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
Website · Facebook · Instagram · TikTok · Spotify
Rosenau & Sanborn
After nearly 20 years of knowing one another, the collaboration between Nick Sanborn and Chris Rosenau seemed inevitable but ended up accidental, an Eaux Claires music-festival lark that had immediate chemistry. As they were playing that first show, they realized they were already making a record. They reconvened in a small cottage in North Carolina in 2017 to finish what was started. They recorded the improvisations, kept the working mixes and titles, as well as the bird songs and traffic sounds that drifted into the microphones. The result was 2019’s Bluebird, a little five-track wonder that made you feel like you were sitting in the room between them, smiling as they found their wordless rapport. Two years later, Rosenau (Volcano Choir, Collections of Colonies of Bees) and Sanborn (Sylvan Esso, Made of Oak) got together again. They had fun during round two, but the sessions were neither as carefree as that first attempt nor more focused in a way that felt compelling and new. The pair shelved those pieces to try again when the time seemed right. Then there was a pandemic. There were tours. There were other records. There was life at large. By the time Rosenau ventured back to Betty’s (Sylvan Esso’s studio in the North Carolina woods) to try again, four years had flashed past. For the absorbing follow-up, 2026’s simply titled Two, they “unprepared,” Rosenau arriving to the sessions with a novel guitar tuning he’d never used and Sanborn with a reconfigured electronics rig that forced him to abandon old patterns. The result feels like sitting alongside two old friends as they surprise one another with unheard stories from their recent pasts and ideas for their futures. The night before the duo wrote “Walrus,” Sanborn had performed at a rave with his techno duo GRRL x Made of Oak. Of the track, Rosenau writes, “Honestly, the approach on this track was ‘Ok! Saturday night… Let’s party!’ It all felt real good. From there, we got Nick’s gear back up from the night before, followed our process, and went for it. I remember Nick turning into an octopus in front of my eyes as he wrangled both the modular rig he had set up for this one, as well as the insane drum machine situation.” Two is set to be released physically in indie record stores on March 6 via Psychic Hotline, with digital street date following on March 20. About Rosenau & Sanborn Rosenau & Sanborn is a duo composed of Chris Rosenau (Volcano Choir, Collections Of Colonies Of Bees) and Nick Sanborn (Sylvan Esso, Megafaun, Made Of Oak). The pair have been friends and collaborators for years, however it wasn’t until they played an improvised set together at 2015’s Eaux Claires music festival that they realized the potential of making a record together. Two, the duo’s second project together, was recorded in 2024 at Betty’s in North Carolina. Praise for Rosenau & Sanborn: “The duo’s synths buzz and bounce around like the cogs in a whirring machine.” – NPR All Songs Considered “Bluebird sounds like what would happen if you subtracted the songs from Collections of Colonies of Bees or Sylvan Esso – stretched to tectonic scales with Rosenau’s open-ended acoustic lines and Sanborn’s burbling synth processing.” – Indy Week “On ‘Saturday,’ the duo’s synths warble and flicker like desperate radio transmissions while occasional acoustic guitar plucks ground it back to earth, granting a sense of subconscious ease.” – Stereogum Website
Bill Callahan
My Days of 58 is the eighth Bill Callahan album, his first since 2022. The twelve tunes here open uncanny depths of expression as Bill continues to blaze one of the most original songwriting-and-performance trails out there. With My Days of 58, he applies the living, breathing energies of his live shows to the studio process, sharpening his slice-of-life portraiture to cut deeper than ever before. The core musicians featured on My Days of 58 is the group that toured for 2022’s REALITY: guitarist Matt Kinsey, saxophonist Dustin Laurenzi and drummer Jim White, whose synergy was evident in 2024’s live Resuscitate!. This showed Bill, as he puts it, “that they could handle anything I threw at them,” adding: “Improv/unpredictability/the unknown is the thing that keeps me motivated to keep making music. It’s all about listening to yourself and others. A lot of the best parts of a recording are the mistakes—making them into strengths, using them as springboards into something human.” With this in mind, Bill prepared the songs with each player separately. Taking a note from songwriter, fan and friend Jerry DeCicca, he recorded the basic tracks for all but one song in a duo with Jim White. Meanwhile, he rehearsed with Matt, guitar to guitar, while asking Dustin to make horn charts for a few songs. Bill: “I usually just sing a melody to a horn player or let them try a few takes and go from there. This time I thought, why not get some of the record charted out. There’s always room for spontaneity on top of that. And we did indeed throw some off the cuff stuff on top of the charted horns in a couple cases where they weren’t fully doing what I wanted. With this record I kept thinking of it as a ‘living room record.’ I’m not talking about fidelity at all here. Living room attitude. Living room vibe. Not too loud, not otherworldly. I asked for the horns to be relaxed like someone on the couch playing, not a blast from heaven or hell.” For more spontaneity and human color, Bill called up several other players: Richard Bowden on fiddle, whom he’d seen playing with Terry Allen and loved; pianist Pat Thrasher; bassist Chris Vreeland; and trombonist Mike St. Clair. About pedal steel player Bill McCullough, who he knew from Knife in the Water, Bill says this: “He has a real abstract approach to an abstract instrument—he’s a photographer (shot the front and back cover) and sees the steel in the same way as apertures and f-stops—foreground and mid ground and background—blurry and sharp. That’s how I’ve always seen the steel so it’s exciting to share that. But hobo stew is always the idea—throwing together who I have at hand instead of following a recipe. I’m always learning. I know very little after all these years. I go by gut mostly, but sometimes forget all the possible considerations to consider. The goal of every record at the recording part of the process is to get thrown out of Eden. Every session starts in Eden but you have to get out of there at some point.” Spotify
Caroline Kingsbury
Expect a larger-than-life energy to her iridescent make-up, Bowie-esque boot-and-blazer get-ups and ready-to-risk-it-all ballads that are abundant in brutally honest and vulnerable storytelling lyrics. Dazed Beauty told their readers, “There’s something deliciously defiant about Caroline Kingsbury’s approach to pop music…through the holographic lens of 80s maximalism and New Romantic flair, she crafts songs that are emotional, percussive, and dramatic, born from breaking free of the conservative constraints of her Southern evangelical upbringing.” Fresh off electric festival debuts at Lollapalooza and All Things Go in late 2025, Caroline amassed 300k monthly listeners and landed a huge feature in the best-selling game ‘Dispatch.’ Her fan favorite sleeper hit ‘Kissing Someone Else’ accumulated over 6 million streams after the song was featured in Episode 1 and the game sold over a million copies in its first week. 2025 also brought Caroline the viral collaboration with fellow indie pop artist Maris with ‘Give Me A Sign.’ The song landed Caroline a feature for the second year in a row on Spotify’s ‘Best Pop Songs of 2025’ and a co-headline tour. You also may have heard Caroline in the newest seasons of Netflix’s ‘Forever’ and Apple TV’s ‘The Buccaneers.’ From 80s synths to soaring vocals accompanied by theatrical visuals, Caroline’s most recent release “Shock Treatment,” channels the spirit of queer futurism through a retro lens. Produced alongside indie icon Wild Nothing, it’s an EP that blurs the line between reality and performance, turning self-expression into an act of revolution. Catch Caroline Kingsbury on her first headline tour this Spring in support of “Shock Treatment” with more dates and festivals TBA. For tickets and VIP upgrades, visit shofetti.co/caroline. Website | Instagram | Facebook | Spotify
An Evening with Cowboy Junkies
This is a seated show. Watch the Tour Trailer here “One of the most unique and enduring bands in alternative rock”- All Music “Margo Timmins’s voice is as melancholy and enchanting as ever”- The New York Times “There’s something that is nearly miraculous about the way Margo Timmins’ beautiful voice fits with those pained lyrics written by her brother Michael Timmins…the result is some truly transformative music.”- The Mercury News Cowboy Junkies will be performing a career-spanning show from The Trinity Session to their recent album, Such Ferocious Beauty! Sometimes revolutions begin quietly. In 1988, Cowboy Junkies proved that there was an audience waiting for something quiet, beautiful and reflective. The Trinity Session was like a whisper that cut through the noise — and it was compelling. It stood out in the midst of the flash and bombast that came to define the late 80’s. The now classic recording combined folk, blues and rock in a way that had never been heard before and went on to sell more than a million copies. Formed in Toronto in 1985 with siblings Michael Timmins on guitar, Margo Timmins on vocals, Peter Timmins on drums, and Michael’s lifelong friend Alan Anton on bass, the band has sparkled over the course of 29 albums. “I’ve known Alan longer than I’ve known Pete,” says Michael. “We were friends before Pete was born.” Unlike most long-lasting groups, Cowboy Junkies have never had a break up or taken a sanity-saving hiatus. There’s an appreciation of each other that keeps them constantly working. “It’s that intimacy and understanding of what each one of us brings to the table,” says Michael. Website | Instagram | Facebook | YouTube
