Sawyer Hill
When Sawyer Hill was 14, his Pentecostal parents made an unexpected concession: They signed a notarized affidavit that allowed him to go to bars, so long as he was playing music and not drinking. For the better part of a decade, that was his life’s driver, gigging in the haunts and dives of greater Northwest Arkansas, often for audiences of a few dozen. But in 2022, “Look at the Time”—a grungy rock hymn about the rock-hard bottom of a romance—exploded when someone posted a clip of it online. Less than two years later, in February 2024, the song topped Spotify’s Viral 50. The natural showman’s career has since ballooned, with a string of hit singles already generating 50 million streams and 120 million video views—all before he has released his debut EP, due in the Spring of 2025. Indeed, the last two years and a string of subsequent singles have proven that “Look at the Time” was no fluke. Hill has an uncanny knack for theatrical melodies delivered with a blue-collar believability, the grand gestures of the rock he loves reimagined for the up-close-and-personal, sing-along throngs of small dives. “High on My Lows” is an honest and instantly memorable confession about trying to stay sane, even as you get wild with the world around you. The pensive but surging “Symphony” even uses music as a metaphor for deliverance, for being swept up by anything bigger than you while you still can. Hill looks at life’s hardest parts and finds a way to shape them into an inescapable tune, so that all those who have been there can unburden themselves by shouting along for a few minutes at a time. Website | Instagram | Facebook | YouTube | TikTok
The Ike Reilly Assassination
Ike Reilly is a punk-poet-troubadour and the leader of the ferocious musical outfit The Ike Reilly Assassination. The former doorman and gravedigger hailing from the seemingly idyllic town of Libertyville, Illinois is the subject of the award-winning documentary Don’t Turn Your Back On Friday Night. The film, from Executive Producer Tom Morello, chronicles the songs, career and proverbial life of Reilly. Like the subject matter of his music, the film deals with booze, drugs, religion, family, financial calamity and culls over 30 years of footage to reveal a complicated and formidable artist in his pursuit of both greatness and authenticity. The film is both profound and personal. Since his 2001 major label debut, Salesmen and Racists, Reilly has been creating rebellious punk/folk/country/blues-influenced rock ’n’ roll records that are both poetic and cinematic. He’s written songs for and collaborated with artists like Johnny Hickman and David Lowery of the band Cracker, Shooter Jennings and Tom Morello. Critical praise for his work has been plentiful. David Carr of the New York Times said, ”Ike Reilly is a kind of natural resource mined from the bedrock of music, all the values that make Rock important to people-storytelling, melody, rage, laughter are part and parcel of every Ike Reilly show I’ve ever seen.” The Washington Post called The Ike Reilly Assassination one of the best live bands in America and author Stephen King recently said “Ike Reilly is the Rock God not enough people have heard of.” The Ike Reilly Assassination will be heading out on their AMERICAN STEAL TOUR this February and Don’t Turn Your Back On Friday Night is now streaming on APPLE TV, AMAZON PRIME, YOUTUBE and all major streaming platforms. Website | Instagram | Facebook
Reverend Horton Heat
Loaded guns, space heaters, and big skies. Welcome to the lethal littered landscape of Jim Heath’s imagination. True to his high evan- gelical calling, Jim is a Revelator, both revealing & reinterpreting the country-blues-rock roots of Ameri- can music. He’s a time-travelling space-cowboy on a endless inter- stellar musical tour, and we are all the richer & “psychobillier” for get- ting to tag along. Seeing REVEREND HORTON HEAT live is a transformative ex- perience. Flames come off the gui- tars. Heat singes your skin. There’s nothing like the primal tribal rock & roll transfiguration of a Rever- end Horton Heat show. Jim be- comes a slicked-back 1950′s rock & roll shaman channeling Screamin’ Jay Hawkins through Buddy Holly, while Jimbo incinerates the Stand- Up Bass. And then there are the “Heatettes”. Those foxy rockabilly chicks dressed in poodle-skirts and cowboy boots slamming the