Haute & Freddy’s Big Disgrace Tour
Haute & Freddy is the dazzling brainchild of Michelle Buzz and Lance Shipp. The duo released their first single “Scantily Clad,” sparking a devoted fanbase. The song has landed them on Spotify playlists *Lorem*, *Obsessed*, and the cover of *Fresh Finds*, paving the way for their second single “Anti-Superstar,” which has also been embraced with equal support and looks on multiple Spotify playlists, leading to them being named on Spotify’s Artists To Watch for 2026. Their third single “Shy Girl” is currently their most streamed track and has been licensed five times over for film & TV projects. Fast forward to now, and the comment sections are buzzing with fans speaking in Ren Faire lingo, while their shows are filled with attendees crafting their own jester hats, as a mime clown joyfully twists balloon crowns for the rest of the Royal Court—aka H&F’s loyal followers. With their debut album on the horizon and their sold-out Mini Grand Tour under their belt, Haute & Freddy’s momentum is picking up speed. Fans devoured the recently released videos for “Shy Girl,” “Sophie,” and “Freaks.” More festivals and tour dates are in the works for 2026 when the album drops. Their latest single is a new anthem, “Dance The Pain Away,” out now, with their debut album *Big Disgrace* coming out via Atlantic Records on March 13th. Their love for theater, obscure synths, and underground club culture runs deep, infusing every track with an audacious energy. The duo moves through their music like runaway carnies, crashing through the veneer of polite society with all the flair of an 18th-century escapade. Website · Instagram · Facebook · Spotify · YouTube · TikTok
Carrboro Bluegrass Festival Presents Bluegrass In The Backroom
This is a seated show.
Carrboro Bluegrass Festival Presents Bluegrass In The Backroom
This is a seated show.
Andrew Duhon
This is a seated show. There’s a mystical allure to the road. Innately literal and figurative, it is both the blacktop and the connective tissue between people, places, and cultures. The opportunity to venture beyond what’s known and comfortable into what’s possible. A rugged romanticism of packing up a standard issue Chevy Express tour van with instruments, scuffed amps, overflowing merch boxes, and a trio of musicians setting sail to share Duhon’s songs with anyone who will listen. For a young Andrew Duhon, the road was the connection from “No Man’s Land” to the “Promised Land.” A chance to truly connect with former strangers through song. To feel equal kinship with the good ol’ boys in Beaumont, TX and the hippies and artists in Bellingham, WA. But with that comes a weight. Duhon has a knack for telling the kind of stories that clearly cost the writer something to tell, the kind of honesty that feels noble and never half hearted. Entertaining? Sure, but when a song written by a stranger heals you, even in the smallest way, that’s a connection beyond entertainment, and that is the journey Andrew Duhon sets out on from his home in Louisiana. His songs are about recognizing our story as much as they are about telling his, and his coast to coast pursuits have given him a clearer view of the American Landscape than most are privy to. But after years of voyaging off to every corner of the country, a new sensation arises with each return to New Orleans. The fondness for home returns and, for the moment, forgives the potholes and the incompetence of local politics to focus on those familiar sights, sounds, and singular culture of Louisiana from the old European feeling of The French Quarter to the rural cane fields of Cajun country where his father’s side resides, now noticing the changes after every stretch of time spent away. And from that familiar return comes The Parish Record, a snapshot of life venturing from and returning to one of America’s purest cultural vignettes, and the beauty, conflict, and stories that come with it.The Parish Record was recorded at Dockside Studios in Maurice, LA, where deep in Cajun country sits a wood-panel barn engulfed in oak and cypress trees along the slow butterscotch bayou pace of the Vermillion River. In this isolated hub of Acadiana, Andrew Duhon embarked with his trio of most trusted musicians – Myles Weeks (James Hunter Six, Eric Lindell) on Bass, Jim Kolacek (Feufollet) on Drums, and Daniel Walker (Heart, Ann Wilson, Amy Ray) on Keys – to harness of the sound and feeling of their surroundings. Justin Tockett, the house engineer at Dockside is also, as Duhon claims, his secret weapon. From Duhon, “Justin’s production is the most underrated thing in the room, and his spirit is peaceful and literally at home at that studio. There’s a cat on his lap most of the time he’s mixing. I mean, come on… That’s the feeling I wanted to feel when making this record from what felt like home to me. It wasn’t time to hit Nashville or try out something new on this one. It was about believing in the songs from where the songs came from.” Website · Facebook · Instagram · YouTube · Spotify
