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Eric Church

Eric Church

Performances

June 22 - 7:30 PM @ American Family Insurance Amphitheater

Eric Church

Eric Church's most recent critically acclaimed and chart-topping project, his Heart & Soul triple album, is available everywhere now. Featuring the results of a marathon session during which he spent nearly a month writing and recording a song per day while sequestered in rural North Carolina, the trio features his latest Gold-certified No. 1 “Hell of a View” and recent Top 5 hit “Heart On Fire” as well as his latest single, “Doing Life With Me,” climbing the charts at Country radio now.

Just as unique as Church's approach to recording and releasing music is his tenacity on the road. His latest outing, the 55-city The Gather Again Tour, offered fans an in-the-round show and earned the Billboard Music Award for Top Country Tour. Church also performed one-of-a-kind headlining stadium shows at Milwaukee's American Family Field and Minneapolis's U.S. Bank Stadium in 2022 and took the field at Tampa Bay's Raymond James Stadium to perform the National Anthem with R&B star Jazmine Sullivan ahead of Super Bowl LV in 2021. During 2019’s Double Down Tour he played back-to-back nights of two unique shows in each market sans opening act, giving every city’s fans six-plus hours of his iconic music. The tour also featured a massive stop at Nissan Stadium in Nashville, where he broke the venue’s concert attendance record with more than 56,000 fans in attendance and became the first artist to sell out the venue with a solo lineup.

A seven-time ACM Award winner, four-time CMA Award winner (including the 2020 award for Entertainer of the Year) and 10-time GRAMMY nominee, Church has amassed a passionate fanbase around the globe known as the Church Choir as well as a critically acclaimed catalog of music. His previous project, the Gold-certified Desperate Man, earned a GRAMMY nomination for Best Country Album (his third nod in the category). Prior releases include the Platinum-certified Sinners Like Me (“How ’Bout You,” “Guys Like Me”), Carolina (“Smoke a Little Smoke,” “Love Your Love the Most”) and Mr. Misunderstood (“Record Year,” “Round Here Buzz”), the Double-Platinum certified The Outsiders (“Like a Wrecking Ball,” “Talladega”) and the 3x Platinum-certified Chief (“Springsteen,” “Drink In My Hand”), as well as 30 Gold, Platinum and multi-Platinum certified singles.

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Elle King

Elle King

Performances

June 22 - 7:30 PM @ American Family Insurance Amphitheater
June 22 - 2:00 PM @ AmFam House Stage

Elle King

Opening for Eric Church

Singer and songwriter Elle King blends pop, blues, and rock-n-roll into a sound that's all her own. She loves banjos and hobos. After hearing the all-girl pop-punk band the Donnas when she was nine years old in Ohio, she decided she wanted to be a singer and musician. By 13, she was playing guitar and later learned to play banjo. King began street busking and gigging around New York at age 16, moved to Philadelphia to attend the University of Arts, and majored in painting and film.  After college, she spent time in Copenhagen and Los Angeles before settling in Brooklyn.  After signing to FCA Records, she released The Elle King EP which featured the Mob Wives Chicago theme song “Playing For Keeps.” and she made her network television debut on The Late Show with David Letterman. In 2015, King released her debut album Love Stuff, featuring the hit single “Ex’s & Oh’s” which reached the top of Billboard’s Alternative Songs chart. She made chart history becoming the second female artist in 18 years to reach #1 at Alternative Radio, and “Ex’s & Oh’s” earned Elle 2 Grammy nominations.  The track made the Top 10 in four different radio formats, and her current feature with Dierks Bentley on “Different For Girls” is now top 10 at Country radio, the 5th radio format Top 10 for this unique and distinctive new artist.

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Zac Brown Band

Zac Brown Band

Performances

June 23 - 7:30 PM @ American Family Insurance Amphitheater

Zac Brown Band

Zac Brown Band is a multi-platinum, Grammy Award-winning group led by front man, Zac Brown along with Jimmy De Martini (violin), John Driskell Hopkins (guitar), Clay Cook (guitar), Chris Fryar (drums), Coy Bowles (guitar), Daniel de los Reyes (percussion) and Matt Mangano (bass guitar). Since their debut, Zac Brown Band has developed a reputation with critics and fans alike as one of the most dynamic live / studio acts, marked by strong musicianship and a creative range that defies genre boundaries. The New York Times said it best when they described the band’s work as “a huge amalgam of soft rock, country-rock, hard rock, heavyish metal, big band music, bluegrass and, yes, a touch of electronic music,” in their official review of the band’s JEKYLL + HYDE.

 

Most recently, Zac Brown Band announced their long-awaited return to the road, with 2021’s “The Comeback Tour.” Arriving on the heels of a monumental year of live performances in 2019, playing to over three quarters of a million fans, the new tour represents an ethos of shaking the dust off after falling down and celebrates the collective resilience of our community, giving fans an opportunity to stage their comeback. Kicking off on August 5 in Holmdel, NJ and will include tour stops in cities including Denver, Boston and Charlotte. The tour concludes in Nashville, TN on October 17. In May, the band also performed their first-ever livestream performance event from the renowned Southern Ground Studios, in partnership with Sessions Live. 

 

In June 2020, Zac Brown Band released their single “The Man Who Loves You The Most,” which debuted at #1 on Billboard’s Country Digital Song Sales chart. Written, recorded and produced while in quarantine, Zac Brown first debuted the heartfelt track on John Krasinski’s “Some Good News” in May to surprise a bride for a sweet father-daughter serenade during a couple’s virtual wedding. The beautiful, harmonious ballad is a tribute to this special bond, bringing joy and light during a difficult time. In July 2020, the band followed up with their latest single, “You and Islands,” a breezy song on blissful island time to bring positivity and provide escapist melodies, just in time for summer. Most recently, Zac Brown Band collaborated with the renowned Grammy, CMA and ACM Award-winning country music band Shenandoah on their first all-new album in 26 years, with the release of the lead single, “I’d Take Another One of Those.”

 

In 2019, Zac Brown Band released the highly anticipated and dynamic sixth studio album, The Owl, which debuted at No. 1 on the Billboard Top Albums, Country Albums, Independent Albums and Digital Albums charts, and No. 2 on the Billboard 200 Chart. Featuring intricate melodies and dynamic vocal arrangements the group has long been known for, while also exploring new sounds through unexpected collaborations, The Owl marks Zac Brown Band’s most personal and genre-defying album to date. The album name is inspired by the lore surrounding the great horned owl, which can see perfectly at night, making it a reliable guide, even during dark times. The Owl earned early praise for its previously released songs including “Someone I Used To Know”, which won the 2019 CMT Award for Group Video of the Year, “Leaving Love Behind” which Billboard called “poignant” and “gorgeous,” “Need This” dubbed a “new party jam” and “undeniable banger” by Rolling Stone and veteran tribute “Warrior,” which Rolling Stone also applauded for its “infectious tribal drumbeat” and “rousing lyrics.”

 

Earlier that year, the band extended their Fenway Park sellout venue record with back-to-back sold out shows during “The Owl Tour” stop in Boston, marking their eleventh consecutive sold-out show at the famed venue. The tour was Zac Brown Band’s third consecutive national tour over the course of one year, coming on the heels of Zac Brown Band’s “Down The Rabbit Hole Live Tour,” with the second leg ending in April 2019. 

Throughout their career spanning over a decade, Zac Brown Band has had six consecutive albums reach the top 10 on the Billboard 200 chart and five consecutive albums debut at No. 1 on the Billboard Country Albums chart. To date, they have sold more than 30 million singles, 9 million albums, amassed more than 9.3+ billion catalog streams and have achieved 15 No. 1 radio singles. They are the second act in history to have topped both Country Airplay and Mainstream Rock Songs charts. They took the No. 1 spot on Billboard’s Mainstream Rock Songs chart during their 2015 collaboration with the late Chris Cornell on “Heavy is the Head.”

 

The band released their debut major-label studio album, certified 5x platinum, The Foundation, in 2008 featuring their hit debut single, “Chicken Fried.” Since then, the band has released five studio albums (You Get What You Give, 2010; Uncaged, 2012; JEKYLL + HYDE, 2015; Welcome Home, 2017; The Owl, 2019), two live albums (Live From Bonnaroo, 2009; Pass The Jar, 2010), a greatest hits compilation (Greatest Hits So Far, 2014), and an extended play produced by Dave Grohl (The Grohl Sessions, Vol. 1., 2013).