night away. It’s like being magically transported into a Teen Exploita- tion picture from the 1950′s that’s currently taking place in the future. Listening to the REVEREND HOR- TON HEAT is tantamount to injecting pure musical nitrous into the hot-rod engine of your heart. The Reverend’s commandants are simple. ROCK HARD,DRIVE FAST, AND LIVE TRUE. And no band on this, or any other, planet rocks harder, drives faster, or lives truer than the Reverend Horton Heat. These “itinerant preachers” actually practice what they preach. They live their lives by the Gospel of Rock & Roll. From the High-Octane Spaghet- ti-Western Wall of Sound in “Big Sky” — to the dark driving frenetic paranoia of “400 Bucks” – to the brain-melting Western Psyche- delic Garage purity of “Psychobilly Freakout” — The Rev’s music is the perfect soundtrack to the Drive-In Movie of your life. Jim Heath & Jimbo Wallace have chewed up more road than the Google Maps drivers. For twenty- five Psychobilly years, they have blazed an indelible, unforgettable, and meteoric trail across the globe with their unique blend of musical virtuosity, legendary showman- ship, and mythic imagery. “Okay it’s time for me to put this loaded gun down, jump in my Five- Oh Ford, and nurture my pig on the outskirts of Houston. I’ll be bring- ing my love whip. See y’all later.” – Carty Talkington Writer/Director Rev your engines and catch the ser- mon on the road as it’s preached by everybody’s favorite Reverend. Don’t forget to keep an eye out for the 11th studio album from REV- EREND HORTON HEAT, boldly ti- tled Rev, due out January 21st. Website | Instagram | Facebook | YouTube | Soundcloud
Tank and The Bangas
Tank and the Bangas explore the most tender and true parts of life’s journey. Unique and with a vibrance that could only come from New Orleans, the lead vocalist, Tank has stretched her vocals over quirky raps, poetry, and rich melodies since the release of their first album, Think Tank in 2013. Four years later, they had a viral breakthrough as the winners of the NPR Tiny Desk Contest — an eclectic performance that has since been praised by musicians like Miguel and Anthony Hamilton and has now amassed over 14 million views on YouTube. Now, Tank and the Bangas arrive with a new 3-part album The Heart, The Mind, and The Soul. With this offering, Tank opens up about the wisdom she’s gained from new beginnings, endings, and in-betweens. The concept of an album series came to Tank two years ago while traveling on a train with her group members. Its structure makes it different from the rest of the catalog, and so does the special emphasis Tank has put on her poetry, collaborators, and its cohesive sound. “It explores self-discovery, the journey to confidence, believing in your ability, matters of the heart, the mind, and just free thought flowing,” Tank says about the album. On The Heart, the first part to be released and produced by James Poyser, Tank flows back and forth between poetry and a velvety alto that deepens every thoughtful word as she riffs about her deepest sentiments on life. The opening track, “A Poem Is” boasts a feature from Jill Scott — an appearance that Tank is thrilled about especially because her mission with this release is to magnify poetry as a music genre. “I want for poetry to get that much more respect and for even more young people to get into the expression of poetry,” Tank expresses. “I want it to be seen as even more cool again.” Tank created a different soundscape with each collaborator for each part of the project. Producer Iman Omari, known for his lo-fi dreamy loops, paid attention to every detail of each beat and brought out a more “vibey” side of Tank on The Mind. She built The Soul with producer and jazz musician Robert Glasper, who led free-formed recording sessions that made room for Tank to discover the melodies and let ideas flow. With The Heart, The Mind, and The Soul, Tank and the Bangas affirm the thoughts, feelings, and complexities of these key parts of self. ”I’m writing about my experience and feeling more open, free, and much more confident,” Tank says. “Before, even though I had such a big voice, sometimes I felt quieted. It feels good to stretch on my own terms.” Website | Instagram | Facebook | Spotify
Trousdale Growing Pains Tour
