The Greeting Committee

For a decade, Nashville-based band The Greeting Committee has proven their knack for storytelling. Now, with the release of their third studio album “Everyone’s Gone and I Know I’m The Cause,” they have a lot to get off their chests.Since garnering 100+ million global streams and a dedicated fanbase, the band, which now consists of founding members Addie Sartino and Pierce Turcotte, longtime member Noah Spencer, and newcomer Micah Ritchie has gone from strength to strength. They’ve opened for the likes of Bombay Bicycle Club and Hippocampus, while selling out headline shows across America and simultaneously releasing acclaimed albums, including 2018’s “This Is It” and 2022’s “Dandelion” which garnered support from Billboard, The Washington Post, NYLON and more.With “Everyone’s Gone and I Know I’m The Cause,” an album born amid grief and loss, Sartino and Turcotte are meticulously balancing vulnerability and self- reflection — all wrapped up in 10 tracks that include the lead single “popmoneyhits.” “I was afraid if I didn’t hold tightly enough, if I didn’t struggle enough, if I didn’t sacrifice enough that I wouldn’t be enough,” says Sartino on the process of making of their third album. “And if I couldn’t be enough then how could I ever deserve this? But I promise you, the things and the people that are meant for you will always believe you are enough.”Website | Instagram | Twitter | Facebook | Spotify | YouTube | TikTok

Delia-h and the Male Gaze

Delia-h is a local writer and singer in Carrboro. From a young age, she has used songwriting as a way to mark the chapters of her life; if she doesn’t write a song about it, it’s almost like it didn’t happen. She prides herself in protecting her own sacred, private relationship with creativity, and hopes to inspire others in her community to do the same. However, she also really likes it when people clap for her. So you do the math. Her band The Male Gaze, made up of her brothers, father, and hot blonde roommate, helps arrange her original music, typically over alcoholic ciders in an old, creature-ridden cabin. The band’s genre is quite fluid; songs in a Male Gaze set range from cheeky punk to soulful funk to pensive folk. But Delia-h’s lyricism and melodic instincts act as the glue, connecting all of the tunes with authentic themes of love, guilt, anger and introspection. Instagram | SpotifyHypnic Jerks InstagramThe Twits Instagram | Spotify

Cedric Burnside

The official credit tells it like it is. “Recorded in an old building in Ripley, Mississippi” – that’s all the info we get, and all that we need. When Cedric Burnside prepared to record Hill Country Love, the follow-up to his 2021 Grammy-winning album I Be Trying, he set up shop in a former legal office located in a row of structures in the seat of Tippah County, a town with 5,000 residents that’s known as the birthplace of the Hill Country Blues style. “That building was actually going to be my juke joint. Everything was made out of wood, which made the sound resonate like a big wooden box,” said Burnside. He called up producer Luther Dickinson (co-founder of the acclaimed North Mississippi Allstars and the son of legendary Memphis producer/musician Jim Dickinson), who brought recording equipment into the empty space. “We recorded in the middle of a bunch of rubbish – wood everywhere and garbage cans,” Burnside says. “We just laid everything out the way and recorded the album right there.” The 14 songs on the record were finished in two days, but in addition to being satisfied with the sound, Burnside believes that Hill Country Love represents real creative progress. “Every time I write an album, it’s always different,” he says. “I’m always looking to express myself a little bit better than I did on the last one and talk about more things happen in my life. I think that every day that you’re able to open your eyes, life is gonna throw you something to write about and to talk about. “So on this album,” he continues, “I’m a little bit more upfront and direct, because I went through some crazy feelings with family and with friends. Winning the Grammy was awesome, but people tend to treat you a little different when things like that happen.” Certainly, plenty of things have happened in Cedric Burnside’s life since he went on the road at age 13, drumming for his grandfather, the pioneering bluesman R.L. Burnside. His two albums before I Be Trying – 2015’s Descendants of Hill Country and 2018’s Benton County Relic – were both nominated for Grammys. He has also appeared in several films, including Tempted and Big Bad Love (both released in 2001) and the 2006 hit Black Snake Moan, and he played the title character in 2021’s Texas Red. Burnside is a recipient of a National Heritage Fellowship, the country’s highest honor in the folk and traditional arts and was recently recognized with the 2024 Mississippi Governor’s Art Award for Excellence in Music. He has performed and recorded with such diverse musicians as Jimmy Buffett, Bobby Rush, and Widespread Panic.Website | Instagram | Twitter | Facebook | Spotify | YouTube

Jive Talk

Built To Spill

Built to Spill is an indie rock band from Boise, ID, formed in 1992 by guitarist/vocalist Doug Martsch. In 2024 they celebrate 30 years of “There’s’ Nothing Wrong with Love, their second full-length album, performing it in its entirely. For this celebration tour the band also brings the recording’s original cello player, John McMahon. Known as well for their rotating line up, Built to Spill currently counts with Melanie Radford on bass and Teresa Esguerra on drums. Website | Instagram | Twitter | Facebook

