Young Medicine
Rising synthwave rockers Young Medicine pull the best from diverse genres to build a carefully constructed music identity that defies simple categorization. Thumping double-bass beats and crunchy guitar riffs hammer out hard-hitting rhythms while chorus lines partner with sparking retro synth tones for a stunning mix of audio ideas. If synthwave and metal got together and started a boy band, the result might sound something like Young Medicine, who have put themselves on the map as pioneers for a new era by bringing rockstar swagger to the retrowave movement. Website | Instagram | TikTok | YouTube | Spotify
Be Loud! Sophie High School Music Showcase
Chief of Staff 3-Day Weekendz John Stevens Step Over Mars Scattertones Locally Sourced Weaponry MAZES CY&I Allycats Website | Instagram | Facebook | YouTube
Destroyer: Dan’s Boogie Tour
What is a “boogie”? In the common tongue, it’s a dance or an occasion to dance, a song or a shindig, an incitement to move, quickly, whether it’s on the floor or out of town, getting down or lying low. This being a Destroyer album and not the common tongue, the implications of a title like Dan’s Boogie are at once more alluring and dangerous. “A boogie is a hustle, a scam that doesn’t quite work, the moves we make when we’re up against it,” explains Dan Bejar. “I think of spy work, double agents, sleeping with one eye open, an eye on the exits. But I also think of petty street-level victories and losses and improv.” Dan’s Boogie is a breakthrough album for Destroyer, both in the sense that it makes moves that no Destroyer album to this point has made, and in the sense that, to record it, Bejar had to burst through a series of intentional and unintentional barriers to write the songs. Initially challenging himself to not write songs so the ideas would well up inside of him until they breached containment, the months following the completion of LABYRINTHITIS turned into one year then two, at which point Bejar gave himself a New Year’s resolution to play the piano every day for an hour. That lasted about four days, but the songs Bejar credits as coming from that resolution—“Cataract Time,” “Hydroplaning Off the Edge of the World,” “Bologna,” and “Dan’s Boogie” among them—are all-timer Destroyer songs across the vast spectrum Bejar and his collaborators have established for themselves: spectacle-laden pop epics, personal piano ballads, and smouldering works of mood that blur the lines between song and novel and cinema, each brimming with the urgency of a state secret in the mind of a tortured spy.Lead single “Bologna” is the most radical frame for this energy, as it’s the first time Bejar wrote a song where he imagined himself as a supporting character. Taking lead is Fiver’s Simone Schmidt, whose voice—tough and expressive, piercing through the murk of the scene—is a siren’s call that haunts the album. The gravity of their voice pulls Dan’s Boogie into order around a sense of impending doom, the way a fatale’s promise of the unusual and the ecstatic dooms the principal character of an erotic thriller. “Hydroplaning Off the Edge of the World” is a delicious bit of contradiction, a peppy song that came out of the havoc Bejar was intentionally wreaking on himself—its holiday cheeriness making the angst of its lyrics go down smoothly until the song veers off the road. “We are now entering a new phase,” Bejar intones, introducing layers of guitar and synthesizer that considerably darken the palette as he alternates between singing and speaking. The lyrics and vocals are improvised, invented as Bejar recorded the demo in his garage—a manic stream-of-consciousness and simultaneously exquisite display of his songwriting mastery. Contradiction informs much of Dan’s Boogie, the fog swirling around Bejar illuminated by the friction between competing truths and tastes, as when his interest in jazzy ballads runs aground on producer and bassist John Collins’ interest in bands like Led Zeppelin and Scritti Politti. Website | Instagram | Facebook | Spotify | YouTube
The Wildmans
The Wildmans come from the hills of Floyd, Virginia, the heart of the Appalachian mountain music tradition. A merger of campsite jamming at festivals and fiddler’s conventions and a college-level music education creates the foundation for a musical exploration that sets this group apart, taking the audience on a journey that reflects the closely nurtured roots of these talented musicians. In a variety of formats, the Wildmans have delighted fans at festivals such as Red Wing Roots, Chantilly Farm’s Bluegrass and BBQ festival, Grey Fox Bluegrass, Floyd Fest, and The Steep Canyon Rangers’ Mountain Song Festival. They also regularly represent young talent along the Crooked Road in regional fiddler’s conventions. Having shared the stage with talents such as Bela Fleck, The Steep Canyon Rangers, The Steel Wheels, Danny Knicely, Sammy Shelor, Sierra Hull, and Billy Strings, these young musicians are making their way in the American stringband scene. Website | Facebook | Instagram
¡Tumbao!