 

In 2013, Zac Brown Band became a three-time Grammy Award-winning musical act when they accepted the honor for Best Country Album (Uncaged), following their previous wins for Best New Artist in 2010 and Best Country Collaboration with Vocals in 2011 for their song “As She's Walking Away (feat. Alan Jackson).” Another standout achievement among the band’s extensive list of accolades is their 2016 acceptance of the Recording Artists’ Coalition Award in Washington D.C. for their musical achievements and commitment to philanthropic causes.

 

Zac Brown Band is represented by William Morris Endeavor, mtheory, Warner Music Nashville and communications and branding agency JONESWORKS.

 

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The Marcus King Band

The Marcus King Band

Performances

June 23 - 7:30 PM @ American Family Insurance Amphitheater

The Marcus King Band

Opening for Zac Brown Band

Songwriter. Guitarist. Singer. Bandleader. At only 21 years of age, Marcus King's dazzling musical ability is evident throughout The Marcus King Band, the young phenom’s 2nd full-length LP and first for Fantasy Records. Operating within the fiery brand of American roots music that King calls "soul-influenced psychedelic southern rock," the album highlights King's gorgeous, rough-hewn vocals, soaring guitar work and heartfelt songwriting all amidst a group of masterful musicians who, together, are quickly becoming one of the country’s most sought after live acts.

Raised in Greenville, South Carolina, King was brought up on the blues, playing shows as a pre-teen sideman with his father—bluesman Marvin King, who himself was the son of a regionally-known guitarist—before striking out on his own. Going beyond the sonic textures of his acclaimed 2015 debut album, Soul Insight; The Marcus King Band broadens his sound, touching upon everything from funky R&B to Southern soul and Americana in the process. His band gets in on the action too, stacking the songs with blasts of swampy brass, a lock-step rhythm section and swirling organ. Ever the multi-tasker, King bounces between several instruments, handling electric and acoustic guitar — as well as pedal and lap steel — while driving each track home with his soulful, incendiary voice. 

Having spent the past year tirelessly playing ever-larger venues and festivals to a burgeoning fan base, The Marcus King Band was written on the road and recorded during a series of live takes at Carriage House Studios in Stamford, CT. The album captures the energy of the band's blazing live show, as well as the talent of a rising young songwriter reaching well beyond his years. 

"The majority of our songs are specific to situations I've lived," King explains. "I write as a form of therapy, to release my emotions into a musical expression. I want people to know they're not the only ones going through that pain. Music is the true healer. And when we perform, we want the audience to leave feeling as tired and as emotionally freed as we do. It's all about getting the stress of the day off your chest. It's like therapy."

The Marcus King Band features Jack Ryan on drums and percussion, Stephen Campbell on bass, Matt Jennings on keys and organ, Dean Mitchell on saxophone, and Justin Johnson on trumpet, trombone and backing vocals. Joining the band on the new album are a number of mentors and collaborators, including Derek Trucks (who plays guitar on "Self-Hatred").

No guest plays a bigger role than Warren Haynes, though. A longtime champion of King's songwriting and guitar prowess, Haynes produced every track on The Marcus King Band (and contributed his trademark slide guitar on "Virginia"), expertly capturing the group's live sound for a cohesive collection reflecting the band's expansive explorations. 

"Marcus is the first player I’ve heard since Derek Trucks to play with the maturity of a musician well beyond his age," Haynes says. "He’s very much influenced by the blues, but also by jazz, rock, soul music, and any timeless genres of music. You can hear the influences, but it all comes through him in his own unique way. He has one of those voices that instantly draws you in, and his guitar playing is an extension of his voice and vice versa.”

A childhood introvert who leaned heavily on music as a way of expressing himself, King fills The Marcus King Band with a mix of biographical tunes and fictional story songs. "At the time I wrote 'Self-Hatred,' says King, "the girl I was seeing really hurt me. Broke my heart, took all of my insecurities and used them against me…she told me she hated herself for what she had said and done to me. I told her I knew exactly how it feels to hate yourself. 'Self-Hatred' is within you and me." 

"Devil's Land" is loosely based on his grandfather, who worked on a farm during his younger years, while the story behind the track "Rita Is Gone" was inspired by the television show Dexter. Meanwhile, songs like "Guitar In My Hands" peek into King's personal life — a life filled with highway mile markers, truck stops, and a nightly rotation of stages, all waiting to be filled with the sound of a genre-bending band on the rise. 

"This album is a big melting pot of different kinds of music," says King. "It's the sound of everyone taking their own influences and collectively coming together as a group. We're all really hungry to play, and we're so passionate about this music. I want people to feel the same thing we feel — to leave the show feeling some sense of release. It's almost like the show ends, and everyone can take a deep breath together."

 

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James Taylor

James Taylor

Performances

June 24 - 7:00 PM @ American Family Insurance Amphitheater

James Taylor

As a recording and touring artist, James Taylor has touched people with his warm baritone voice and distinctive style of guitar-playing for more than 40 years, while setting a precedent to which countless young musicians have aspired.  Over the course of his celebrated songwriting and performing career, Taylor has sold more than 100 million albums, earning gold, platinum, and multi-platinum awards for classics ranging from Sweet Baby James in 1970 to October Road in 2002. In 2015, Taylor released Before This World, his first new studio album in thirteen years, which earned him his first ever #1 album.  He has won multiple Grammy awards and has been inducted into both the Rock and Roll Hall of Fame and the prestigious Songwriters Hall of Fame.  In 2012, Taylor was awarded the distinguished Chevalier of the Order of Arts and Letters by the French government and the National Medal of Arts by President Barack Obama in a White House ceremony.  In November 2015, Taylor was presented with the Presidential Medal of Freedom, the nation's highest civilian honor. In December 2016 Taylor received the Kennedy Center Honors, which are presented annually to individuals who have enriched American culture by distinguished achievement in the performing arts.

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Sheryl Crow

Sheryl Crow

Performances

June 24 - 7:00 PM @ American Family Insurance Amphitheater

Sheryl Crow

Opening for James Taylor 

A nine-time GRAMMY AWARD recipient, Sheryl Crow is an American music icon. Her first nine studio albums have sold 35 million copies worldwide; seven of them charted in the Top 10 and five were certified for Multi-Platinum sales. In addition to such No. 1 hits as All I Wanna Do, Soak Up the Sun and The First Cut Is the Deepest, Crow has lofted 40 singles into the Billboard Hot 100, Adult Top 40, Adult Contemporary, Mainstream Top 40 and Hot Country Songs charts, with more No. 1 singles in the Triple A listings than any other female artist. For her current album “Threads”, Crow collaborated with a broad array of her musical heroes, including Stevie Nicks, James Taylor, Bonnie Raitt, Keith Richards, Eric Clapton, Willie Nelson, Emmylou Harris, Chuck D, Joe Walsh, Kris Kristoffersson, and even a duet of her classic song “Redemption Day” with the late legend Johnny Cash. “Threads” also features contributions by young artists shaping music today, including Gary Clark Jr, Brandi Carlile, Chris Stapleton, Jason Isbell, Margo Price, Andra Day, St. Vincent, and Maren Morris.

Crow is known as well for her passionate support of multiple charities, including The Breast Cancer Research Foundation, The World Food Program, Feeding America, ADOPT A CLASSROOM, the Elton John AIDS FoundationMusiCares, and the Delta Children’s Home and many other worthy causes. For more information, visit www.SherylCrow.com

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Dave Matthews Band

Dave Matthews Band

Performances

June 29 - 7:30 PM @ American Family Insurance Amphitheater

Dave Matthews Band

With a career spanning more than 27 years, Dave Matthews Band is one of the most influential bands in rock history. In 1991, vocalist/guitarist Dave Matthews decided to put some songs he had written on tape and sought the assistance of drummer Carter Beauford and saxophonist LeRoi Moore, who were both accomplished jazz musicians in the local Charlottesville, VA music scene. 16-year-old bassist Stefan Lessard came on board shortly thereafter. Their infectious, distinctive sound garnered lots of early attention and a die-hard loyal fan base, catapulting the band into one of the most successful touring acts of the past three decades.

The group has since released nine studio albums and numerous live recordings, selling a collective 38 million CDs and DVDs combined since the 1994 release of its major label debut, Under the Table and Dreaming. The GRAMMY®-winning band's many hits include "What Would You Say," "Crash Into Me," "Too Much," "Everyday," "American Baby," "Funny The Way It Is," "Mercy" and "Samurai Cop (Oh Joy Begin)."

Founding member LeRoi Moore passed away in August of 2008 and the band paid tribute to him with 2009's Platinum-certified Big Whiskey and the GrooGrux King. Dave Matthews Band has since welcomed longtime collaborators/touring musicians Jeff Coffin (saxophone), Rashawn Ross (horns) and Tim Reynolds (guitar) into the lineup and -- most recently -- keyboardist Buddy Strong.