Arden Jones

21-year-old Los Angeles-based singer, songwriter, and multi-instrumentalist, Arden Jones captures unforgettable, serotonin-filled California summers into a perfect blend of pop, hip-hop, and alt that, while familiar, is undeniably his own. His clever rhymes and witty lyricism paint heartfelt, relatable sentiments that beautifully juxtapose his infectious hooks and euphoric, nostalgia-inspired beats. From a young age, Arden’s love of skating and surfing came second only to his love of music, successfully teaching himself to play an array of instruments including upright bass, mandolin, guitar, piano, and ukelele. His musical household introduced him to legends like The Avett Brothers, Bright Eyes, and 50 Cent, but it wasn’t long before he began forging his own musical identity inspired by J. Cole, Kendrick Lamar, and Mac Miller. A prolific user of Garageband and SoundCloud, Arden posted his internet-beat smash “Parallel Parking” on TikTok at the end of 2020 where it caught the attention of newly minted label, vnclm_, and eventually into the hearts of 14 million Spotify listeners. Since the song’s release, Arden continues to pave his own way into the music world. Following a series of hit singles (including rollercoaster, SMILE, either way) and performances to screaming fans across the country, Arden was determined to reward his die-hard fanbase in 2022, dropping a new three-song EP at the beginning of every month to immense critical acclaim. With millions of streams independently and an unrelenting work ethic, Arden Jones proves that he really is “just trying to make you smile.”Website | Instagram | Twitter | Facebook | Spotify | YouTube | Soundcloud | TikTokRelay RelayRelay Relay is the husband-and-wife musical team of Jamie and Hannah Rowen. The pair perform all over the country and have a super fun set of unique indie pop originals and genre-spanning upbeat covers they make their own. The pair packs a full band punch into a tiny duo package. While Jamie handles everything guitar, Hannah bounces between a tiny keyboard, glockenspiel, electronic drum pads and various percussion (like her foot tambourine!) all while holding down a powerful lead vocal. The tight vocal harmonies are the cherry on top. Relay Relay has a unique sound all their own, and not only sounds great, they are fun to watch!Website | Instagram | Facebook | Spotify | YouTube

Pedro The Lion

Early into Santa Cruz, the poignant third album in David Bazan’s ongoing musical memoir of his sometimes-uncanny life, he discovers the Beatles. He is the new kid from Arizona in a new school in the famous California coastal town where his dad has accepted another post at a Bible college. He and his first friend there, Matt, are sitting on the carpet in Matt’s little bedroom, flipping through the records bequeathed by his father, when Bazan spots a familiar cover—The White Album, known only from a church documentary that warned children of the Satanic secrets of “Revolution 9.” Play it backwards, the propaganda said, and it would offer a command: “Turn me on, dead man.”So, of course, the kids played it forward and were fascinated by the sound, by the imagination, by the act of consecrated creativity far outside of Christian rock. Bazan was 13. “Treading water on the open ocean/Then you threw me out a life ring,” he sings, the smile obvious just through the sound as the beat picks up like a racing pulse, more than three decades later. “All I needed was a little help from a friend.” That is the moment where, in many ways, the remarkable songs of Pedro the Lion begin to take shape.In 2019, after a 15-year break filled with solo records and side-projects, Bazan returned to the moniker under which he had become one of indie rock’s most identifiable voices and incisive songwriters, Pedro the Lion. He sort of stumbled into 2019’s Phoenix, a charged chronicle of his childhood there, while spending the night with his grandparents during a tour stop. But he soon understood that unpacking his peripatetic youth, where his music minister father shifted around the country like a Marine moving bases, was helpful, healing, and maybe even interesting. The gripping Havasu followed in 2022. Bazan was onto something, untangling all the ways his past had both shaped and misshaped his present inside some of his best songs ever.That past truly begins to become the present on Santa Cruz, the most fraught and frank album yet in a planned five-album arc; this one covers a little less than a decade, from just after he turned 13 until he turns toward adulthood around 21. These songs ripple with the anxiety and energy of teenage awakening—of hearing rock ’n’ roll, of understanding that independent music exists, of making out with an older schoolmate in deepest secret, of falling in love, of finally starting to understand that in order to be yourself you’re going to need to be something other than your parents’ vision of you. It is the rawest, most affecting and affirming album Pedro the Lion has ever made.Santa Cruz begins with a prayer that feels like a dirge, a synth-led funeral march to another town where Bazan knows no one. “If I lay it down/And I keep my eyes on you,” he moans, steeling himself through self-sacrifice. “It’ll all work out.” But when he arrives in Santa Cruz to begin eighth grade, the self-flagellation comes quickly, Bazan lecturing himself for the lameness of the neon-green backpack he picked out in Phoenix and the Christian rock that is his lifeblood. For decades now, Bazan has been known for his music’s deliberate pace, often linked to slowcore. Website | Bandcamp | Instagram | Twitter | Facebook | Spotify