¡Tumbao! Coming off from a record-setting international tour for the nine person Psychedelic Latin Fusion ensemble, – having shared the stage with Grammy Award winning acts like Kabaka Pyramid, Proyecto Uno, and legend Mavis Staples, with performances at stages such as the Grassroots Festival Circuit, The Smithsonian, a featured artist at Jazz in the Garden in Washington, DC and CocoJazz Fest in Lima, Peru – the band has reached a new height of popularity, expanding its fanbase beyond its original Latin American and East Coast roots. ¡Tumbao! Amps up in 2025 with both national and international tours, having released their new album “LUNA” in January 2025 on worldwide platforms. Formed in 2020, ¡Tumbao! has wasted no time in capturing the hearts and ears of audiences wherever they perform. From legendary venues along the United States east coast to festivals that celebrate the very essence of world music, this ensemble’s popularity is skyrocketing. The band’s dynamic stage presence, stellar musicianship, and infectious energy create an atmosphere that is impossible to resist. More than heart-pounding rhythms and irresistible melodies, The band provides a cultural journey that celebrates the rich traditions and diverse heritage of Latin America. By blending musical elements from different regions, ¡Tumbao! creates a multicultural experience that unites people from all walks of life. Website | Instagram | Facebook Elora Dash At the Nexus of R&B and neo-soul, Elora Dash emerges as a multifaceted artist—a vocalist, producer, and multi-instrumentalist. Her voice effortlessly scales the heights and explores the depths, while her music resonates with an adventurous spirit that captivates listeners. Anticipation builds as Elora Dash gears up for 2025 tour dates after having most recently shared the stage with artists such as Moses Sumney, Lute, Tierra Whack, and Janelle Monáe. Drawing inspiration from luminaries such as Hiatus Kaiyote, Erykah Badu, and Lauryn Hill, the 5 piece ensemble embarks on a musical journey, skillfully blending elements of jazz fusion, neo-soul, and R&B to craft music that is both innovative and soul-stirring. Africa Unplugged Africa Unplugged is a dynamic group, led by djembe master, guitarist and songwriter, Atiba Rorie. The band uses traditional percussion instruments from West Africa in combination with guitars and bass to play traditional rhythms while drawing from influences across the world. Their creativity results in a funky, soulful blues and dance music that keeps you moving as they tell stories from the old world and the new!
Wim Tapley & The Cannons
Based in Athens, Georgia, Wim Tapley came of age playing venues in Washington D.C. and its sprawling suburbs. There, he honed his voice with the passion of a born troubadour, drawing in a diverse fanbase with his easy showmanship and distinct style. Since 2021, Athens has been home to Wim and his live band The Cannons. His first week in town, Wim made his way onto a local bill, etching a name for himself as a fresh and favorite hometown voice. He is ardently received by his ever-growing following at legendary regional venues like the 9:30 Club, Eddie’s Attic, and the Georgia Theatre—the latter of which he’s headlined more than once—and on tours across the country. Firmly rooted in Americana and dashed with glamorous pop sensibilities, the swinging depths of neo-soul, and a sprinkling of riotous horns, Wim’s arresting sound is as fresh as it is ageless, as fevered as it is raucous fun. Ever-inspired by the alchemy that happens on stage, in the studio Wim’s instruments stay live and edges remain raw. A sonic westward expansion of fuzzed-out guitars, defiant horns, and dusty vocals, his discography blazes a fresh new take on folk-pop while honoring the songwriting giants that paved the way before him like Jason Isbell, Bill Withers, and Chris Stapleton. Website | Instagram | Facebook | YouTube | Spotify
Jennifer Curtis, violin with friends from NC Symphony
Composer/performer Jennifer Curtis has been described as a “multi genre maverick” by the San Diego union tribune. Her second solo concert in Carnegie Hall was described by the New York Times as “one of the gutsiest and most individual recital programs,” and she was celebrated as “an artist of keen intelligence and taste, well worth watching out for.” As a violinist Jennifer has won the milka-astral grand prize for violin, Juilliard concerto competitions and competed in Austria at the international Brahms competition. She has appeared as a soloist with the Simon Bolivar Orchestra in Venezuela, performed her own mini concerto with the Knights Chamber Orchestra, been presented as a soloist at Carnegie’s Weil Hall, Philadelphia‘a Kimmel center and Academy of music, given world premieres at the Mostly Mozart Festival at Lincoln Center; collaborated with composer John Adams at the Library of Congress; appeared at Giverny international