Good Boy Daisy – Show Your Teeth Tour
Formed and fronted by identical twin sisters Hallie and Dylinn Mayes, Good Boy Daisy is the definitive mix of grit and glamour. Embodying the ethos, “Why date the rockstar when I can be the rockstar?” The sisters deliver a commanding blend of modern alt-rock and indie edge that instantly draws you in. Their lifelong bond creates a rare, unspoken cohesion; Hallie and Dylinn operate with a singular vision and a shared drive that anchors every note. Known for magnetic, personable live shows, Good Boy Daisy bridges the gap between arena-ready anthems and small-club intensity. With Hallie’s powerhouse vocals and Dylinn’s captivating guitar riffs—backed by a formidable band of talented musicians—they have become a must-see act on the national circuit. Their resume includes a standout performance at Tempe’s Innings Festival (sharing the stage with Fall Out Boy, Beck, and The Killers) and successful full US tours alongside such acts as Highly Suspect, Friday Pilots Club, Joe P, and Ax and the Hatchetmen. Good Boy Daisy is a hard-to-contain creative force. The twins are the creative spearhead for every aspect of the band, from designing their own merchandise and executing album concepts, to directing their own music videos and hand-curating their distinct social media aesthetic. This DIY spirit ensures that the band’s brand is as authentic and sharp as their sound. The band is currently campaigning their debut 8-song EP, Blitz, released on March 27, 2026. A sonic statement of intent, Blitz captures the twins’ lyrical heart and original sound. With a sound built for the masses and lyrics for the youth navigating life in tiny apartments, Good Boy Daisy takes pride in their polished live show and cares deeply about each and every fan. Website · Instagram · TikTok · YouTube
Eliza McLamb
Eliza McLamb’s warm, intimate songs weave through confessional folk and clamorous alt-rock in a way that recalls contemporary indie heroes like Julia Jacklin and Lucy Dacus. After building a grassroots fan base through social media, the North Carolina native released her debut EP, Salt Circle, in 2022. She soon joined the roster of Royal Mountain Records, which released her full-length debut, Going Through It, in 2024. Her heightened success led to McLamb leaving Binchtopia, the popular podcast she had co-hosted since 2021, to focus exclusively on her music career. Her sophomore album, Good Story, appeared in 2025, following her first headlining tour. Instagram · Facebook · Youtube · Spotify · Bandcamp
Camp Bloom Tour
Alt Bloom: Instagram · Facebook · TikTok · YouTube · Spotify Doublecamp: Instagram · Facebook · TikTok · Spotify
Clap Your Hands Say Yeah
Burned is the seventh album from Clap Your Hands Say Yeah and the first in six years. The album finds Alec Ounsworth writing through a difficult stretch that included the end of a relationship and the loss of his mother, uncle and a close friend. Written shortly after a 2025 tour celebrating the artist’s debut album, with live performance in mind, Burned sees Ounsworth looking at generational trauma and the nature of empathy. The sound, though, stays bright throughout, from the synth surge of lead single “Fever Of The Mind” to the gleaming rocker “Late Wish.” “It was important to me that Burned wasn’t all doom and gloom,” Ounsworth says. Website · Instagram · Facebook · YouTube
The Last Revel
Much like their sorrowful, purposeful melodies, the members of The Last Revel contain this thick thread of self, and of place, when it comes to the underlying trait in the sounds and scope of their intent, onstage and in the studio — survival mode. “Honestly, I don’t know if we would’ve been able to do this career for as long as we have without persistence,” says guitarist Lee Henke. “By living in a challenging place, it’s definitely conditioned us to have a high tolerance for discomfort, a certain toughness to push ahead.” That sentiment of tenacity and passion lies at the heart of The Last Revel’s latest album, Gone for Good. Produced by Trampled by Turtles lead singer Dave Simonett, the record is a multilayered ode to the life of an artist, life on the road, and what it means to be a human being in uncertain times. “This is a step in our careers that feels like there’s no going back,” says banjoist Ryan Acker. “There’s a level of commitment now that, just a couple of years ago, we didn’t fathom we could take on. The boat is off the shore and you can’t see land anymore — we’re in it now.” Based in Minneapolis, Minnesota, the Americana/indie-folk outfit harkens to the trials, tribulations, and triumphs of what it means to pursue your dreams in real time. The foundation of which is conjured by a deep appreciation and genuine respect for the vast landscape and sometimes-harsh realities of what it means to emerge from the Midwest. “We grew up in the Midwest and we’ve all kind of stayed in this region of the country,” Henke notes. “This place has imprinted itself on who we are, and that challenge of life here is part of who we are now.” Alongside Henke and Acker is fiddler Vinnie Donatelle. When the ensemble finds themselves behind the microphone, it’s the culmination of their vocal talents that truly showcases the mission of The Last Revel — harmony. “There’s no better feeling [when we’re singing together],” Acker says. “And it makes you understand something primal, these melodies and these harmonies. It’s internal and it’s really powerful to sing your heart out with the people you love and your best friends.” The seeds for The Last Revel were initially planted when Acker and Henke