With 2018's Come Tomorrow, Dave Matthews Band became the first group in history to have seven consecutive studio albums debut at No. 1 on the Billboard 200. In a Critic's Pick review, The New York Times observed, "willed optimism fills the songs on 'Come Tomorrow,' while cynicism and irony are nowhere within earshot... each song notes the fears and sorrows it's determined to overcome. The music does that, with consolation in its melodies and a life force in its rhythms."

Renowned for their live performances, Dave Matthews Band has sold over 24 million tickets since its inception and ranked as the biggest ticket seller worldwide of the past decade. The group's Bama Works Fund, established in 1999, has raised more than $52 million dollars for humanitarian and environmental initiatives.

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Odesza

Odesza

Performances

June 30 - 7:30 PM @ American Family Insurance Amphitheater

Odesza

ODESZA returned with their fourth studio album, 'The Last Goodbye', released July 22, 2022. Symphonic, vast, and emotionally stirring, 'The Last Goodbye' is the duo's most ambitious album to date. A project rife with brightness and emotion, nostalgic yet rooted in the present, it serves as a sweeping sonic experience that speaks to themes of connection, reminiscence, and the impact we impart on one another. It's a vivid celebration of the people and moments that have left fingerprints on our existence, echoing throughout the record. The album features Bettye LaVette on the title track, in addition to collabs with The Knocks, Ólafur Arnalds, Julianna Barwick, Izzy Bizu, Charlie Houston, Låpsley, & MARO. As ODESZA, this is Harrison Mills' and Clayton Knight’s most personal record yet, recognized with a nomination for Best Dance/Electronic Album at the forthcoming 65th Annual GRAMMY Awards. It’s a brilliant collection which looks to interweave the past and the present in a euphoric way.

With over 5 billion total streams, ODESZA have masterfully reemerged to remind the world what has made Mills and Knight cornerstones of the modern electronic landscape. Their last album, ‘A Moment Apart’, which featured Leon Bridges, Regina Spektor, RY X among others, was not only a commercial success (going gold and debuting at no. 3 on the Billboard 200), but it also earned praise from the likes of NPR, Rolling Stone, Billboard and more.

ODESZA has cultivated a diehard fanbase of massive proportions: known for their groundbreaking, awe- inspiring and immersive live performance. ODESZA spent the summer of 2022 touring North America, with 450k+ tickets sold, which included three sold nights in their hometown Seattle, and two sold nights runs in LA, New York, Chicago, and San Francisco for 22,000 people a night. They also have had headline performances at the likes of Coachella, Lollapalooza and more, as well as performed on Jimmy Kimmel Live! and Conan, and launched their own music festival SUNDARA in Riviera Maya, Mexico.

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Bonobo

Bonobo

Performances

June 30 - 7:30 PM @ American Family Insurance Amphitheater

Bonobo

Opening for ODESZA

Fragments is a huge event, destined to be one of the crossover electronic records of the year, and it might very well be Bonobo's masterpiece. Certainly for Si Green, the man behind it all, it was the most emotionally intense record yet to create, and it shows. Its electronic sounds are more powerfully hypnotic, the beauty of acoustic instruments is more exquisitely realised, the two are interwoven more totally -- and the songs are unforgettable. Its structures are full of tension and release on both an intimate and an elemental scale, it manages to touch on the most delicate and fleeting of emotions but also on existential terrors and an unabashed celebration of life in the face of fear and uncertainty. It's truly a record for our times. But there were times when it felt it would never happen: where previously Green had always written on the move, this time he had to fight to get it out, in isolation, as the world changed around him.

Of course these last few years have been a wild ride for everyone, but for Green, it was more a case of the rollercoaster suddenly stopping. It's now been over 20 years since he started Bonobo as a solo project, and over a decade since it expanded to include an arena-filling live band plus a parallel DJ and remixing schedule that puts Green up there with the biggest names in dance music. That expansion and acceleration has been constant, from a small town rural upbringing, through the small, funky clubs of Brighton on the English south coast, living in NYC then LA to working with Erykah Badu, Ólafur Arnalds and Jon Hopkins (plus remixes for Michael Kiwanuka, Gorillaz, George Fitzgerald and London Grammar). He has received three GRAMMY nominations, played huge arenas (selling out London's Alexandra Palace three times, as well as Denver's legendary Red Rock Amphitheatre, not to mention Glastonbury, Coachella, Lollapalooza, Primavera Sound and Fuji Rock) and most recently landing a top ten album in multiple countries, top five at home in the UK and a Billboard dance album number one in the US, with 2017's Migration.

This sounds dizzying, but the process of getting there was always so continuous, there was rarely any dramatic step change that made him take stock. His childhood was quietly cultured with his parents (his father a well regarded English folk musician) and sisters in Hampshire and Sussex. It was natural from there to gravitate to Sussex's party capital Brighton, where his eclectic tastes matched with the funky and exploratory club scene of the mid 90s, DJing jazzy, soulful global and electronic sounds in funky basements. Releasing on Brighton's own Tru Thoughts at the turn of the millennium led to signing to Ninja Tune, which gave him a global profile and let him build up a live band. And on it went... each step was logical and organic.

But as Green embarked on the Migration tour -- during which he and the band would play to two million people -- this constant acceleration combined with a feeling of the world in flux provided a feeling of uncertainty. He recalls the album dropping just as Trump took office in January 2017: heading to LAX for the start of the tour he saw it surrounded by protestors against the new travel ban. "It was deeply strange," he says, "There was very much a feeling of 'Oh well, here we go -- off into a weird new world,' not even knowing if we'd be allowed to come back." And touring was becoming gruelling. He had not long before had to deal with both his parents' passing, and that sense of "the madness intensifying out there in the world, especially in North America in that summer of 2017 -- it all got a bit much. I had a bit of a moment." He started to pull back into himself -- where previously he'd enjoyed and taken inspiration from the endless transit and crowds, now he felt like the constant cycle of cities and stop-offs was stifling. For the first time, crucially, he wasn't writing new music as he travelled.

And this sense of everything shifting and unravelling didn't abate when he got back: he arrived home after two years touring to find California on fire, and then the pandemic hit. His only way of processing this was to spend time in nature. Already on tour, he'd begun to take the scenic route. While the tour bus rolled on, he'd drive alone, and between cities "find the places that were alien and unique and awe inspiring, and just be there for a while, take pictures, get weird and be feral for a few days -- I'd literally walk into the venue to soundcheck in my muddy hiking boots." This continued: in 2020, his only escape from confinement was to go camping. He'd take a Jeep out into the Californian desert -- one time inadvertently visiting Death Valley on the hottest day in its history. With the temperature hitting 54.4°C, he found himself genuinely fearing he might not make it back to his vehicle, encountering a rattlesnake didn't help either.

Exhausted and wrung-out, Green was wrestling with feelings he found hard to express. He was unable to get home to the UK -- where formerly he'd been back and forth regularly -- but his vivid experience of heat and news footage of fires raging in California made him realise "the place I call home now might not be viable for life in the near future." The real and present danger of climate change was suddenly unavoidable. Yet at the same time, his abiding memories of the sheer scale of Canadian mountain ranges -- on tour, he'd driven solo through landscapes uninhabited for hundreds of miles -- was a reminder that life goes on, that nature is much bigger than any of us. Maybe in the green Utah valleys he camped in to escape the US election fever -- because as a Brit he couldn't vote -- he was harking back to his upbringing in rural England, yearning for the giddy innocence of teenagers drinking round bonfires. All of this was weighing on him: but with the need to make a new album looming, he was still struggling to get his ideas out.

The emergence of what would become Fragments from Green's psychic blank canvas came in phases. First was setting banks of modular synths in motion during lockdown in 2020. At first this was a diversion "from just pushing a kickdrum around on a computer screen, going off, making a cup of tea, then pushing it round some more" -- but then he became addicted to the complex undulations of sound that came from the machines. The fact that "it was chaotic but you could exert some degree of control over just how chaotic it should be" resonated with his deep feelings about elemental threats and human frailty: it was a way of interfacing with them and expressing them sonically. Also around this time, he dug out some recordings he'd made of harpist Lara Somogyi just pre-COVID, and found that these also fit his mindset.