festival de musique de chamber, Spoleto Festival, El Festival de las Artes Esénias in Peru, and many other festivals worldwide. An improviser, composer, and multi-instrumentalist, Jennifer was a member of the acclaimed new music group; International Contemporary Ensemble (ICE) for 14 years. She appears on many recordings such as Invisible Ritual with Tyshawn Sorey, for which pitchfork magazine wrote that “Curtis’s range as a soloist is a revelation.” Other recordings such as Routes of Evanescence with Ariana Kim, include her compositions. Currently, Jennifer is finishing up an album of rarely heard repertoire by violinist/composer George Enescu. She has given American premeires of his solo violin works and performed many times in Romania in his honor. As a composer, Jennifer has been in residence at Cornell, composed in India for classical dance and been presented at Spoleto Festival Italy and Verbier, where she joined the Curtis Orchestra during their residency. She has been part of multiple residencies at the Baryshnikov arts center in New York City as composer/performer and improviser. An educator with a focus on music as humanitarian aid, Jennifer has also collaborated with musical shamen of the Andes, improvised for live radio from the interior of the Amazon jungle, and taught and collaborated with Kurdish refugees in Turkey. She has given her masterclass on the Art of Interpretation through improvisation and applied music theory at Oberlin Conservatory, San Francisco Conservatory, Cornell and more. Jennifer teaches violin at Duke University, performs regularly with the North Carolina Symphony and plays on a 1777 Vincenzo Panormo violin. Her formidable teachers were Robert Mann, Itzhak Perlman and Don Weilerstein. Website
Stereolab
With their hypnotic rhythms and mesmerizing vocals, Stereolab became one of indie’s most distinctive and influential bands when they emerged in the early ’90s. Led by Tim Gane and Laetitia Sadier, the group celebrated strands of pop music — bossa nova, lounge-pop, movie soundtracks — that were traditionally banished from rock’s lineage. On early singles and albums such as 1993’s Transient Random-Noise Bursts with Announcements, Stereolab combined ’60s pop melodies with an art rock aesthetic borrowed from Krautrock bands like Faust and Neu!; by the time of 1996’s Emperor Tomato Ketchup, their sound incorporated jazz, hip-hop, and dance music. Their work with John McEntire and Jim O’Rourke on 1997’s Dots and Loops and 2001’s Sound-Dust reflected an increasingly intricate, experimental approach, but following the 2002 death of member Mary Hansen, they eventually returned to a poppier style on albums like 2008’s Chemical Chords. Stereolab’s unmistakable sound had a lasting impact: Contemporaries like Pavement and Blur aped their style in the ’90s, while hip-hop artists such as J Dilla and Tyler the Creator sampled the band’s music or collaborated with its members in the 2000s and 2010s. Late in that decade and into the 2020s, Stereolab’s revival as a touring band and a steady stream of reissues underscored their reputation as innovators. Tim Gane (born July 12, 1964; guitar, keyboards) was the leader of McCarthy, a London-based band from the late ’80s that functioned as a prototype for Stereolab’s sound. Gane met Laetitia Sadier (born May 6, 1968; vocals, keyboards), a French-born vocalist, at one of McCarthy’s concerts. The pair began a romantic relationship that became a musical collaboration after McCarthy disbanded in 1990; Sadier sang on the final McCarthy album. The duo began recording as Stereolab, borrowing the name from Vanguard Records’ hi-fi effects division in the ’50s. Gane and Sadier also formed the label Duophonic Records with manager Martin Pike to release their singles. Stereolab’s first year of existence was prolific: The debut EP Super 45 arrived in May 1991, followed quickly by the Super-Electric EP that September and the Stunning Debut Album EP that November. At that point, the group were working with Th’ Faith Healers drummer Joe Dilworth and former Chills bassist Martin Kean; Gina Morris occasionally provided backup vocals. Too Pure released the band’s first full-length, Peng!, in May 1992, and the EP compilation Switched On in October. As with all of the group’s releases from this era, both albums featured the visual trademark of a maniacally grinning cartoon taken from a ’70s Swiss political comic (which the band named “Cliff”). That year, Stereolab also issued the Lo-Fi EP and added keyboardist/vocalist Mary Hansen and drummer Andy Ramsay to the fold. Released in early 1993, Stereolab’s The Groop Played “Space Age Bachelor Pad Music” EP featured the core group of Gane, Sadier, Hansen, and Ramsay, along with ex-Microdisney guitarist Sean O’Hagan and bassist Duncan Brown. One of the first ’90s alternative records to explicitly draw from the “Space Age” lounge-pop music of the ’50s, The Groop became an underground sensation, paving the way toward Stereolab’s first American record contract with Elektra Records. Their next album, and first American release, was Transient Random-Noise Bursts with Announcements. Released in August 1993, it became an underground and college hit throughout the U.S. and U.K. They followed it that October with Crumb Duck, a split EP with Nurse with Wound. Website | Instagram | Facebook | YouTube | Spotify | Soundcloud
