Abbey Road LIVE!
“One of the world’s premier Beatles cover bands” -US News and World Report “unquestionably expert at what they do” -Indyweek Come and experience some Beatles magic as Abbey Road LIVE! delivers its signature performance: the entire Abbey Road album, start-to-finish. Featuring classics such as Come Together, Here Comes The Sun and the epic Side 2 medley, “Abbey Road” has been often dubbed the Fab Four’s finest musical work. And that’s just half of the evening: fans will be treated to a second set of Beatles tunes spanning the band’s 8-year, 200 song career. Abbey Road LIVE! is not your typical look-alike Beatles tribute act. Don’t expect mop-top wigs and phony British accents. Rather, this band is about bringing some of the more complex Beatles music to life in a raw & spirited fashion, while remaining true to the original recordings. And the band’s creative exuberance is infectious. At a typical Abbey Road LIVE! show, audiences young and old can found gleefully singing along with every word, many relishing the chance to hear this monumental music performed live — something the Beatles themselves never did, as they stopped touring in 1966, before many of their best albums were released. Website | Facebook | YouTube
Lauren Sanderson
Hi. It’s me, Lauren. Welcome to my bio, where I am supposed to somehow put 20+ years into a couple paragraphs so buckle in. I grew up in Indiana and let’s be real – things didn’t exactly go according to plan. I didn’t get into college, but somehow, that led me to a TED Talk at 19 where I realized I wanted to do one thing: be my authentic self and inspire people along the way. I started making music in my bedroom, just sharing everything, the highs, the lows, the real stuff. It wasn’t long before a community of people who felt like I did started to grow, and that took me to LA in 2018. In 2019, I was on stage opening for FINNEAS and Chase Atlantic—insane. Then, 2020 came around, and I dropped my debut album Midwest Kids Can Make It Big, which got love from Billboard, Complex, MTV, and even Zane Lowe on Beats 1 (he is one of my favorite interviewers on planet Earth). In 2022, life got crazy when “THERAPY!” blew up on TikTok. That year, I also collaborated with GFLIP on our song GAY 4 ME, which was massive for G & I, and then dropped my second album, Death Of A Fantasy, which has over 20 million streams on Spotify… what the ****. Fast forward to 2023, I release IDC AT ALL with the help of Vic Fuentes from Pierce the Veil. I’m touring the world—37 cities across North America, Europe, and the UK. It’s been surreal, and I’m so grateful for it all. But somehow, this is still just the beginning. I can’t wait to keep pushing boundaries, making music, and, most importantly, inspiring people to just be who they are. My third album will be coming in HOT in 2025. I hope you’re ready for a wild ride. Website | Instagram | Facebook | Spotify | YouTube | Soundcloud | TikTok
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. Instagram | Facebook | Spotify | YouTube | TikTok
John Moreland
This is a seated show. After an impressive 2010s run of albums that earned him a devoted fanbase, accolades from outlets like The New York Times, Fresh Air, and Pitchfork, and a place in the upper echelon of modern Americana singer-songwriters, John Moreland has already taken two unexpected turns this decade, both of which highlight his fierce artistic independence. First, he released a brilliant and sonically layered folk-electronica meditation on modern alienation, 2022’s Birds In The Ceiling, that took some of his fans by surprise. Then, after wrapping up a difficult tour behind that record in November 2022, he stopped working entirely. He took an entire year off from playing shows and didn’t use a smartphone for 6 months. “At the end of that year, I was just like ‘Nobody call me’. I needed to not do anything for a while and just process,” Moreland says. After nearly a decade in the limelight, constantly jostled by the expectations of his audience, the music industry, and anonymous strangers online, he carved out some time to rest, heal, and reflect for the first time. The result of that unplugged year at home is 2024’s Visitor, a folk-rock record that is intimate, immediate, deeply thoughtful, and catchy as hell. Moreland recorded the album at his home in Bixby, Oklahoma, in only ten days, playing nearly every instrument himself (his wife Pearl Rachinsky sang on one song, and his longtime collaborator John Calvin Abney contributed a guitar solo), as