The flowing, rippling tones of the modular synths and the harp working together set the tone of fluidity and cyclical patterns. Working with arranger and string player Miguel Atwood-Ferguson, musical themes began to rise out of the unconscious jamming and sample manipulation -- and recording orchestral musicians in actual studios helped bring the songs "out of the box" and into real, physical space. A rhythmic framework started to come together too: the structures of UK bass music and rave began to seep into beats that would become tracks like "Otomo" and "Sapien," some of the most hip-shaking grooves he's ever made. This was because Green, unable to return to the UK because of COVID and Visa issues, was obsessively listening to radio and DJ sets from back home and picking up on the future-retro rave, jungle and UK garage sounds he was hearing. Of course he retained his own connections to the UK scene -- notably overseeing the first in the prestigious fabric Presents DJ mix series in 2019, and launching his own dance-focused label OUTLIER in late 2020, writing a radio smash together with fellow Brit Totally Enormous Extinct Dinosaurs (and later signing Damon Albarn protege Poté).

Still, though, this wasn't a complete record yet. There were musical and psychological themes, but it wasn't connected, and -- aside from the "old school, Detroity, Moodymann and Theo Parrish inspired" "Shadows," recorded with friend Jordan Rakei -- there weren't songs. Once COVID hit, the vocalists Green reached out to, it seems, were struggling as much with creative block as he was. But finally, well into 2020, "right at the end when I thought everything was off the table, and I'd ground to a halt," Chicagoan singer and poet Jamila Woods sent back her vocal parts.

Green listened to the vocal back in the studio after an evening out and it was a magic moment. The last creative blocks dissolved: "I knew I had a centrepiece for the album, I knew how it was all going to sound." The track became "Tides," and all of the themes of ebb and flow, of the cycles of nature, of the inexorable nature of the elements fell into place around it. That moment became a figurative turning of the tide. The US was opening up from lockdown, and other vocals started coming in thick and fast, bringing new collaborative energy to the album. O'Flynn's co-production contribution on "Otomo" -- he effectively remixed it, turning Green's sample of the haunting Bulgarian choir 100 Kaba-Gaidi into a dramatic breakdown and beat drop -- also gave the process a boost, reminding Green of the sense of dancefloor abandon and surging crowds that by now he missed with a burning passion.

So the album is the sound of both struggle and isolation -- personally and collectively -- and of a surging, joyous return. This falling-together of elements was rapid, and a huge relief, coinciding with a return to socialising and a return to dancing. While there is sorrow and introspection here -- see the beautiful melancholy of Joji's voice and the dense textures of the ballad "From You" -- there is just as much a sense of release, of going with the flow and freedom. It's about the dancefloor in many ways, about how "I remembered all over again how much I loved crowds and movement and people connecting with each other" -- but the positivity isn't just in the uptempo rhythms: even the most introspective and melancholic pieces have joy in them.

The beatless "Elysian," which follows "Tides," lets the fluidity of Somogyi's harp and Atwood-Ferguson's strings flow over the listener, enveloping you in bliss. And another ballad, the closing "Day by Day" with Kadhja Bonet -- the only vocal recorded in an in-person session -- glows with hope, with the sense that despite it all life goes on, and that even in small ways, individual action matters. Drawing all the threads together is the single "Rosewood" -- another nod to Detroit house, with a feeling of both celebration and a deep yearning, it both harks back to the small jazz, funk and soul clubs where Green cut his teeth but has the epic scale of the biggest festival stages too. Fragments isn't just a musical salve -- far from it, it has pain and fear and struggle shot through it -- but it is a gorgeous reminder of of how out of struggle and disillusionment, creativity and hope can emerge at the most unexpected moments.

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Drama

Drama

Performances

June 30 - 7:30 PM @ American Family Insurance Amphitheater

Drama

Opening for ODESZA

DRAMA is the multicultural collaboration between producer Na'el Shehade's chic Chicago house-infused production style, and vocalist Via Rosa whose soulful delivery is inspired by the improvisational nature of jazz and playful patterns of hip-hop and bossa nova. The duo play to the complementary dynamics of their unlikely pairing by blurring the lines between R&B and dance-pop, heartbreak and bliss.

Rosa grew up in a musical household; her parents played in a reggae band and toured as a family, homeschooling Rosa into her early teens and limiting her listening primarily to Sade, oldies, Brazilian and Afrobeat music. She kept poetry journals and by high school started writing songs and making beats. After moving to Chicago in 2010, Rosa connected with THEMPeople, a collective at the center of the city's sprawling hip-hop scene.

Meanwhile, Shehade inherited a strong work ethic from his immigrant parents. Born in Chicago, he fell in love with DJ culture as a kid and took up music production and engineering; his interest eventually led to professional opportunities, including early studio work with Chance the Rapper, Kanye West, and music projects for MTV and Bravo. Since a chance meeting in 2014 lead to the creation of DRAMA, the duo has bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit.

In early jam sessions the chemistry was clear; Rosa's soulful delivery interlocked with Shehade's chic Chicago house-infused production style. A lovesick sound emerged over two EPs, Gallows in 2016 and Lies After Love in 2018, and continued on to their debut album Dance Without Me in January 2020.

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QRTR

QRTR

Performances

June 30 - 7:30 PM @ American Family Insurance Amphitheater

QRTR

Opening for ODESZA

Meagan Rodriguez is QRTR, a Brooklyn-based musician, DJ, and film composer flourishing within modern electronic music, recognized as one of New York's top rising indie artists. Building music of conceptual depth, the tonality of QRTR's productions pull from various ethos: the entrancing and pulsating waves of house rhythms, psychedelic scopes of space and layering, and immersive worlds of sound that utilize her vast film and field recording library. QRTR can activate the biggest of stages and can also immerse the mind into a menagerie of unfolding styles cascading over one another. A singular artist in this generation that has released two monumental works within a 24-month window: 2020's Drenched and 2021's infina ad nausea. The live resume and presentation of QRTR's music has become just as exemplary, making her presence known at prestigious festivals such as Coachella, HARD Summer, Electric Zoo, and Electric Forest, completing a full sold out tour opening for Luttrell, and performing at some of the most cutting edge underground shows around the globe. Most notable was her appearance at A2B2's sold out Night of Fire festival at the Knockdown Center in New York, featuring QRTR alongside Arca, Eartheater, Andy Morin, Machinegirl, and Kero Kero Bonito. Millions of plays across streaming platforms worldwide and a dedicated fan base that's expanded far outside of Brooklyn, QRTR has become an undeniable force within modern electronic music.

The origins of QRTR's love for modern electronic music coupled with sounds from the past is a culmination of the family she was raised by and the dance music communities she first had access to. Her mother is from Madeira, a Portuguese island off the coast of Morocco, and her father is from Puerto Rico, giving a distinctly unique lens on incoming sounds from the house she was raised in. Growing up in Massachusetts, she would get her first access to making music with a vital gift from her dad: a Sony computer with DAW Acid Pro installed. Wild excursions into any sound obtainable, these stepping stones led to Garageband and then Ableton with a Pioneer controller. It wasn't until she moved to New York for film school at NYU that she was able to really harness the full scope of the QRTR sound that we know of today. One that DJ Mag's Ben Murphy describes as "tapping into everything from deep house to mystical IDM atmospheres, touches of UK garage, full-pelt jungle and psychotropic techno." Intensive hours sound designing and editing video gave her not only a cinematic view point to how sound is constructed but it also gave her access to a vast and unique library of sample sources. Beyond the techniques and skills acquired through NYU, being in New York allowed QRTR to interweave herself into the nightlife of the city and expand on the ethos she was formulating with vision and sketches sonically. These experiences had a huge impact on her as an artist. Across both Drenched and infina ad nausea, the bookend worlds of 21st century NY club nights and modern experimental film composer culture are glued all over the low end, overtones, and midsections. This unique dynamic is an integral aspect of what her artistry represents as a whole.

In 2017, QRTR put forth her first public works in the self-released EP Absinthe Party. Forging an integral relationship during this time was the addition of sound engineer Ryan Schwabe and the work completed mastering QRTR's maiden voyage. Schwabe brings sonic clarity, buoyancy, and lush dynamics, known for adding engineering to pivotal works by Oneohtrix Point Never, RJD2, Tierra Whack, and Shamir. It's an empowering and important part of her sound that's threaded through many of the QRTR releases, including the latest batches of remixes launched from the infina ad nausea LP and the sophomore album itself. In early 2017 at a Sundance premiere for a documentary she was working on, QRTR played demos that would eventually be on her first EP to the series composer Khari Mateen. It was suggested by Mateen that she connect with Ryan Schwabe for engineering assistance on a public release over this material. QRTR would eventually meet Schwabe after her work was completed at Sundance and arrange for work on Absinthe Party. Around this same time, QRTR would begin to really lay her roots down across the changing music landscapes occurring in Brooklyn and neighboring cities on the east coast with standout live performances/DJ gigs, and the bubbling nature that occurred with the first EP. Two singles would quickly release right after, including "Driver" and "RUN OUT THE BACK." Both are conceptually and sonically rich tracks that further added to QRTR's rise in the public sphere.