The Last Revel
The Last Revel is a four-piece folk group from Minneapolis, Minnesota. Utilizing their multi-instrumental abilities, members Lee Henke, Ryan Acker, Vincenzio Donatelle and Lauren Anderson bring a full spectrum of modern Americana to life with lush arrangements of four-part vocal harmonies, acoustic guitar, upright bass, fiddle, and 5-string banjo to consistently support impassioned performances of their honest and heartfelt songwriting. Drawing influence from their salt of the earth Midwest ethos the band’s songs so naturally blend the genres of Folk, Old Time String-Band and Indie Rock to create a sound that echoes the current heartbeat of America. Their latest release, Dovetail, highlights each member’s strength as songwriters and collaborators, and further solidifies their musical foundation after a hiatus beginning in 2019. Self-produced and released under the bands own label, Sheep Sheep Records, Dovetail is the band’s fifth studio album. Website | Facebook | Instagram | Spotify | YouTube | TikTok
Peter Holsapple Album Release Show
Meet Peter Holsapple. You probably already know him, but if you don’t, it’s time to change that with his new album The Face of 68 on Label 51 Recordings. You may know him from The dB’s or Continental Drifters, two bands he co-helmed over the course of influential albums like Stands for deciBels and Vermilion. Or his duo records with Chris Stamey like Mavericks. You may know him from his work on the road and in the studio with R.E.M. and Hootie. Or via artists like Marti Jones, the Golden Palominos, the Troggs and Claire Lynch, who have all covered his songs. This is different, though: The Face of 68 is a fresh new sound for Peter. With a couple of years playing lead guitar with The Paranoid Style under his belt, he’s renewed his rock roots. The Face of 68 is a high performance album that accentuates Holsapple’s stylish guitar work alongside the established excellence of his songwriting. The solid muscular groove of the leadoff track “Anytime Soon” bridges the gap between a classic Holsapple pop song and something more intense and harder rocking, with a wicked retro guitar sound. Title track “The Face of 68” is the one recording that’s got Peter playing all the instruments. He’s brought an enthusiasm and engagement to the vocals on this bright birthday present to himself! “Larger Than Life” is the first single/focus track from The Face of 68. It’s got a heavy ‘70s rock vibe not dissimilar to Mountain, and lyrics that were grief therapy for Holsapple after the death of Continental Drifters’ founding member Carlo Nuccio in 2022. “My Idea #49” is a dystopian science project by Peter, powered by heavy guitars. (Not to be confused with “Funk 49” by esteemed midwestern rockers the James Gang.) The spirit of the aforementioned Continental Drifters rises in the sound of “High High Horse” which features a soulful organ solo by Mark Simonsen (Old Ceremony). Record collecting has a new national anthem. “That Kind of Guy” swings the story of someone you probably know if you are digging through crates yourself! A true story of theft and retribution, “One for the Book” has Peter back on acoustic guitar with a classic West Coast folk-rock vibe. “Fireflies” bridges progressive and punk with its searing lead guitar and mathematical arrangement. Peter mourns another friend, the legendary Winston-Salem guitarist Sam Moss, in “So Sad About Sam.” Moss was a mentor to Peter and a generation of musicians in the Camel City, and this song encapsulates the grief an entire community felt in a succinct rock song. If MTV still played pop rock videos, you could imagine “See About You” as a candidate with its late 70s pop vibe. The album ends with “She and Me” which is more familiar songwriting territory for fans of Holsapple’s power-pop catalog. Nobody writes a love song like Peter Holsapple, and this one belongs among his finest. Recording in the popular trio form like Cream and the Limelighters, Peter and his rhythm buddies Robert Sledge (Ben Folds Five) on bass and Rob Ladd (The Connells) on drums ran everything by producer Don Dixon (R.E.M., Smithereens) and through engineer Jason Richmond (Margaret Glaspy) in three and a half days. Eleven new songs that drolly weave through laughter and grief, all the while underpinned by Peter Holsapple’s confident electric guitar and the strongest singing heard from him yet. It’s a strong and intense record by a veteran songwriter still stretching his wings. Links
