Wednesday – Bleeds Tour 2026
Can a self-portrait be a collage? Can empathy be autobiographical? What’s the point of living if we’re not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday’s new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that—like many of the most arresting passages from the North Carolina band’s highlight reel so far—thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record—it’s also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman—founder, frontwoman, and primary lyricist—credits Wednesday’s tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that’s been both rewarding and relentless. “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album,” Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they’ve refined the formula that makes them one of the most interesting rock bands of their generation. “This is what Wednesday songs are supposed to sound like,” she said. “We’ve devoted a lot of our lives to figuring this out—and I feel like we did.”Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who’s been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates—Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake “M.J.” Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman’s masterfully subjective approach to detail selection.Whether she’s purging her fascination with a gruesome true-crime case (“Carolina Murder Suicide”) or recounting why her old landlord Gary got dentures at thirty-three (“Gary’s II”), every image or scene is filtered through Hartzman’s agile, writerly brain. The particulars deemed essential—a wincing dentist, a crooked nail, a Pitbull puppy pissing off a balcony—all contain revelations about Hartzman’s specific obsessions and vulnerabilities, about the fragmented way she processes the world. She confronts this affinity for interpersonal soul-searching on “Townies,” remembering a high-school mischief partner whose sexual adventures triggered nasty gossip: “Off I-40 / crawled into your life begging on my knees / and I get it now / you were sixteen and bored and drunk.” Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else’s. Website | Instagram | Facebook | YouTube | Spotify
Blue Cactus, Skylar Gudasz
SMITTEN – A night for lovers, loaners and the lovelorn. Celebrate Valentine’s with Blue Cactus and Skylar Gudasz on Friday the 13h at the Cat’s Cradle Back Room. Expect hauntingly beautiful music, tarot readings, flowers, photo booth, and plenty of surprises. Fate says you should be there – 2.13.26 7pm: Love Fair8pm: Show Brimming with cracked-open honesty and electrified twang, BELIEVER cements North Carolina’s Blue Cactus as a leading force in modern country and roots music. Led by songwriters Steph Stewart and Mario Arnez, the group’s third album was written over a heavy two years following their critically lauded debut BLUE CACTUS and the glitz-and-glam sophomore album STRANGER AGAIN, as Stewart battled chronic health issues and the duo reassembled their musical careers in the wake of 2020. Feeling into an arid internal landscape, Stewart found microclimates of life as she hummed melodies and jotted down phrases. On BELIEVER, Stewart’s instinct for cadence and lyricism evoke Emmylou Harris’ spacious storytelling and the dusty Southern folk melancholy of Gillian Welch while Arnez holds space for each song, tending the soil with layered folk textures, genre-hopping arrangements, and bittersweet hooks. The result is a shock of color and energy, Believer blooming as delicate, prickly, and bold as a field of wildflowers. As a departure from earlier records, BELIEVER features Stewart as Blue Cactus’ sole lead singer, her gossamer warble setting a foundation upon which the duo’s multiple vibrant musical communities build. Recording in the buzzy indie-folk scene of their home in the Piedmont of North Carolina, and later among the country sheen of Nashville, TN, the songs transform and journey through genre and mood. Website | Spotify | Youtube | Instagram | Facebook | Patreon Skylar Gudasz has an easy way about her as she contemplates the futility of trying to order the world into shapes of convenience. “It’s wild, the ways that humans try to make boundaries out of things,” she says. The subject of this restless, eternal wrangling has been on the singer-songwriter’s mind as she’s watched the world splinter into jagged, conflicted pieces. With her third LP, COUNTRY, Gudasz interrogates borders of land and sea, mind and body: the limits of the lines we draw for ourselves. Gudasz has concentrated her attention on matters of the mind and heart, last issuing a solo record with 2020’s Cinema (“★★★★ a career-making star turn” —MOJO) after her 2016 debut Oleander (“the Joni Mitchell the South never had” —Bitter Southerner). Between her LPs, Gudasz has registered a long list of extracurricular credits, taking up playing in the live bands of Hiss Golden Messenger, Eric Bachmann, Big Star’s Third, and spearheading the Ask Me Anything super trio tour with Libby Rodenbough and Kate Rhudy. Website | Instagram | Facebook | YouTube