The process of writing and recording Absinthe Party was the catalyst in putting together her first proper full-length album, Drenched. Released with Los Angeles-based indie label Dome of Doom in March of 2020, the limited edition cassette version quickly sold out, with press around the the world praising the album for its deep sense of allure and sonic weight. QRTR was ushered into the sight of Dome of Doom on the strength of her artistry. No weighted connections or after event hand shakes were needed to establish how special and unique she was to the LA-imprint. Label owner Wylie Cable expands, "I met QRTR online originally. I was in a phase where I was looking for new artists to sign to the label and in my searching, QRTR stuck out as someone I felt had a unique and original sound. All of my most meaningful curation for the label comes from a very intuitive place. At this point in my career I feel like I can pretty much know within a few minutes of meeting a new artist whether or not they have the kind of potential and creative spark I look for in artists I work with. I immediately got that sense as soon as I found QRTR's music and just followed my intuition and cold call reached out to her online asking if she had heard of the label and that I was interested in working on a debut full-length."

Drenched is a record QRTR describes as her love song to the ocean's depth and the type of experiences she gained when encountering these spaces with her family. "My father was born in Puerto Rico and my mother was born and raised in Madeira, a Portuguese island off the coast of Morocco," QRTR adds. "Waves and dance music have a lot in common, the way they provide release through repetition. In Madeira, the people have an intimate relationship with the ocean, one of both respect and fear. The island is mountainous, with rocky beaches along the sides of cliffs. It beckons you, and when you've succumbed, the high tide comes in and pushes you back out. This LP is my love song to the ocean's depths. The way we look toward its vastness and accept that we will never fully know what's underneath. To be drenched, you must allow yourself to submerge completely, while being careful not to be consumed." Further blends of influence would include the dystopian worlds of Haruki Murakami, the meta-cognitive dissertations of Jia Tolentino's surrounding music, along with music visionaries such as Miike Snow, Crystal Castles, Jamie XX and Jacques Greene. Summation of many paths, all driven by the overall sensation to inspire people and give them a drive to pursue the worlds that give them the deepest sense of life. Reception percolated across the global press and radio grids, with Tom Ravenscroft of BBC6 taking a measured sense of interest in her works that has resulted in repeated plays across the influential radio platform and a unique mix for the 99 year-old platform. Paste Magazine, XLR8R, Magnetic Magazine, Bandcamp Daily, and many other influential platforms also saw the vision early. A half-year after the release of Drenched and QRTR would expand further into the ethos of Dome of Doom, contributing a remix for Daedelus' "Fettle" piece, with original sample material sourced from the What Wands Won't Break LP. This remix would appear on the What Wands Remixes comp on Dome of Doom, quickly becoming a sold out cassette shortly after launch.

A year after the release of Drenched and the "Fettle" remix with Daedelus, QRTR followed up with the enthralling and highly-celebrated work, infina ad nausea. Released with Dome of Doom in August of 2021, it's the first record in her catalog to receive a vinyl pressing and was met with journalistic recognition and radio love from outlets such as Pitchfork, Bandcamp Daily, DJ Mag, BBC6, Mixmag, The Wire, Paste Magazine, XLR8R, KCRW, Magnetic Magazine, Audio Femme, Electric Hawk, Saint Audio, Beatportal, and Dancing Astronaut. Pitchfork's Eric Torres states, "Rodriguez's propulsive production, ornamented with samples, murmured vocals, and various percussive elements, makes for a brisk, euphoric trip through the mind." A perfect summation on the sonic intention of the music and the affects the music took on QRTR while ruminating on past experiences and creating in response. QRTR notes, "infina ad nausea is a play on latin terms "ad infinitum" and "ad nauseum." I was trying to create a phrase to describe growing sick of a false feeling of permanence, as though you're living in a never ending loop. I was steeping in the concept of "spiral" which is a theme I've been coming back to constantly in my art and life since 2011. I always felt as though I was living within a series of full circles overlapping on each other (creating the illusion of a spiral). I have a tattoo on my arm that I designed in an effort to visually express the idea. The concept of this album feels a little larger than life to me and difficult to describe and that is exactly what I was trying to encompass sonically. I arranged the track order in a way that felt like the act of spiraling internally (mentally and emotionally). It starts off bright and playful and becomes more frenzied until suddenly you've reached "the point" -- which is ever moving and evolving and thus unreachable."

The fluidity and range of infina ad nausea has been the perfect slate for expansion, with inclusion on the Dome of Doom 10-year compilation Decade of Doom, radio support all over the world, continuous placement from Spotify, Apple, Amazon Music, Beatport, Bandcamp and other worldwide music services, and a cycle of shows that continues to fuel the enigma of the music. QRTR's also expanded the music of her sophomore LP with remixes collected from electronic musicians of every walk and life. Launched through packs and one-offs over the last six months (Astral Club Pack, Global Magic Pack, Miami Rave Pack, International Disco Pack), the inclusion of Daedelus in these remixes is a full-circle moment, following up on the work QRTR contributed to the What Wands Remixes. In an interview with self-titled magazine, Daedelus reveals: "QRTR immediately struck as someone who had an ear for a tune. Where an onstage persona is no different then what you'd hear in her production. A rare, wonderful feat! Grateful to get a remix that exemplifies this on my album and how could I not try to reply in return. Taking a kaleidoscope approach on my remix of her interlude, going noisy where she'd sublime, dance-y against her ambiance. Not trying to be contrary -- rather a heartfelt affirmation of what the song meant to me on first listening."

The packs, one-off singles, and unreleased material have been collected in the 18-track epic remix compilation infina ad nausea: the remixes. Revisionists/remixers include (in order of appearance): BAILE, Breaka, Nikka Nair, Liebknecht, VNSSA, Proper Villains, Mirin Doja, Daedelus, CSLTY, Paperwater, Coffintexts, Digitalism, Baby Weight, Lawrence Hart, Panooc, mayari., Supertaste & Sasha Rome, and The Micronaut & Architect. From Japan to her hometown of Brooklyn and far beyond, artists from all over the world put a unique lens on QRTR's sophomore opus, celebrating the work with an attention to detail that very few remix compilations achieve. QRTR's continued state of releasing music prolifically has elevated even more in 2022, launching the stunning Snowfall EP on Rules Don't Apply Records and contributing sublime remixes for Justin Martin and Lawrence Hart & Ryan Winters.

With QRTR producing a wealth of material this quickly into her career, some of the steam that was first generated around her music was infused with the presence of her feline companion ambientkitty. QRTR's usage of unique samples wasn't only restricted to film source material, with the inclusion of ambientkitty walking on top of controllers and creating spur of the moment ambient symphonies. Some of this material has made its way onto Drenched and infina ad nausea. With many of the core aspects of QRTR's music revolving around dynamic spacing of melody and beautiful rhythms, the usage of sample work has become just as critical and also ties directly back to her days in NYU collecting sample libraries and sourcing her own field recordings. Just as important to the overall makeup of the music as any drum tone or synth layer, most notable are field recordings taken from Notre Dame, Paris in 2018, as well as Catskills, New York in 2020. Used across infina ad nausea, they transport and transmute the tonality of the album and give it an essence that feels like time is stretching far back. Intros and outros all over both her debut and sophomore works take deep dives into QRTR's library, adding blends you won't find anywhere else.

Over the last three years, QRTR has shown the world what artistic merit and unfiltered vision can do in the realm of the dance community and beyond. Euphoric DJ experiences and mind opening listening experiences have taken her music to beautiful heights and she's only just found her footing. Global awareness has recently allowed her catalog to expand outside of music's DSP and physical pressing market, with soundtrack work now included in Hulu's new exclusive film from Searchlight Pictures, Fire Island. From the biggest of platforms to the smallest, the core values rest in the positive connections the music makes with the listeners while tapping into some of the deepest spaces of life. "The further I push the boundaries of this project, the closer I feel to reaching what I know is an impossibly difficult objective: making sense of pain. The world feels heavier than ever, and I can't think of anything more beautiful than working toward giving people some kind of joy. Whether that means through dance, emotional catharsis, or the act of making love to music that resonates with you -- it has the potential to create meaning in a time when a lot of things feel meaningless. To make a living doing this is a dream come true."

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Olan

Olan

Performances

June 30 - 7:30 PM @ American Family Insurance Amphitheater

Olan

Opening for ODESZA

 

"Where do I fit in?"

