytes’ first single “Poolside,” drops March 29th. “‘Poolside’ is a song about being there for your significant other, and not forgetting the romance as time goes on,” Terry and Chung explain. “It is a song about love and being emotionally available and reliable in a relationship. Reassurance that you’re there for each other at the end of each day. This song was inspired by sunny days spent by the pool, date nights on rooftops under the stars, and the drive to always win together in any situation regardless of what others think.” Electrolytes follows 2023’s Campanita, the band’s breezy, blissful, and intimate monument to love, family, and everything in between. Electrolytes is another bold step forward in Summer Salt’s skyward career arc, marking the band’s first LP created with touring members Winston Triolo and Anthony Barnett. This all began a decade ago, when Chung and Terry moved to Austin to start on this journey, and years of hard work and an increasingly dedicated cult fan community have combined to bring Summer Salt to this moment. The new record is packed with short, to-the-point pop goodness. Crackling with presence and confidence, the 7 tracks sway and stroll through different moods and expressions. While so much of our time and energy is spent wondering how to achieve happiness and find our perfect place, Electrolytes suggests that maybe we’re already living in it. “Electrolytes is an admiration of our lives, as-is,” say Terry and Chung. “Each song is a theme in our adult lives and how we navigate the realness of it these days, just trying to be our best.” After 10 years of making music, Summer Salt plan to make 2024 their biggest year yet. In addition to the new LP, later this year they’ll celebrate the 10th anniversary of their debut release, Driving to Hawaii, with a US headline tour beginning in the fall. A band that began in bedrooms, playing for family and friends, has grown into what is now a welcoming and blossoming culture of devoted and widespread fans, a symbiotic community that gives life back and forth to one another. Summer Salt can’t wait to continue building this community with a year of celebration and plenty of new music.WILL PAQUINMINI TREES In the late summer of 2022, Mini Trees’ Lexi Vega was wrapping up an exceptional year. Her debut album Always in Motion came out while she was on the road supporting Julien Baker in 2021, and she launched into a busy touring schedule, supporting towering fixtures of the indie music world, like Death Cab for Cutie, Thao, Yumi Zouma, and Hovvdy. Suddenly, Mini Trees — a project Vega started on a whim in 2018 — had become a career.
Quasi – Featuring “Birds” Tour
ALL AGESSTANDING ROOM ONLYQUASIPacific Northwest rock legends Quasi play their beloved 1998 classic third album Featuring “Birds,” start to finish in its entirety for the first time. MARNIE STERNIt’s been a decade since we last heard from Marnie Stern, and in her absence the indie music world has become overrun with an army of anti-Marnies i.e. corporate clones making banal playlist rock lacking in the whimsy, creativity, and virtuosity that made Stern’s take on rock music such a singular sound in the late 2000s. But when Stern’s guitar bursts in like a shower of stardust on The Comeback Kid, her long-awaited follow-up to 2013’s The Chronicles of Marnia, it’s like no time has passed. Marnie Stern is back—and not a moment too soon.Where has Stern been? She cops to having been lulled by the gentle rhythm of a nine-to-five job as the guitarist in the band on The Late Show with Seth Meyers; she’s also been raising two kids. But when it came time to start working on a new record, the ease with which she picked up right where she left off was surprising even to her. “I expected that all those years of playing other kinds of stuff would have influenced me—and it didn’t at all! I was fully back where I was before,” Stern says.Even so, The Comeback Kid is no nostalgia trip: it’s a statement of intent, as Stern makes clear on the anthemic opening track “Plain Speak”. “I can’t keep on moving backwards,” she repeats, her fingers furiously tapping the fretboard as the song joyfully zips forward like a rocket hitting warp speed. She follows that up with “Believing is Seeing,” a song about overcoming alienation with nose-to-the-grindstone creative effort. “The sound is hard to hear right/ You can’t take it,” she sings. “What if I add this! And this! And this!” punctuating each “this” with another layer of sound, gleefully rifling through her bag of musical tracks and trying each one on for size, building the song up as she goes along—it’s fun and colorful and imaginative; it’s also weird. But being unafraid to embrace her oddball impulses has always been part of Stern’s musical DNA, and something she missed in her years of being a player for hire. “It was so great to be able to start being myself again and when I would think, ‘Oh, is that too, too weird?’ I’d remember I’m allowed to do whatever I want! This is mine. It’s me,” says Stern of writing songs for The Comeback Kid. “I’m trying to go against the grain of this bullshit that when you get older, you lose your sense of taste. I want to empower people to not be so homogenous and go against the grain a little bit.”That sense of taking joy in your individuality is all over The Comeback Kid, which really is what the title says: the story of an artist coming back to the world with the hard-earned wisdom that making music that truly reflects who you are in all your brightness, boldness, and (yes) weirdness, is always something worth celebrating, and maybe the key to happiness in the end. “This record is about reassuring yourself that happiness is not about what kind of things you have or how many things you have or what you don’t have—it’s about all the good things you do,” says Stern.