Trousdale is partnering with The Ally Coalition on behalf of The California Community Foundation’s Wildfire Recovery Fund. $1 from each ticket will support both mid-term and long-term efforts to rebuild and restore the lives of California’s most affected and underserved populations. For Trousdale—the trio of Quinn D’Andrea, Georgia Greene, and Lauren Jones—the ache of growing through change resonates deeply. Like certain long nights of childhood where growing pains can feel like every inch is aching, cramping, pinching, Trousdale understands the feeling that comes with facing down existential anxiety, and matters of the heart. “We can acknowledge the strides we’ve made and be grateful, but we’ve talked a lot about how tired we are,” Jones says with a laugh. “We’ve been thinking a lot about the tension that comes with change, wanting it, fighting it, embracing it, but learning to thrive in that moment.” On Trousdale’s upcoming LP, Growing Pains (due April 11th) the band works through those struggles to find strength, courage, and growth in each other. “From what was, something new can always grow.” D’Andrea says. Opening on a ripping electric guitar and bolstered by their trademark harmonies, the title track and lead single perfectly encapsulates those feelings in the life of Trousdale. “I’m making it through the tough times when it feels like I’ve been burning out/ Trying to build up the muscle so the hustle doesn’t pull me down,” they sing, a limber bass line drawing each new syllable forward. The album was recorded largely live in the room and co-produced by the band and John Mark Nelson, a songwriter who has also co-written and produced songs for Suki Waterhouse and Shaboozey, as well as engineered tracks for the likes of Taylor Swift and Mitski. Songs like “Growing Pains” highlight just how much warmth and depth lent to Trousdale’s already golden tones. “This song was about what we feel every day in this band, what we’re going through as a band,” Greene says. “This is our shared experience, being exhausted but finding beauty together.” Trousdale’s debut album, 2023’s Out of My Mind, earned raves from the likes of the Boston Globe, Consequence, and Atwood Magazine for its powerful songwriting, immaculate harmonies, and ability to bridge gaps between country and indie pop. The group further honed those strengths on the road, finding deeper grooves and learning how to further highlight each of their voices individually. That process continued when writing Growing Pains, when the three songwriters set off to write rough ideas on their own, then refining and finishing them in the room together. “We can be vulnerable and share our feelings, but none of us has to feel like our heart is on the line alone,” D’Andrea explains. “We’re all adding to each other’s ideas, drawing from personal experiences and then expanding them into something more people can connect with.” Website | Instagram | Facebook | Spotify | YouTube | TikTok
Abi Carter
All Ages Event After charming judges, audiences, and voters during her journey on Season 22 of American Idol, singer-songwriter Abi Carter went from hopeful auditioner to season winner in a matter of weeks. With the release of her 2024 album, Ghosts in the Backyard, the Coachella Valley native officially introduced herself as a confident, layered artist in her own right. The nostalgia-ridden 10-track LP is a narrative, story-driven collection of music that allows listeners to get to know the person behind the powerful voice that won over millions during her Idol journey. Abi wrote on every song on the project, processing her own youth from a distance in the hopes that others might feel encouraged in their own journeys. “When I wrote this album, it was therapy for myself,” Abi said. “I was trying to work through what I was feeling and thinking, and it was cathartic for me. If other people can feel that and relate to my emotions, that would be ‘mission accomplished’ — even if it just reaches one person.” The second-oldest in a family of seven kids, Abi was raised in a musical household. Growing up, she sang just about anywhere she could, but it was learning piano that changed the trajectory of her life. Her skill on the instrument is near virtuosic and remains infused into every aspect of her music-making process, including the genre-blending elements of Ghosts in the Backyard. Abi refuses to let herself be boxed in. She embraces influences like Phoebe