The Dear Hunter – The Road to Sunya Tour 2026
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Tommy Newport
Tommy Newport is a British-American singer crafting infectious, falsetto-laced indie anthems that blur eras and borders. Blending psych-pop shimmer, sun-soaked soul, and off-kilter cool, Newport has built a global following around his elastic melodies and unmistakable voice. He stepped fully into his own with his latest album Mister Domino, a bold, technicolor statement released on the heels of his debut at Lollapalooza. Featuring the fan-favorite single “Tangerine”, the project captures Newport at his most expansive, balancing playful experimentation with razor-sharp songwriting. His recent singles “Nancy Dancing” and “Risky Business” signal the sound of an artist moving effortlessly with intention into his next chapter. A magnetic live performer, Newport has toured extensively across North America and Europe and appeared on two platinum-certified releases: “Red Sky” from 21 Savage’s American Dream, which debuted at No. 1 on the Billboard 200, and “Comes & Goes” from BigXthaPlug’s Take Care. He has also collaborated with Grammy-nominated duo EARTHGANG and rising indie star Baby Nova. Newport’s work has earned acclaim from The FADER, Complex, Hypebeast, Highsnobiety, Pigeons & Planes, PAPER, Lyrical Lemonade, and COLORS, with support from Zane Lowe, Elton John, and Gilles Peterson. Spotify · Instagram
Die Spitz
When the Venn diagram of passion, friendship, identity, and artistry collide, it can feel as if fighting words are spitting from your veins. And as postmodern society crumbles, Die Spitz giddily bounce between a dozen different ways to push back. If the world of rock music were an ice cream shop, the Austin quartet have sampled each flavor, flipped the freezer over, and started dancing with the employees they helped unionize. On their debut album, Something to Consume (due Sept 12 via Third Man Records), Ava Schrobilgen, Chloe De St. Aubin, Eleanor Livingston, and Kate Halter fight against the inescapable consumption that surrounds life. “There’s a political side to it, but addiction and love can also be all-consuming,” Livingston says. And as the foursome trade off instruments, swapping songwriting and vocal duties, and generating powerful songwriting in concussive bursts, Die Spitz have created their own little pocket of the world where we can all stand on the edge together. That unity comes in part from the deep bonds between the 22-year-olds. All four are Austin natives, with Schrobilgen and Livingston having met in preschool, befriending Halter in middle school, and immediately bringing De St. Aubin into their inner circle when they formed the band in 2022. Though they’ve only been playing together a few years (not to mention Halter only learning to play bass to start the band), Something to Consume shows a maturity and technical prowess always wielded in service of their profound friendship. The group settled on the name Die Spitz over a “brown bag of Fireball,” opting for the feminine German definite article in place of the English. “It reminds me of the Grim Reaper spitting,” Livingston jokes. At their first live shows, they paired originals with covers from some of their inspirations: Black Sabbath, Pixies, Mudhoney, PJ Harvey, and Nirvana. The beguiling “Pop Punk Anthem” somehow encapsulates elements throughout that large musical swath, building from roiling verses to a growled chorus. “It may sound like a love song at first, but when the beat kicks in it’s the obsession that takes over,” Schrobilgen says. “The words ‘you’re a part of me’ sound loving but it can be an insane emotion and privilege over someone else’s life.” As if their closeness as a band weren’t enough, the members of Die Spitz have also intermittently been roommates and still live near each other. “We call it sitcom life,” Livingston laughs. That said, the Die Spitz TV show would have a significantly different soundtrack to your usual sitcom fare. The Austinites express their ideas through a blend of classic punk, hardcore, metal, alt rock and more. The group have become known for their riotous live shows, where dueling cartwheels, Halter playing bass mid-crowdsurf, Schrobilgen unleashing a growling bark, and Livingston posing with the microphone on top of the venue’s bar or climbing into the rafters could happen at any moment. Pairing their mind-melting gigs with even more impressive songs has led to stints opening for (and rivaling the energy of) bands like OFF!, Amyl and the Sniffers, Viagra Boys, and Sleater-Kinney. Website · Instagram · TikTok · Facebook · Spotify · YouTube