Fiddlehead
ALL AGESSTANDING ROOM ONLYFIDDLEHEAD Formed with the most modest of expectations, Fiddlehead has unexpectedly become one of the most vital groups in rock music. Their fervent audience responds to the urgency of their music, but also the intensely human exploration of loss that’s colored so much of the band’s output. Fiddlehead’s previous albums, 2018’s Springtime and Blind and 2021’s Between The Richness, dealt heavily with grief from different perspectives, and now their latest album, Death Is Nothing To Us, feels like a de facto culmination, drawing together many of the catalog’s through-lines sonically and lyrically. The album finds Fiddlehead so deeply delving into the pain, confusion, nuances, and contradictions of sadness–so willingly wrapping their arms around a concept as existentially baffling as death itself–that they’ve created an album that is truly life-affirming. “I don’t want people to romanticize grief and depression, myself included,” vocalist Patrick Flynn explains. “But I wanted to write about the way loss can perpetuate this feeling of sadness in your life. I didn’t intend to make some kind of thematic trilogy but there is this connection to the first two records, and this album sort of rounds out some of the stages of grief that weren’t addressed previously–especially this feeling of stickiness that a depressive attitude can have.” This is the mental space where Death Is Nothing To Us exists, with Flynn observing the confounding allure of sorrow and the difficulty of holding onto so many conflicting internal and external hurts at once. He approaches this subject matter with a deftness and intensity that can only be matched by that of the music itself. Since forming in 2014, Fiddlehead–Flynn, drummer Shawn Costa, guitarists Alex Henery and Alex Dow, and bassist Nick Hinsch–have been honing their unique sound, bringing together the energy of hardcore, the anthemic melodies of ‘90s alternative, the unbridled passion of Revolution Summer era emo. For Death Is Nothing To Us, the band again teamed with producer/engineer Chris Teti, and his punchy production captures the spark of Fiddlehead’s live show while doing justice to the massive guitars and undeniable catchiness that makes their music so immensely satisfying. The album’s concise 27 minutes sound like a natural extension of all of the band’s strengths, embracing the more melodic sensibilities of Between The Richness while maintaining the visceral bite of Springtime and Blind. “We knew we wanted to do something a little more aggressive sounding,” explains Henery. “That kind of stuff grounds the band. I think maybe people would have expected us to go cleaner with this LP but I see this as a real mix of the first two.” GELMILLY GUMM
Built To Spill: “There’s Nothing Wrong With Love” 30th Anniversary Tour
ALL AGESSTANDING ROOM ONLYBUILT TO SPILL Built to Spill is an indie rock band from Boise, ID, formed in 1992 by guitarist/vocalist Doug Martsch. In 2024 they celebrate 30 years of “There’s’ Nothing Wrong with Love, their second full-length album, performing it in its entirely. For this celebration tour the band also brings the recording’s original cello player, John McMahon. Known as well for their rotating line up, Built to Spill currently counts with Melanie Radford on bass and Teresa Esguerra on drums miniaturizedBorn in 2022 from members of some of the city’s most cherished acts (Pinback, Rocket From the Crypt, No Knife, Buckfast Superbee), San Diego-based miniaturized was initially formed as a one-off project for a MusiCares charity show honoring Tom Petty. Indie-rock bard/frontman Timothy Joseph found inspiration from dissecting Petty’s songwriting, coming to revelations about his own work as a musician in the process. With a sudden fresh perspective, he began composing all original material that would shape the future of the band into something all its own. miniaturized is, at its core, a rock band. Still, the sound is so sweeping and vibrant that it overflows, spilling into the more nuanced realms of pop and indie rock and nods to iconic alternative rock of decades past such as Pixies, Built to Spill, The Cure, Jesus and Mary Chain, and early R.E.M.With their live performances on the west coast garnering them a fervent following, the band has burst into the public eye as something completely new. Their sound has blurred the lines between the angular, edgy sonics of the members’ previous efforts and emotional, connective song- craft. The earnest assertion of singer Timothy Joseph’s voice and lyrics draws listeners in with uncertain familiarity. On top of their live appearances so far, their singles ‘Cave in’ and ‘miniaturized’ have captured significant media attention , the latter in regular rotation on 91X FM.