well as engineering and mixing the album. “Simplicity and immediacy felt very important to the process,” he says. This is a return to the approach Moreland took on his breakthrough albums, 2013’s In The Throes and 2015’s High On Tulsa Heat, both of which were largely self-recorded at home with a small cadre of additional musicians. Echoes of these early albums can be heard on Visitor (Moreland makes a passing reference to In The Throes’ opening track “I Need You To Tell Me Who I Am” in two different songs on Visitor), which finds Moreland shutting out the noisy world outside, and the even noisier digital world in his pocket, to reconnect with a muse that’s had to increasingly compete for his attention in the intervening years. Visitor charts his journey back to this muse. If Birds In The Ceiling’s theme was alienation, Visitor’s theme is un-alienation. Moreland begins the album where he began his year-long process of healing: doomscrolling past images of political turmoil, war, and environmental destruction, in a trio of surprisingly hooky folk songs that address present-day social realities more directly than any previous John Moreland songs. On opening track “The Future Is Coming Fast”, Moreland describes the perpetually logged-on life in a time of rolling catastrophe over gentle fingerpicking: “The news keeps steady coming in / Our condition shows its teeth again / A nightmare we all thought would end.” Website | Instagram | Facebook
ALEXSUCKS
Instagram | Spotify | YouTube | Soundcloud
Folkknot
Folkknot is a seafaring six-piece band based in Greensboro, North Carolina. Never afraid to sail against the wind, Folkknot crafts enchanting indie-folk-pop-rock escapism that beats back against the mainstream current of our modern era, harking at the essence of folk storytelling elements from yesteryear. Captained by frontman Grey Hyatt’s vivid songwriting & lucid vision for his songs, Folkknot’s eclectic instrumentation provides a lush soundscape that brings their songs & stories to life. Website | Facebook | Instagram
The Crystal Casino Band
The Crystal Casino Band is an indie rock quartet from Washington, D.C., whose music marries the early 2010s Tumblr-era aesthetic with introspective and socially-conscious lyrics. Many of their songs, such as “Waste My Time,”“Twenty-something Socialist,” and “Boys and Girls,”resonate with Gen Z audiences by articulating shared feelings toward modern dating culture and growing existential fears of climate change and radical politics. Their guitar-centered sound is a welcome return to form for classic rock lovers in search of a modern pop twist. Instagram | Spotify
Your Neighbors
Your Neighbors is headed by an insecure, low rent, drunken has-been with high expectations and a damning sense of self-awareness. He hires world-class producers and extremely talented musicians to make up for his lack of instrumental prowess and shallow lyrics. From Dad-Rock to Hip-Hop, he is finding a foothold in the music world by throwing anything and everything at the wall and hoping something will stick. Come watch this attention-starved wannabe play through his eclectic and nonsensical catalog with his group of grossly underpaid cohorts. Good or bad, it’ll definitely be worth attending. Bandcamp | Instagram | Facebook | Spotify | YouTube
Godspeed You! Black Emperor – Liberation Summer of ’25
Godspeed You! Black Emperor released a string of albums from 1997-2002 widely recognized as redefining what protest music can be, where longform instrumental chamber rock compositions of immense feeling and power serve as soundtracks to late capitalist alienation and resistance. The band’s first four releases—especially F#A#∞ (1997) and Lift Your Skinny Fists Like Antennas To Heaven (2000)—are variously regarded as classics of the era and genre. Godspeed’s legendary live performances, featuring multiple 16mm projectors beaming a collage of overlapping analog film loops and reels—along with the distinctive iconography, imagery and tactility of the band’s album artwork and physical LP packages— further defines the sui generis aesthetic substance, ethos and mythos of this group. GY!BE has issued two official band photos in its 25-year existence (the second, below, a 2010 recreation of the first from 1997) and has done a half-dozen collectively-answered written interviews over that same span. The band has never had a website or social media accounts. It has never made a video. Few rock bands in our 21st century have been as steadfast in trying to let the work speak for itself and maintaining simple rules about minimising participation in cultures of personality, exposure, access, commodification or co-optation.Following a seven-year hiatus that began in 2003, Godspeed returned to the stage in December 2010 (curating the UK festival All Tomorrow’s Parties) and the band’s post-reunion period has now lasted over a decade, marked by hundreds of sold-out live shows and three additional albums, all of which have been met with high acclaim.G_d’s Pee AT STATE’S END! – the band’s fourth post-reunion album (and eighth overall) – is out 02 April 2021.