metin college in Wisconsin and started jamming together. Following graduation, the duo eventually headed for Minnesota, crossed paths with Donatelle, and started putting together a musical project. By 2011, the group was formed in Minneapolis. “The name comes from the idea of saying, ‘One last go, one last celebration,’” Henke recalls. “It’s treating every show like it could be the last one kind of makes it extra special each time. It’s become a mantra through all the hardships we’ve been through — it’s crazy we get to do this, so let’s act like it might be the last one.” “It feels like a miracle,” Acker adds. “This is a career where, hell or high water, this is what I’m doing. This is something we feel genuine about creating and sharing with people — there’s no other option.” Website · Facebook · Instagram · Spotify · YouTube · TikTok
Chatham County Line – Winter Wilder Tour
For 20 years now, Chatham County Line has undertaken a special tour in December to mark the holiday season and the close of another year. A long set celebrating the10 albums of original music that the audience requests is followed by a set of covers that celebrate the AM Gold that first dropped instruments in their hands. Always a good time and always special, this is a CCL show not to be missed. Website · Instagram · Facebook · YouTube
Caroline Rose – Uncle Carol’s World of Fun Tour
Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on Gentling the Horse at the Walt Whitman Mall. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape. Gentling the Horse at the Walt Whitman Mall stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage. It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head. Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate. Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout Gentling the Horse. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday American life. Website · Instagram · Facebook · Spotify · YouTube · TikTok
Cornelius
For more than three decades, Cornelius has occupied a singular space in contemporary music. The long-running project of Japanese musician, producer and composer Keigo Oyamada, Cornelius emerged in the early 1990s following the dissolution of Tokyo pop group Flipper’s Guitar, before becoming one of the most distinctive and forward-thinking names in modern experimental pop. International breakthrough Fantasma (1997) established Oyamada as a restless sonic architect, stitching together psychedelic pop, electronic music, musique concrète, hip hop and avant-garde composition into something playful, hyper-detailed and impossible to pin down. The album became a cult touchstone, while subsequent releases including Point and Sensuous further expanded his intricate, cinematic sound. Alongside his own records, Oyamada has collaborated with artists including Blur, Beck, MGMT, James Brown and Yoko Ono, while his precision-synchronised live shows have long blurred the line between concert and audiovisual installation. Nearly three decades later, Fantasma B-side “Typewrite Lesson” has also found a new generation of listeners, recently going viral on TikTok and receiving support from artists including Rosalía. Yet ‘REFRACTIONS’ feels less like a continuation than the beginning of another transformation. Written between 2024 and the end of 2025, the album explores ideas of perception, shifting realities, memory and interconnected consciousness, not through overt narrative but through structure, texture and movement itself. “As the world and my surroundings changed at an intense speed, I think all of that inevitably shaped this work,” Oyamada explains. “Rather than expressing these ideas directly, I approached them structurally — exploring continuity, transformation, and multiple coexisting states within a single, uninterrupted flow of time.” That sense of fluidity runs throughout ‘REFRACTIONS’. Songs dissolve and reform, melodies appear like half-remembered signals before refracting into new shapes, while acoustic instrumentation, digital manipulation and spectral electronics coexist in constantly shifting balance. At times intimate and weightless; elsewhere disorienting and densely layered, the album feels like fragments of parallel realities briefly overlapping. The album also marks a move outward. Where previous records such as Mellow Waves and Dream In Dream often carried a solitary, inward-facing quality, Refractions was consciously shaped through collaboration and exchange. “This time, instead of turning inward, I wanted to open the work through interaction with others,” says Oyamada. “I’ve come to feel more strongly that reality is not something completed within oneself, but something shaped through relationships and exchanges.” Among those collaborators is longtime friend Sean Ono Lennon, who contributes lyrics and vocals to lead single “Aeons”. Their creative relationship stretches back to the late 1990s, when Oyamada first encountered Lennon’s debut Into the Sun and recognised a kindred sensibility in its adventurous melodic language and experimental pop instincts. “Whenever we work together, I’m always struck by the breadth of his musical talent,” Oyamada says. “Ideas naturally move beyond the boundaries of what either of us initially imagined.” Lennon describes their collaboration simply: “I’m always honoured to work with Keigo, he’s one of my favorite humans on the Earth Planet!” Linktree
GrrrlBands Showcase
Bands performing songs by Eurythmics, Green Day, Hole, Mitski, The Beaches, Goddamnsel
Built To Spill
Built 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. Website · Instagram · Facebook