Luna Luna
Luna Luna is the solo project of Colombian-American artist Kavvi, known for crafting a vibrant sound that seamlessly blends his Spanish and English roots. Mixing nostalgic, feel-good synth-pop with a modern indie edge, Luna Luna has become a standout name in the alt-pop and Latin indie scenes. What started as a personal creative outlet has evolved into a project that has earned serious recognition — including nods from Rolling Stone as one of “10 Latin Acts to Break Big” and from Variety as one of “8 Latin Indie Artists to Watch.” Luna Luna’s music has been featured by Billboard, PEOPLE, NPR, Paper, FLOOD, Earmilk, REMEZCLA, and more, while also landing on major Spotify playlists like New Music Friday, Lorem, and Mixto. Known for dreamy live shows and an acclaimed Audiotree session, Luna Luna has built a devoted fanbase and a strong online presence, generating millions of views with over a quarter million followers across platforms. Brand collaborations with Jack Daniel’s, Topo Chico, and Taco Bell highlight the project’s growing cultural impact, all while staying true to the emotional core that makes the music resonate so deeply. Website | Instagram | Facebook
Al Olender
Songwriter Al Olender tries to grasp the brief, beautiful moments that make up our lives in slow-motion but finds that the tighter she holds on, the more these frames fall into a soupy blur. Change is our only constant, but what if we wanted to steep in the now? What if we could stay right here? Olender captures the anxieties of an ever-moving world with a sweet and silly sincerity on her second full-length album The Worrier, never shying away from staring the truth right in the face. Exploring anxiety, sexuality and anarchy, both in herself and in her relationships, Olender’s acoustic, bluesy melodies point to the butterflies of first crushes, the gut-punching realities of responsibility and the eternal romance of friendship.- Sammy Maine Website | Instagram | TikTok | YouTube | Spotify | Facebook
Lucy Bedroque
Los Angeles based nineteen year old Jeremiah Mark (they/he) released their first full-length endeavor under the moniker Lucy Bedroque, their deadAir Records debut. With no prior singles, the breakneck seventeen track shotgun blast of Digicore and Hardcore Hip Hop, titled “Unmusique” has established them as a bastion of these underground sounds. The release date coincided with their first show on the Jane Remover and Dazegxd tour “TURN UP OR DIE”, along with a full west coast run. Leading up to this moment, Lucy Bedroque gained a cult following in the shadowy sectors of the online underground, with a break-out debut LP “Sisterhood” as Lostrushi. This is the name that raised them to notoriety alongside peers 9lives, prettifun, and egobreak. The new material continues further down the same path, combining cutthroat rage, with the eclecticism and sensitivities of Stereolab, Radiohead, and Deftones. While forging their distinct multi-media surrealism, Mark also found a penchant for customized linguistics and contorting the English language. Most notably, the title “Glutmother” (the name fans chose for a hyper-active Subreddit) graces the cover art of the debut and the packaging of “Unmusique. “The role of motherhood here is representative of a superiority to everything around it. But beyond humans, it’s a reference to mother nature and creation.” They explain. As for why it’s juxtaposed with gluttony, that’s because “People want more than anyone can handle, and I’ve responded to it with a perfectionist’s mindset.” They combine into a deep resonance of identity that’d easily evade a new listener. Artful self-produced digicore songs are weaved into a credits list that resembles a guide to online underground music. SKAI (Ken Carson, Osamason producer), Cranes (xaviersobased, Nettspend) also underpin hooks and multi-octave vocal acrobatics. Instagram | YouTube | Soundcloud | Spotify
Wednesday – Bleeds Tour 2026
Can a self-portrait be a collage? Can empathy be autobiographical? What’s the point of living if we’re not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday’s new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that—like many of the most arresting passages from the North Carolina band’s highlight reel so far—thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record—it’s also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman—founder, frontwoman, and primary lyricist—credits Wednesday’s tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that’s been both rewarding and relentless. “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album,” Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they’ve refined the formula that makes them one of the most interesting rock bands of their generation. “This is what Wednesday songs are supposed to sound like,” she said. “We’ve devoted a lot of our lives to figuring this out—and I feel like we did.”Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who’s been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates—Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake “M.J.” Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman’s masterfully subjective approach to detail selection.Whether she’s purging her fascination with a gruesome true-crime case (“Carolina Murder Suicide”) or recounting why her old landlord Gary got dentures at thirty-three (“Gary’s II”), every image or scene is filtered through Hartzman’s agile, writerly brain. The particulars deemed essential—a wincing dentist, a crooked nail, a Pitbull puppy pissing off a balcony—all contain revelations about Hartzman’s specific obsessions and vulnerabilities, about the fragmented way she processes the world. She confronts this affinity for interpersonal soul-searching on “Townies,” remembering a high-school mischief partner whose sexual adventures triggered nasty gossip: “Off I-40 / crawled into your life begging on my knees / and I get it now / you were sixteen and bored and drunk.” Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else’s. Website | Instagram | Facebook | YouTube | Spotify
Wednesday – Bleeds Tour 2026
Can a self-portrait be a collage? Can empathy be autobiographical? What’s the point of living if we’re not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday’s new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that—like many of the most arresting passages from the North Carolina band’s highlight reel so far—thoughtfully explores the vivid link between curiosity and confession. Bleeds is not only the best Wednesday record—it’s also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman—founder, frontwoman, and primary lyricist—credits Wednesday’s tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that’s been both rewarding and relentless. “Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential ‘Wednesday Creek Rock’ album,” Hartzman said, articulating satisfaction with the ways her band has sharpened its trademark sound, how they’ve refined the formula that makes them one of the most interesting rock bands of their generation. “This is what Wednesday songs are supposed to sound like,” she said. “We’ve devoted a lot of our lives to figuring this out—and I feel like we did.”Just like Rat Saw God, one of the defining rock & roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who’s been recording the band since Twin Plagues. Hartzman again brought demos to the studio, where she and her bandmates—Xandy Chelmis (lap steel, pedal steel), Alan Miller (drums), Ethan Baechtold (bass, piano), and Jake “M.J.” Lenderman (guitar)—worked as a team to bulk-up the compositions with the exact right amounts of country truth-telling, indie-pop hooks, and noisy sludge. More than ever, the precise proportions were steered by the lyricism—not only its tone or subject matter, but also the actual sound of the words, as well as Hartzman’s masterfully subjective approach to detail selection.Whether she’s purging her fascination with a gruesome true-crime case (“Carolina Murder Suicide”) or recounting why her old landlord Gary got dentures at thirty-three (“Gary’s II”), every image or scene is filtered through Hartzman’s agile, writerly brain. The particulars deemed essential—a wincing dentist, a crooked nail, a Pitbull puppy pissing off a balcony—all contain revelations about Hartzman’s specific obsessions and vulnerabilities, about the fragmented way she processes the world. She confronts this affinity for interpersonal soul-searching on “Townies,” remembering a high-school mischief partner whose sexual adventures triggered nasty gossip: “Off I-40 / crawled into your life begging on my knees / and I get it now / you were sixteen and bored and drunk.” Maybe sometimes the best way to locate truth or pain or dignity within your own life story, Bleeds suggests, is by crawling into someone else’s. Website | Instagram | Facebook | YouTube | Spotify
Chapel Hill Alt-Country Show – Davie Circle, The Jackson Slater Band, Bill Moore and his Secret Admirers, Yakamashii
Yakamashii Yakamashii is an alternative country band from Chapel Hill, NC. The group fuses influences from bluegrass, rock, jazz, pop, with an emphasis on musical improvisation. The group formed in 2023, and has had a number of iterations throughout the years. Instagram Bill Moore Bill Moore and his Secret Admirers perform the most original country music you’ll hear East of the Appalachian mountains. With a raw blend of bluegrass, rockabilly, doo-wop and electricity, they bring a crackling hillbilly intensity that’ll move even the most reluctant dancer. The band is headed by Bill Moore, a Chapel-Hill born-and-bred picker with a penchant for snappy dressing, who writes much of the group’s material. Whether they’re knocking you out with some rip-roaring hollering or easing you down with beautiful old-time harmony, this group has Carolina Country Flair in levels barely safe for