OLAN is sometimes troubled by this question. A multi-instrumentalist, singer-songwriter, producer and DJ, her music is as intriguing and hard to categorise as she is. Born Luzana Flores in Columbus, Georgia to a Dominican mother and Puerto Rican father, OLAN cites church as the place where her musical foundations were laid. In between orchestra classes and worship bands, her youth was spent listening to Paramore while honing her bass, guitar and songwriting skills.

Her tastes changed, as teenage tastes do, and after a move to Atlanta, she joined a songwriting camp for J.Cole's Dreamville Records, which led to her co-writing 'Buss It' for Ari Lennox. At 21, OLAN moved to Las Vegas, where she delved deeper into the electronic music scene and launched her OLAN project; then a combination of sprawling DJ sets and electric guitar-based live shows.

A stint in Belgium with her family followed, before OLAN started sending "really bad acoustic singer-songwriter" music to British producer Mat Zo. His 2013 Grammy-nominated album Damage Control, released on Anjunabeats, had expanded her understanding of what electronic music could be. "He was doing so many different styles of music, I didn't even know you were allowed to do that as an electronic producer!"

A friendship blossomed and OLAN became Zo's main collaborator on his 2020 album Illusion of Depth. 'In Motion,' a collaboration with fellow rising star Nourey followed, and in 2022 OLAN announced her debut album Contra, set for release on renowned electronic label Anjunadeep.

Written during the pandemic, Contra sees OLAN grappling with self-acceptance while honing her unique sound, informed equally by her love of electronic music as it is by her songwriting background. Inspired by an eclectic melting pot of influences ranging from R&B to Christian rock to drum & bass, OLAN also drew creative inspiration from the cult video game Outer Wilds, which helped her "come to terms with not having any reason to make music other than my own enjoyment of the experience."

OLAN emerges from lockdown and the album writing process revitalised and now finds herself performing on the world's most iconic stages, from London's Printworks and Red Rocks in Colorado to Ultra Miami. On stage, her raw energy and distinctive fusion of singing, playing guitars, and live electronic programming stand out, as does her presence as a queer woman of colour in a space often occupied by straight white men.

"Where do I fit in?"

A question often asked by artists who are just discovering that standing out is the best thing they can do.

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A Boogie wit da Hoodie

A Boogie wit da Hoodie

Performances

July 1 - 7:30 PM @ American Family Insurance Amphitheater

A Boogie wit da Hoodie

The Bronx-bred artist Artist Dubose, better known as A Boogie Wit Da Hoodie, first hit the rap scene with the breakout hit "Still Think About You" which was featured on his 2016 debut mixtape, ARTIST. A Boogie quickly proved himself to be one of the game's newest heavyweights after XXL dubbed him as "one of the hottest and newest up-and-comers in hip-hop" and included him in the 2017 Freshman Class. The young star also went on to release the 5x platinum single "Drowning feat. Kodak Black" and 4x platinum "Look Back At It," along with the 2x platinum certified single "Jungle" and platinum certified “Timeless.” During the fall of 2017, A Boogie went on to release his highly anticipated, now gold certified, debut album, THE BIGGER ARTIST, which quickly sprung into the Top 5 on Billboard’s Top 200. He also became the top emerging acting in the U.S. as he simultaneously sprung to #1 on Billboard’s Emerging Artists chart. It is easy to see why The New York Times named A Boogie “the most promising young rapper the city has produced in some time.” A Boogie earned a BET Award Nomination for “Best New Artist” at the end of 2018 in addition to releasing his 2x platinum sophomore album, HOODIE SZN, which made its debut at #2 before spending three nonconsecutive weeks at #1 and maintaining a stunning 17-week streak within the top 10 on the Billboard Top 200 chart. The album also soared on streaming, garnering over 83 million streams the week it went #1. After embarking on his sold out “A Boogie vs. Artist” Tour, A Boogie released his third studio album, Artist 2.0, and its subsequent deluxe edition which boasted collaborations with Young Thug, Roddy Ricch, Gunna, DaBaby, Summer Walker, Khalid, Lil Uzi Vert, and more, and debuted at #2 on the Billboard 200 with over 120,000 album equivalent units, topping HOODIE SZN’s debut week. Following the album’s release, A Boogie made a stunning debut on The Tonight Show Starring Jimmy Fallon, performing the fan-favorite track, “Me and My Guitar,” accompanied by H.E.R.. In 2021, A Boogie reemerged with his latest single, “24 Hours” with rapper, Lil Durk.

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Trippie Redd

Trippie Redd

Performances

July 1 - 7:30 PM @ American Family Insurance Amphitheater

Trippie Redd

Michael Lamar White IV, better known as Trippie Redd, is a rapper from Canton, Ohio. After working on mixtapes like 2016's Beast Mode and Awakening My InnerBeast, Trippie Redd delivered his most involved work with 2017's A Love Letter to You, which reached the Top 100 of the Billboard 200. He soon relocated from Ohio to Atlanta as his fame grew. A Love Letter to You 2 followed, and debuted in the Top 40 of the Billboard 200 albums chart. That same month, Trippie joined with Lil Wop for the EP Angels & Demons. Before the end of the year, he scored his first Hot 100 entry with the Travis Scott-assisted single "Dark Knight Dummo." In 2018, Trippie Redd issued several singles in anticipation of his debut studio album, Life's a Trip. The LP placed the artist's voice at the center of many songs, highlighting his unique vocal style as both a rapper and singer. Just a few months later, he returned with the mixtape A Love Letter to You 3, another chapter of depressive and angsty lyrics on both sung and rapped tracks. His second studio album, !, arrived in 2019. Its title was inspired by the album ? by the late rapper XXXTentacion and continued Trippie's emo rap musings. Trippie released his third studio album, A Love Letter To You 4, on November 22 2019. With features from Juice WRLD, Lil Mosey, YNW Melly, YoungBoy Never Broke Again and more, the album earned Trippie his first #1 on the Billboard 200 chart. 

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Kia Rap Princess

Kia Rap Princess

Performances

July 1 - 7:30 PM @ American Family Insurance Amphitheater

Kia Rap Princess

Born in Milwaukee,WI Female Hip-Hop Artist Kia Rap Princess impresses with her versatility -- she's a singer, a rapper, and songwriter to say the least showcasing all of the above with her music catalog. With Her witty lyrics, Unique Sound and Impeccable flow, KRP brings a different element to the music industry. KRP has performed in many states and stages. She is especially known in her hometown Milwaukee,WI as one of the most influential artist of their hiphop/music community. This Artist/Songwriter has an extensive catalog ranging from Hard Bass hitting Club Anthems, to melodious r&b records. Check out KRP's contagious afro-beat part starter,  "Issa Vibe" (You Wont be disappointed). For All Other projects and content visit www.KiaRapPrincess.com 

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Jimmy Buffett

Jimmy Buffett

Performances

July 6 - 7:30 PM @ American Family Insurance Amphitheater

Jimmy Buffett

More information will be provided at a later date regarding Jimmy Buffett & The Coral Reefer Band’s concert on Thursday, July 6 at the American Family Insurance Amphitheater

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Zach Bryan

Zach Bryan

Performances

July 7 - 7:30 PM @ American Family Insurance Amphitheater

Zach Bryan

"I would say true love of anything is supposed to rip your heart out and put it back together all in the same go round. This album to me is all the trials we face day-in and day out and I wrote all the stories on it hoping someone, somewhere might relate or some kid might pick up an instrument and replicate it in an effort to be an artist. Some songs are sad, some are happy, some are hopeful, and some are hopeless, all of them mean something different to me and I pray they mean something to someone else. American Heartbreak is my effort at trying to explain what being a 26-year-old man in America is like. There's love, loss, revelry, resentment, and forgiveness all wrapped into one piece of work. Thank you, guys, for listening, always."

- Z. L. Bryan

Oklahoma born and bred Zach Bryan has been making an impact on the underground country music scene for the past few years even while he was still actively serving in the US Navy. He released a pair of independently recorded and released albums, DeAnn (2019) and Elisabeth (2020) that provided the spark that would ignite his arrival. New songs and videos would appear via socials and YouTube all fueled by a voracious word-of-mouth community that would ascend into a dramatic trajectory that continuously draws millions of new country and rock fans into his orbit week after week.    

His 2019 breakthrough single “Heading South” garnered 90 million global Spotify streams and over 15 million YouTube views and soon the Billboard Hot Country Songs and Hot Rock Songs began to chart his moves.

Without the aid of extensive touring or commercial radio, his impact upon the new Americana culture skyrocketed purely on the strength of his deeply personal, relatable songs gaining a seemingly unstoppable momentum that is resonating with music fans around the world. Upon his release from service, he traveled from base directly to the stage of the Grand Ole Opry. Soon after, in 2021, shows in New York City and Nashville – at prestigious The Ryman Auditorium, no less, sold out in minutes without fanfare.