“What’s political music? All music is political, right? You either make music that pleases the king and his court, or you make music for the serfs outside the walls. It’s what music (and culture) is for, right? To distract or confront, or both at the same time? A thing a lot of people got wrong about us – when we did it the first time, a whole lot of what we were about was joy. We tried to make heavy music, joyously. Times were heavy but the party line was everything was OK. There were a lot of bands that reacted to that by making moaning ‘heavy’ music that rang false. We hated that music, we hated that privileging of individual angst, we wanted to make music like Ornette’s Friends and Neighbours, a joyous, difficult noise that acknowledged the current predicament but dismissed it at the same time. A music about all of us together or not at all. We hated that we got characterised as a bummer thing. But we knew that was other people’s baggage. For us every tune started with the blues but pointed to heaven near the end, because how could you find heaven without acknowledging the current blues, right?” The Guardian, October 2012Website | Bandcamp
Perfume Genius ‘Glory’ Tour
Hadreas, a Seattle native, began his music career in 2008 and released his debut album, Learning, in 2010 via long-time label home Matador. The album immediately captured critics’ attention, with Pitchfork praising its “eviscerating and naked” songs, marked by “heartbreaking sentiments and bruised characterizations delivered in a voice that ranges from an ethereal croon to a slightly cracked warble.” These descriptors became the hallmarks of Perfume Genius – Hadreas’ unique ability to convey emotional vulnerability not only lyrically, but with his impressively nuanced vocals. In 2012, Hadreas released Put Your Back N 2 It, further growing his audience and critical acclaim. His 2014 album, Too Bright, marked a bold evolution in production and confidence. Co-produced by Adrian Utley of Portishead, it featured the standout single “Queen,” which quickly became a queer anthem and powerful statement of identity. Hadreas later performed the track on Late Night with David Letterman. In 2017, Perfume Genius released the GRAMMY-nominated No Shape, a breakthrough album that expanded his global fan base and brought mainstream recognition to his art. Produced by Blake Mills (Fiona Apple, Alabama Shakes), the record earned high praise, with The New Yorker noting, “The center of his music has always been a defiant delicacy—a ragged, affirmative understanding of despair. No Shape finds him unexpectedly victorious, his body exalted.” During the album’s campaign, Hadreas appeared on multiple late-night shows and graced the cover of The Fader. In 2020, Hadreas released Set My Heart On Fire Immediately, a critical masterpiece on Matador Records that garnered worldwide acclaim. Produced by GRAMMY winner Blake Mills, the album featured contributions from Phoebe Bridgers, Jim Keltner, Pino Palladino, Matt Chamberlin, Rob Moose, and longtime collaborator Alan Wyffels. It explored and subverted concepts of masculinity and traditional roles, introducing distinctly American musical influences.Hadreas promoted the album with performances on Jimmy Kimmel Live! (“Jason”), The Late Show with Stephen Colbert (“Whole Life”), and The Tonight Show Starring Jimmy Fallon (“On The Floor”). He followed with Ugly Season, a project born from his collaboration with choreographer Kate Wallich on The Sun Still Burns Here, a dance piece commissioned by Seattle Theatre Group and Mass MoCA and performed across major cities in 2019. The release included a stunning 30-minute film, Pygmalion’s Ugly Season, created with renowned visual artist Jacolby Satterwhite, blending surreal visuals with Hadreas’s music. Mike Hadreas is now based in Los Angeles with his partner in life and music, Alan Wyffels. Website | Instagram | Facebook | Spotify | YouTube | Soundcloud | TikTok