consumption. Website | Instagram The Jackson Slater Band Youngblood singer-songwriter, Jackson Slater, brings Southern Rock soaring forward to the modern day. Raised on the Allman Brothers, Skynyrd, and the Black Crowes, Jackson pays homage to the past without replicating it. With raspy, baritone vocals, Jackson combines the soul of Joe Cocker with the raw power of Chris Cornell and the country-fried swagger of Chris Stapleton. Jackson’s debut album – Holy Water Inn- will be available in early 2026 and will explore the intersection of honky tonk and hard rock. The high powered, four piece Jackson Slater Band features the combined talents of drummer Brennan Walsh, bassist Max Jacobson, and keyboardist/saxophonist Kai Mercado. Playing originals and a list of covers that ranges from ZZ Top to Black Sabbath, the Jackson Slater Band is truly a rock n’ roll unit sure to blow your mind and leave you craving more. Website | Instagram Davie Circle Davie Circle is an alt-country/folk-rock band based in Chapel Hill, North Carolina. Formed in their tight-knit college town, the group quickly became a mainstay in the local music scene. Their name comes from a historic street where the band spent countless hours rehearsing, and it perfectly captures the spirit of their roots. Blending the free-spirited improvisation of jam bands, the lush harmonies of bluegrass, and the rhythmic groove of jazz with the storytelling traditions of Southern rock and Delta blues, Davie Circle creates a sound that’s undeniably American. Drawing inspiration from iconic acts like The Allman Brothers, The Band, and the Grateful Dead, as well as contemporary voices like Tyler Childers and Zac Brown Band, the band brings a fresh twist to the genres they love, crafting music that feels both timeless and new. Instagram
Johnny Sunrise and the Clouds
Johnny Sunrise (and the Clouds)Hailing from Western Massachusetts, and now based in Carrboro, NC, Johnny Sunrise is an indie folk rock singer-songwriter who draws inspiration from love, longing, the “quarter-life crisis,” and the uncertainty of life. Although Johnny grew up with music primarily as a drummer, his unforeseen travels up and down the east coast and the isolation caused by the COVID pandemic brought him closer to his neglected guitar. Johnny is now joined by the uber-talented trio Marco “Paco” Marvelli (lap steel), Gabby Messner (bass), and Jake Richter (drums) whose contributions take the live show to another level. Johnny has carved a place in the NC triangle music scene over the past couple of years performing original songs with honest lyrics and a soulful voice. Always with a smile and a healthy dose of banter. SupermuttSupermutt is a femme-foward indie collective based out of Durham and Raleigh, NC. The five piece ensemble – Mimi, Ali, Jaz, Katie, and Jacks — crafts sonic tapestries where narrative-driven songwriting meets lush, atmospheric arrangements built from cascading vocal harmonies and dreamlike instrumentation. The band’s dynamic sound thrives in the tension between contradiction and cohesion, embracing calculated dissonance and textural experimentation while maintaining an unshakable foundation in melodic harmony. This approach creates music that feels both intimately grounded and expansively otherworldly, inviting listeners into carefully constructed emotional worlds where vulnerability and strength coexist. Autumn HouseAutumn House is a country-inflected alternative rock band based in Carrboro, NC drawing influence from such artists as Neil Young, Lucinda Williams, and Jason Molina, as well as some of the noisier alt-rock bands of the 90s like Chapel Hill’s own Archers of Loaf. Their songs, ranging from wistful ballads to full-throated rockers, deal broadly with the ephemeral and the beauty in the mundane. Autumn House is comprised of Cole Cook (bass) Paco Marvelli (lap steel guitar), Max Randall (guitar, vocals), and Andy Seiglie (drums, backing vocals).
Paul McDonald & the Mourning Doves
Born in Alabama and baptized in the dive bars of the southeast, Paul McDonald first made noise with the Grand Magnolias, a roots-rock outfit, before catching fire in the public eye during American Idol’s 2011 run. When the bright lights blurred and the cameras turned, the man behind the voice slipped into the shadows where he did what real artists do: He lived, he lost, and he wrote. Retreating to Nashville, that holy city of reinvention, Paul stitched himself back together with worn boots, hard songs, and a new band called the Mourning Doves. Now, in 2025, the giant has stirred with the release of “So Long to the Dark Side” – a gospel-tinged reckoning wrapped in cosmic Americana and lit with songs that sound like they were scribbled on the edge of a breakdown and sung back from the brink. Raised on Petty, Parsons, and pain, Paul McDonald is not chasing trends, he’s conjuring something older and truer. His live performances are equal parts revival and rock séance. Website | Facebook | Instagram | YouTube