Each of the tracks released prior to the full 34-song AMERICAN HEARTBREAK album, “Something In The Orange,” “Highway Boys,” “Late July,” “Open The Gate,” and “From Austin,” have become fast fan-favorite audience sing-alongs at his spirited live shows. “From Austin” claimed #1 Country Song on Apple Music, debuted at #4 on Spotify’s Global Country chart, along with making a spectacular first day impression at #38 Overall Song on Spotify US Top 200, and #63 Overall Song on Apple US. The track was added to numerous flagship streaming playlists, including Spotify’s All About Country, Hot Country, and Just Good Music; Apple Music’s Today’s Country, Country Risers, and Future Hits; and Amazon Music’s Fresh Country. His most recent single “Something In The Orange,” commanded 9.6 million global streams and debuted on the Billboard Hot Country Songs charts at #11, #4 on the Hot Rock Songs chart, and rose to the #1 on Billboard’s Country Songwriter chart. On the strength of “SITO” deeply personal story, the track has garnered over 34 million global streams. To date, Bryan has surpassed 1 billion combined global streams with 4 million monthly Spotify listeners. All unprecedented terrain for a new artist completely free from any music industry influence or outside assistance.

His recent blistering set at Southern California’s Stagecoach Festival debut was the most talked about event of the weekend and left an indelible impression that will challenge perceptions of modern country music.  To date, every show of his first extensive US tour has found him connecting with fans in a Springsteen-esqe communal experience thanks to music and attitude that is simple, undiluted, genuine, and captivating.

Zach Bryan is a true artist who believes in letting the music do the talking as the songs themselves take centerstage. He embodies the Outlaw attitude of legends like Johnny Cash and Willie Nelson while drawing in young alternative fans and new country purists alike. The bond he shares with his audience is something special to witness live. He tells his story through the songs, delivering them with raw emotion and pure passion, generating a mutual respect in an authentic way very few can and do.  

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Imagine Dragons

Imagine Dragons

Performances

July 8 - 7:00 PM @ American Family Insurance Amphitheater

Imagine Dragons

Since making their full-length debut with 2012's multi-platinum Night Visions, Imagine Dragons have drawn worldwide adoration for their anthemic yet moody alt-rock. On their third album Evolve, the Grammy Award-winning band shift perspective and take on a brighter but more layered emotional outlook. "The last year's been the healthiest year of my life, and I think that's very much reflected in the music," says lead vocalist Dan Reynolds, whose bandmates include guitarist Wayne Sermon, bassist Ben McKee, and drummer Daniel Platzman. "There's definitely some moments of sadness on this album, but there's also moments of real celebration."

Despite the minimalistic approach of Evolve, Imagine Dragons achieve a rich complexity partly informed by their taking time out to recharge. After much soul-searching during a year-long break from touring, the band arrived at a new mindset and ultimately brought a greater sense of openness to their music. "Smoke + Mirrors was a very introspective time for the band, where we were questioning spirituality and its meaning in our lives," says Reynolds. Sermon continues: "With that album we were struggling to come up with the answers, and with this one we're satisfied not to have the answers at all."

Formed in 2009, Imagine Dragons first revealed their emotionally charged and inventive sensibilities with a series of independently released EPs that earned them a grassroots following. Signed to KIDinaKORNER/Interscope by hitmaking producer Alex Da Kid, the band greatly expanded their fanbase with the release of their multi-platinum breakthrough single "It's Time" (featured on the 2012 EP Continued Silence). With their past hits also including "Radioactive" (a diamond-selling smash that won Best Rock Performance at the 2014 Grammy Awards), Imagine Dragons went on to see Smoke + Mirrorsdebut at #1 on the Billboard Top 200 album chart upon its release in early 2015.

For Imagine Dragons, one of the greatest achievements of Evolve is its unfettered honesty. "Instead of hiding behind metaphors, I was able to be more direct in my lyrics," says Reynolds. "I really focused on searching deeper for lyrical value." Along with giving the album untold emotional depth, honesty cuts through everyday chaos to reveal a luminous truth. "Right now the world can seem like a very dark and daunting place," says Reynolds. "We wanted to create something like a lot of the records we grew up on, where it feels like you're escaping into a world that's much more vibrant. Our hope is that the album helps people focus on the beauty of each moment, and really see all the brilliance and color of life.

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AJR

AJR

Performances

July 8 - 7:00 PM @ American Family Insurance Amphitheater

AJR

Opening for Imagine Dragons

Re-envisioning what pop can be in the 21st century, AJR unassumingly emerged as a ubiquitous hit-making outlier and one of the biggest indie bands in the world. Since 2012, the multiplatinum indie pop trio - Adam [bass, vocals], Jack [vocals, guitar], and Ryan [ukulele, piano, vocals] - have generated billions of streams and earned one triple-platinum single, one double-platinum single, four platinum singles, and one platinum album. 2019’s Neotheater marked their biggest first-week debut, bowing at #8 on the Billboard Top 200, #1 on the Top Alternative Albums Chart, and #1 on the Top Rock Albums Chart. Cemented as part of the modern zeitgeist, Spotify touted “Sober Up” [feat. Rivers Cuomo] among the “Best Rock Songs of the 2010s, while Apple Music included “Weak” on its “Best Alt Songs of the 2010s. Not to mention, they remain one of the “500 Most-Listened to Artists” on Spotify. On the heels of Neotheater, they dropped the 2020 platinum blockbuster “BANG!”, which they performed on TODAYThe Ellen DeGeneres Show, and even at the Macy’s Thanksgiving Day Parade. The bands latest single “DJ Is Crying For Help” is out everything November 18, 2022. 

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The Avett Brothers

The Avett Brothers

Performances

June 23 - 9:30 PM @ BMO Pavilion

The Avett Brothers

Three-time GRAMMY Award nominees The Avett Brothers made mainstream waves with their
2009 major label debut, I And Love And You, which landed at #16 on the Billboard Top 200 &
garnered critical acclaim. In 2012, The Carpenter hit #4 on the Billboard Top 200, followed by
Magpie And The Dandelion in 2013, which debuted at #5 on Billboard's Top 200. In 2016, the
band was inducted into the North Carolina Music Hall of Fame. 2017's documentary May It Last: A Portrait of The Avett Brothers (co-directed by Judd Apatow and Michael Bonfiglio) chronicles the process of writing 2016’s True Sadness (which debuted at #1 on Billboard’s Top Albums chart, #1 Rock Albums, #3 on the Billboard 200, and scored 2 Grammy noms). The film was released theatrically & on HBO to rave reviews & is now available on DVD/Blu-Ray/VOD. In 2019, the band released their 10th studio album, Closer Than Together feat. single “High Steppin'” which reached #1 on the Americana Radio Singles Chart. Newest album The Third Gleam (August 2020) debuted at #1 on Billboard’s Americana/Folk Albums chart, #1 Rock Albums, and #1 Vinyl Albums. Single “Victory" hit #1 on the Americana Radio Singles Chart. Also in 2020, The Avett Brothers played 2 sold out drive-in shows at Charlotte Motor Speedway in the span of three months and ended the year on a high note with a livestream of their 17th annual New Year’s Eve concert. An estimated 150,000 fans watched the show, which featured a full-band performance and an impressive lineup of special guests. Swept Away - a musical inspired by & featuring the music of The Avett Brothers - premiered in January 2022 at Berkeley Repertory Theatre to rave reviews from audiences and critics. The Avett Brothers are currently on tour throughout the U.S.

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Noah Kahan

Noah Kahan

Performances

June 24 - 10:00 PM @ UScellular Connection Stage

Noah Kahan

Seasons change. Places change. People change. As Noah Kahan changes, he casts those experiences onto songs like light through a film projector. The Vermont singer pens songs straight from the heart and cracks jokes with his signature, self-deprecating sense of humor; he's just changed in all of the right ways (and chronicled them via his songwriting).

After 5 years of critical acclaim, global touring, and numerous collaborations, Kahan sought an even purer style of writing and arrangement, a challenge from within to convey a vivid representation of what he loves, fears, and struggles with most passionately.
Through his journey from small town Vermont to global renown, he's racked up over one billion streams, released two full length albums (Busyhead, 2019 and I Was / I Am, 2021) and a mid-pandemic EP (Cape Elizabeth, 2020). Noah has remained prolific in 2022 with his single Stick Season. Rife with fluttering guitar melodies, inviting vocals, and homey
imagery of the Northeast on the verge of a change of seasons, the track represents another massive turning point for him.