Cat Power – The Greatest Tour
Cat Power is celebrating the 20th anniversary of her milestone 2006 album, The Greatest, with Redux, a three-song EP arriving digitally and on 10” vinyl via Domino Recording Company on Friday, January 23, 2026. Recorded by GRAMMY® Award-winning engineer and longtime collaborator Stuart Sikes (Loretta Lynn, The White Stripes) at Austin, TX’s Church House Studios with backing by Dirty Delta Blues – the all-star supergroup assembled for the world tour that followed The Greatest comprising guitarist Judah Bauer (The Jon Spencer Blues Explosion), keyboardist Gregg Foreman (The Delta 72, Jesse Malin), bassist Erik Paparozzi (Lizard Music), and drummer Jim White (Dirty Three, Hard Quartet) – Redux includes a brand new re-recording of James Brown’s chart-topping classic, “Try Me,” premiering everywhere today. The track was among those first recorded by the singer-songwriter otherwise known as Chan Marshall during the original sessions that produced The Greatest but never completed. Redux also includes a stunning rendition of Prince’s iconic “Nothing Compares 2 U,” recorded in tribute to the late, great guitarist Teenie Hodges, a legendary member of The Memphis Rhythm Band that backed Cat Power on The Greatest and with whom she formed a close bond before his passing in 2014. The EP also includes a re-imagined version of one of the many standout tracks on The Greatest, Marshall’s own “Could We,” newly recorded in the arrangement that was performed live on The Greatest Tour with Dirty Delta Blues. Next year will see Cat Power perform The Greatest in its entirety with a very special series of 20th anniversary live shows beginning February 12, 2026, at Houston, TX’s White Oak Music Hall and then traveling North America, Europe, and the United Kingdom through early November. Website · Instagram · Facebook · YouTube · Spotify
Gangstagrass
“There are a lot more people out there with Jay-Z and Johnny Cash on their playlists than you think,” says Gangstagrass Mastermind Rench. He should know – he’s toured the world with a band of bluegrass pickers and hip-hop MCs to the delight of standing-room crowds everywhere. Making beats for local NYC rappers and hosting country music nights in popular NYC venues, Rench had a musical itch that needed to be scratched – he was listening to the 1970s recordings of Ralph Stanley and the Clinch Mountain Boys and couldn’t help imagining what classic bluegrass would sound like with Outkast and Mos Def spitting rhymes alongside them. The result was a genre-demolishing new formula by the name of Gangstagrass. He put it up for free download and people took notice. Hundreds of thousands of downloads followed creating an intense underground buzz. When FX Network came to Rench looking for the Gangstagrass sound for the theme song to their new series Justified, he had bluegrass players lay down an original track with rapper T.O.N.E-z, the younger brother of early hip-hop legends Special K and T-LaRoc. “Long Hard Times to Come” was nominated for an Emmy Award in 2010, contending for best theme song after critical praise and massive fan response. Rench assembled a crack team of bluegrass pickers and battle tested MCs, and has produced a bunch of full length albums exploring the many possibilities of this genre fusion. 2020’s “No Time For Enemies” reached #1 on the Billboard bluegrass charts (the first time an album featuring real hip-hop MCs had done so). Gangstagrass has toured internationally, blowing minds on main stages from SXSW to Grey Fox Bluegrass Festival, Glastonbury to America’s Got Talent. The live act taking full advantage of the improvisational aspects of both hip-hop and bluegrass. With MCs R-SON and Dolio the Sleuth trading verses, Dan Whitener on banjo, B.E. Farrow on fiddle, Rench on guitar and beats, and frequent three-part harmonies, the Gangstagrass stage show has garnered a reputation among fans for its dynamism and spontaneity. You have to see it to believe it. Website · Instagram · TikTok · Facebook · YouTube
Grace Ives
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