Lloyd Cole

Due to unforeseen circumstances, this show is canceled at this time. We look forward to a rescheduled show some time in the future.This is a seated show. “I certainly didn’t set about making something that was going to be quite this intense,” says Lloyd Cole about his stunning new album On Pain. “But I wanted it to be more extreme in all directions: I wanted the minimalist stuff to be more minimal, I wanted the poppy stuff to be more poppy, and I wanted the abstract stuff to be more abstract.” And so, to paraphrase one of the songs from On Pain, Cole’s music has become more of what it is: there’s an elegant economy here that only comes with experience, magnified by an evocative way with technology that can only come with insatiable curiosity. Sixteen albums and nearly 40 years into his illustrious career, Lloyd Cole is exploring what the 21st-century version of what a singer-songwriter is. This is certainly sophisticated music, both harmonically and sonically, but the spaces within it, and the straightforward language Cole croons over it, allow in ineffable feelings: often, they’re powerful currents of melancholy, even dread. What with the current state of things, the songs assume an almost oracular feeling, like maybe On Pain is a musical canary in a cultural coal mine. Although best known for guitar-oriented music with Lloyd Cole and the Commotions and a long line of acclaimed solo records, Cole has made plenty of exquisite synth-based music: 2001’s Plastic Wood, 2013’s Selected Studies, Vol. I (with Hans-Joachim Roedelius of legendary Krautrock band Cluster), and 2015’s sublimely minimalist 1D. 2019’s Guesswork achieved a compelling singularity between digital electronics and the literate pop that made Cole’s name. But On Pain takes it a step further into the future. After Cole used a random digital noise generator as the basis for the four long, abstract compositions of 2020’s Dunst, “I decided I’d apply that musique concrète approach to songs,” he says. “And that’s how a lot of On Pain was created. The challenge was to make music that I’d want to listen to, a record that might be able to stand next to records that I love.” Besides Cole’s four songs, former Commotions keyboardist Blair Cowan contributed the music for three songs and Commotions guitarist Neil Clark wrote the music for one, then Cole edited the tracks, reshaped some of the sounds, and added additional instruments, lyrics and vocals at The Establishment, the studio in the attic of his home in western Massachusetts. The only other musicians on the album are backing singers Joan Wasser (Joan as Police Woman), Renée LoBue (Elk City) and Dave Derby (Gramercy Arms). While he was recording, Cole FaceTimed with producer Chris Hughes (Tears for Fears, Adam and the Ants, Robert Plant), then traveled to Hughes’ studio in Wiltshire, England, where they did some instrumental overdubs and mixed the record. — Michael AzerradNew York City, March 2023 Website | Instagram | Twitter | Facebook

WXYC Decades Dance – Rhythm of the Night: 90s House Dance Party

UNC Students $5 with One Card$10 for non students Website

Cosmic Charlie – High Energy Grateful Dead from Athens, GA

“Cosmic Charlie really is a great band – these guys do this music the way it should be done: having the conversation in their own voices.” -David Gans, Grateful Dead archivist Cosmic Charlie was born in the musical Mecca of Athens, Georgia. From its summer 1999 inception, the band swiftly cemented its reputation as a band that puts a unique and personal twist on the Grateful Dead catalogue. Cosmic Charlie is a Dead cover band for folks that are ambivalent about Dead cover bands. Rather than mimicking the Dead exactly, Cosmic Charlie chooses to tap into the Dead’s energy and style as a foundation on which to build. The result is healthy balance of creativity and tradition, where both the band and its audience are taken to that familiar edge with the sense that, music is actually being MADE here tonight. Moving and shaking even the most skeptical of Deadheads, Cosmic Charlie storms into a town and plays with an energy that eludes other bands, an energy that sometimes eluded the Dead themselves. Those precious moments during Dead jams when the synchronicity is there and all is right with the world – these are the moments that Cosmic Charlie relishes and feverishly welcomes with open arms. Clearly, Cosmic Charlie’s audiences are also eager to partake in these moments, and together with the band, they have indulged in many memorable evenings.Most nights, Cosmic Charlie walks onstage without a setlist, not even knowing what the first song will be. Any Dead tune can rear its head at any moment, and fan requests are always welcome. “INSPIRATON, MOVE ME BRIGHTLY” is Cosmic Charlie’s mantra, allowing the music to truly play the band.Website | Facebook | YouTube

Genre: Miscellaneous