Brijean
ALL AGESSTANDING ROOM ONLYBRIJEAN Brijean is the duo of percussionist and singer-songwriter Brijean Murphy and multi-instrumentalist and producer Doug Stuart, and together they make dance music for the mind, body and soul, evoking 70s disco, 90s house and sly pop sensibilities. Their debut album Feelings arrived via Ghostly International in February 2021, a golden-hued dream pop tropicalia of dazzling beats and honeyed vocals; remixes from Buscabulla, Sam Gendel, DRAMA and Rick Wade followed. In August of 2022 they released Angelo — an EP, named after Murphy’s recently purchased 1981 Toyota Celica, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds them processing the impossible the only way they know how: through rhythm and movement. The months surrounding Feelings, which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy’s father and both of Stuart’s parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo’s sessions presented Murphy and Stuart a chance to record at their most intimate, “to get us out of our grief and into our bodies,” says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal — a resourceful, collective answer to “what happens now?” COLLOBOH Colloboh (a portmanteau of Collins Oboh) is a Nigerian-born, Los Angeles-based experimental producer and composer who has spent the past several years cultivating genre-spanning modular wizardry. A self-taught synthesist, Colloboh’s DIY recording diaries (still archived on Instagram) quickly amassed a dedicated online following, eventually catching the eye of Leaving Records founder, MatthewDavid, who wasted no time tapping the then-twenty-six-year-old to perform at the monthly Leaving showcase, Listen to Music Outside In The Daylight Under a Tree. In 2021, Colloboh permanently relocated to Los Angeles from Baltimore, dedicating himself to music full-time, and quickly becoming a fixture of the city’s vibrant experimental scene. Whereas Colloboh’s debut EP Entity Relation (released that same year) dove headlong into club beats, Saana Sahel, out May 5th 2023 on Leaving Records, showcases the breadth of the fledgling composer’s ambitions.
OUTPOST: Five Door Sedan + Wim Tapley
– ALL AGES- STANDING ROOM ONLY- RAIN OR SHINE Five Door Sedan is an indie rock group from Charleston, SC. Their new sound blends the improvisation and raw emotion of psychedelic rock with a modern feel of carefully orchestrated, catchy indie rock music. Tight rhythms, deep lyrics, and passionate playing make this band a powerhouse of musicality. The 5 piece band, (formerly Dacota Muckey and The Trip) brings a unique twist with sultry saxophone and layers of melodic synths. Wim Tapley is based in Athens, GA, and has been touring the east coast with his band, the Cannons, since 2021. Wim’s original music is a crowd pleasing mix of Rock, Pop, Folk, and Americana that provides something for everyone (Wim Tapley Spotify). Wim and his band have played some historic venues in the southeast including a sold out Georgia Theatre and the 40 Watt Club, the latter of which he has headlined multiple times. He has also opened for notable acts such as the Vegabonds and Flipturn.With local support from The Old Futures.