Bridgers, Manchester Orchestra, Gracie Abrams, and Renee Rapp, playing with indie-pop, folk, and cinematic drama throughout her discography. Regardless of genre elements, it’s the raw earnestness to Abi’s voice that consistently sets her apart — it’s something that can only be informed by performing from the very bottom of one’s soul. Abi is the rare artist that exists in the crossover of being born with natural talent and having the technical skill set to back it up. “I believe in the things I sing,” she confirms. “I try not to sing just because it sounds pretty; the best singers connect with what they’re saying. That’s what moves people.” Website | Instagram | Facebook | Spotify | YouTube | TikTok
Willi Carlisle
Willi Carlisle is a poet and a folk singer for the people, but his extraordinary gift for turning a phrase isn’t about high falutin’ pontificatin’; it’s about looking out for one another and connecting through our shared human condition. Born and raised on the Midwestern plains, Carlisle is a product of the punk to folk music pipeline that’s long fueled frustrated young men looking to resist. After falling for the rich ballads and tunes of the Ozarks, where he now lives, he began examining the full spectrum of American musical history. This insatiable stylistic diversity is obvious in his wildly raucous live performances, where songs range from sardonic trucker-ballads like “Vanlife” to the heartbreaking queer waltz “Life on the Fence,” to an existential talkin’ blues about a panic attack in Walmart’s aisle five. With guitar, fiddle, button-box, banjo, harmonicas, rhythm-bones, and Willi’s booming baritone, this is bonafide populist folk music in the tradition of cowboys, frontier fiddlers, and tall-tale tellers. Carlisle recognizes that the only thing holding us back from greatness is each other. With a quick wit and big sing-alongs, these folksongs bring us a step closer to breaking down our divides. Website | Instagram | Threads | Facebook | Spotify | YouTube
James Felice
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CY&I
CY&I Cogan Adam Xavier
Fust
Fust — the Durham, North Carolina-based band — announce their new album, Big Ugly, out March 7th via Dear Life Records. Big Ugly arrives after the release of 2024’s Songs of the Rail––“one of the best alt-country compilations…in a long, long time” (Paste) –– and 2023’s standout Genevieve, which unassumingly introduced new listeners to Fust’s unmistakable blend of “small-town poetry” (Mojo) with a familiar yet probing “country-tinged folk-rock” (KEXP) that made it “one of the most fun rock records of the year” (Pitchfork). Big Ugly finds Fust taking its “gutsy, blue-collar Americana” (New Commute) further than it has before. Songwriter Aaron Dowdy pushes his obsessions with country-storytelling to more mystifying places, telling stories of Southern life teeming with utopian possibility that arises uniquely from the contradictions for which the south is infamously known. In this way, it is a record that could easily be filed on the record shelf alongside lyric-forward indie or Southern rock, as well as on the bookshelf amongst the throngs of Southern literature hellbent on proving the elegance of grittiness. Big Ugly is also Fust––above all a group of close friends––uncovering a freedom within their sincere form of loose and fried guitar rock, emboldened to deliver both their most intimate songwriting and biggest sound to date. While perhaps “few voices can write a song quite like Aaron Dowdy” (Paste), it is clear upon listening that Big Ugly is an album of fully recognizable voices. One hears in the music the years of interplay between Avery Sullivan (Sluice) on Drums, Justin Morris (Sluice, Weirs) on guitar and vocals, Oliver Child-Lanning (Sluice, Weirs) on bass and vocals, Frank Meadows on piano, John Wallace (Colamo) on guitar and vocals, and Libby Rodenbough (Mipso) on fiddle and vocals. Big Ugly is also the second collaboration with the Asheville-based engineer Alex Farrar, recorded together throughout the summer of 2024 at Drop of Sun Studio. And with the help of many friends including Merce Lemon, Dave Hartley (The War on Drugs), and John James Tourville (The Deslondes), Big Ugly is exactly what one feels it to be: a huge group of people gathered together, stumbling upon songs amidst long days and even longer nights. Website | Bandcamp | Instagram