An Evening with Cowboy Junkies
This is a seated show. Watch the Tour Trailer here “One of the most unique and enduring bands in alternative rock”- All Music “Margo Timmins’s voice is as melancholy and enchanting as ever”- The New York Times “There’s something that is nearly miraculous about the way Margo Timmins’ beautiful voice fits with those pained lyrics written by her brother Michael Timmins…the result is some truly transformative music.”- The Mercury News Cowboy Junkies will be performing a career-spanning show from The Trinity Session to their recent album, Such Ferocious Beauty! Sometimes revolutions begin quietly. In 1988, Cowboy Junkies proved that there was an audience waiting for something quiet, beautiful and reflective. The Trinity Session was like a whisper that cut through the noise — and it was compelling. It stood out in the midst of the flash and bombast that came to define the late 80’s. The now classic recording combined folk, blues and rock in a way that had never been heard before and went on to sell more than a million copies. Formed in Toronto in 1985 with siblings Michael Timmins on guitar, Margo Timmins on vocals, Peter Timmins on drums, and Michael’s lifelong friend Alan Anton on bass, the band has sparkled over the course of 29 albums. “I’ve known Alan longer than I’ve known Pete,” says Michael. “We were friends before Pete was born.” Unlike most long-lasting groups, Cowboy Junkies have never had a break up or taken a sanity-saving hiatus. There’s an appreciation of each other that keeps them constantly working. “It’s that intimacy and understanding of what each one of us brings to the table,” says Michael. Website | Instagram | Facebook | YouTube
Failure
Over the course of six albums, Failure has exerted a similar effect on listeners. Their musical communion has intrigued critics, fans, and peers for nearly three decades. Following Comfort and Magnified, the trio created what is largely considered one of the ‘90s most influential and innovative albums: Fantastic Planet. The 17-track collection not only earned rave reviews and a trove of new fans but saw the band headline Lollapalooza’s second stage and craft one of the era’s most recognizable videos (“Stuck on You”). The album’s legend grew over the ensuing years, eventually spawning retrospective think pieces from the likes of Rolling Stone, Noisey (Vice), Decibel Magazine, and more. Failure has been honored with covers by A Perfect Circle, Paramore, Cave In, Melissa Auf de Maur, and more. After a 17-year hiatus, they returned with The Heart Is a Monster in 2015, inciting the applause of Pitchfork, Entertainment Weekly, and Stereogum who said upon the album’s release: “this is a pretty big deal.” Their most recent album is 2021’s Wild Type Droid, recorded in the midst of the global pandemic. Website | Bandcamp | Facebook | Instagram
Yasmin Williams
This is a seated show. Yasmin Williams is an innovative guitarist and composer known for her unique compositional approach and expansive instrumental style. Her latest album Acadia, released on Nonesuch Records, showcases her evolution from solo performer to collaborative artist, featuring partnerships with notable musicians like Aoife O’Donovan and Immanuel Wilkins. Williams’ distinctive creative process involves “ruminating” on single notes until compositions naturally emerge. Beyond traditional fingerpicked guitar, she demonstrates mastery of multiple instruments including kora, harp guitar, banjo, and electric guitar. Her music, while rooted in folk traditions, transcends conventional structures to incorporate elements of progressive rock and experimental composition. Following her acclaimed 2021 album Urban Driftwood, Acadia represents a significant artistic expansion, featuring three distinct sections that move from traditional folk influences to atmospheric soundscapes and experimental arrangements. Williams’ approach emphasizes sustained tones and intricate articulation, creating music that balances technical precision with ethereal, floating melodies. ABOUT YASMIN WILLIAMS Yasmin Williams, raised in Woodbridge, Virginia, grew up surrounded by music. Inspired by a wide range of artists—from Chuck Brown to Jimi Hendrix—she began developing her innovative fingerstyle acoustic guitar technique while studying music theory and composition at NYU. Williams has released two previous albums, Unwind (2018) and Urban Driftwood (2021), where she introduced unique approaches, such as playing kalimba and guitar simultaneously. She also incorporates instruments like the kora, harp guitar, and banjo. Despite her use of folk instruments, she resists being categorized within the genre, valuing creative freedom over conformity. Her latest record, Acadia, is out now via Nonesuch Records. Website | Facebook | YouTube | Instagram | Spotify