"I wrote Stick Season without knowing it would become, in my opinion, the most important song of my career," he muses. “It allowed me to finally cross over into the style of songwriting that I have loved my entire life, and the second I finished writing it, I felt a level of comfort and honesty that I had never previously felt since I began my journey in music. Being able to tell a story, and being able to relate it back to my home in New England in such an honest way, made me believe in myself again.”

Fans reacted immediately and after performing the song live on social media, his followers relentlessly commenting about releasing the song. Noah tested “Stick Season” live on tour to a rousing response, and a fan’s video of the momen circulated quickly online. In an instant, Kahan’s relationship with his career was altered, his conviction for storytelling and a pursuit of a more organic sound that aligned with the folk music of his upbringing had firmly arrived.

“Stick Season” paints one of his most arresting lyrical pictures yet, likening “feeling left behind and trapped” into the decomposition of leaves on the ground with a disarmingly unfiltered final visual, “Now you’re tire tracks, and one pair of shoes, and I’m split in half, but that’ll have to do.”

“It’s about seeing the other side of a place you thought was only beautiful,” he reveals. “As a relationship ends, some place or someone you used to look back at so fondly quickly transforms into a memory of pain. The beauty of autumn foliage in
Vermont transforms into a brown and gray wasteland as we wait for the first snow. It is an unfortunate but necessary transition, similar in so many ways to the transition from familiar lovers into heartbroken strangers. I like to look at the song as hopeful; winter will come, the snow will fall, melt, and eventually summer will be back in all its beauty. You will suffer,
move on, and survive again. The last line speaks to the acknowledgement of the end: an inventory of the pieces left behind and an acceptance of the future.”

For as much as he may have changed, Noah’s goal stays the same.

“I still want to be able to connect to folks in the way I do and value when I listen to music,” he leaves off. “Change is something you can learn from. It’s never too late to be a better person and to move forward. Always work on yourself and give yourself a fucking break every once in a while. I hope listeners feel like there’s more to learn about me, just like I do when I listen to my favorite artists. I also hope they’re happy to stay along for the ride, because I’ve been so grateful for them so far.”

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Santa Fe Klan

Santa Fe Klan

Performances

June 24 - 10:15 PM @ Miller Lite Oasis Stage

Santa Fe Klan

Mexican-rising star Angel Quezada, otherwise known as Santa Fe Klan, is a singer-songwriter who was born and raised in Guanajuato, Mexico. He began his career when he was 12 years old, and just a few years later he began releasing his own songs. At such a young age he has distinguished himself as one of the most prolific and powerful Latin performers. With such an exceptional and singular sound, Santa Fe Klan has quickly become a household name.

In 2017, Santa Fe Klan released his first full length album titled "El Inicio, Vol. 3," setting himself apart as a force to be reckoned with. In 2019 he released his sophomore album “Bendecido,” which gave fans a better understanding of his background with songs such as “Familia,” “Hambre,” “Mi Religión” and “Amor.” Two years ago, in 2020, he released his third album in conjunction with Lefty Sm, “Necesidad,” which featured 10 tracks, marking an exciting collaborative breakthrough for Santa Fe Klan and pushing him into new territory. In 2021, he released his fourth album “Santa Cumbia,” working hard to solidify his place as a one-of-a-kind artist with a distinct perspective. Last year, he released his fifth album “Mundo,” which includes powerhouse tracks such as “Eres” and “Luka.”

In addition to his new album last year, Santa Fe Klan’s single “Soy” is in the “Black Panther: Wakanda Forever Prologue” EP as part of the musical soundtrack for the record-breaking blockbuster. The Guanajuato native has also earned a myriad of accolades, including a 2022 Premio Juventud for “Nuevo artista en el género Regional Mexicano.”

Santa Fe Klan has an unparalleled ability to convey emotion through his lyrics, as well as a capability to connect with millions of people through his artistic vulnerability. He continues to impress with his powerful performances, unique style and singular sound. Passionate about helping artists grow, Santa Fe Klan hopes to elevate other budding artists and voices from his community as a way of enriching the music scene and providing these individuals with opportunities they may not get otherwise.

With almost 8.5 million monthly listeners on Spotify, 10.3 million YouTube subscribers and over 9.4 million Instagram followers, the Mexican sensation continues to take the music industry by storm through his authenticity and singular sound.

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Elvis Costello & The Imposters

Elvis Costello & The Imposters

Performances

June 24 - 9:30 PM @ BMO Pavilion

Elvis Costello & The Imposters

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Earth, Wind & Fire

Earth, Wind & Fire

Performances

June 30 - 9:30 PM @ BMO Pavilion

Earth, Wind & Fire

Earth, Wind & Fire are a music institution. In 1969, music legend Maurice White birthed the music force named after the elements from his very own astrological charts. With soul as deep as the plant, Earth, Wind & Fire charted a history that will live on forever.

They've scored eight number one hits and have sold over 100 million albums worldwide. They've released 23 albums. Eight of those albums went Double Platinum and hit the Top 10, making them one of the best-selling artists of all time. They've won an impressive nine Grammy Awards including one for Lifetime Achievement (2012). In 2000, Earth, Wind & Fire was inducted into the Rock and Roll Hall of Fame, cementing their lasting impact on popular music. Their contributions to arts and culture were acknowledged in Washington DC with the prestigious Kennedy Center Honors in 2019. The Smithsonian National Portrait Gallery also awarded Earth, Wind & Fire with its Portrait of a Nation Prize.

2020 marked a year-long celebration of Earth, Wind & Fire's 50th anniversary in entertainment that has taken them all around the globe playing sold out concerts. In 2021, they celebrated the 45th anniversary of their chart-topping 1975 hit Can't Hide Love and released a reimagined version of the track titled You Want My Love. They won Best R&B Tour at the 2022 Pollstar Awards.

For their record-breaking success, they’ve also been awarded with Lifetime Achievement honors from ASCAP, NAACP, BET, and have star on the Hollywood Walk of Fame. Their reach extends to heads-of- state. They have been invited to perform for Presidents Bill Clinton and Barack Obama, who said in an interview with Rolling Stone that Earth, Wind & Fire was a rhythm and blues and pop staple.

With timeless songs and commitment to spreading positivity, Earth, Wind & Fire has consistently made music that has bridged the gap among all generations and nationalities. With a sound that blends funk, jazz, pop, soul, and R&B, Earth, Wind & Fire launched a musical genre that can't be confined to a specific label except their own. From the funky and infectious “Let’s Groove” to the timeless dance classic “September” to the heartfelt “Reasons,” Earth, Wind & Fire’s catalog of hits has become the soundtrack to many lives; now, then and forever.

 They continue to influence musicians from all generations and genres. Music giants Michael Jackson, Stevie Wonder and Prince have studied and hailed their artistry. While many of today's chart-topping artists including Lenny Kravitz, Pharrell, Justin Timberlake, Kendrick Lamar, Chance the Rapper, and Solange have declared themselves super fans. Alicia Keys has called Earth, Wind & Fire "the best band ever" and Mary J. Blige showed her love by recording their song “Imagination." And the band shared the stage with Black Eyed Peas performing on the half-time show at Super Bowl XX1X.

 Their achievements are equally matched by their generosity. Over the years the band has supported various charity organizations including the Make a Wish Foundation, Race to Erase MS, the American Cancer Society, and the Human Society. In 2007, leader Philip Bailey founded Music Is Unity, which helps youth in foster care successfully transition into adulthood and provides music instruments to youth with musical aspirations but lacking the resources. Co- founder, Verdine White has led important initiatives with the Girls & Boys Club of America and opened The Verdine White Foundation in Los Angeles as a mecca to serve youth with music scholarships and other programs.

 In 2016, Maurice passed and his memoir, My Life with Earth, Wind & Fire was released posthumously. In 2014, Philip Bailey released a memoir Shining Star: Braving the Elements of Earth, Wind & Fire.

 The music of Earth, Wind & Fire is more alive than ever as they continue to inspire new audiences and thrill those who have been with them from the beginning. Like the elements in their name, Earth, Wind & Fire’s music has withstood ever-changing trends in the world and shows no sign of vanishing as they continue to create joy and uplifting music that will forever reach a sacred universal atmosphere.

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Joe Russo's Almost Dead

Joe Russo's Almost Dead

Performances

June 30 - 10:15 PM @ Miller Lite Oasis Stage

Joe Russo's Almost Dead

Joe Russo's Almost Dead is Marco Benevento, Dave Dreiwitz, Tom Hamilton, Scott Metzger and Joe Russo. We're a Grateful Dead cover band

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Ava Max

Ava Max

Performances

July 1 - 9:30 PM @ BMO Pavilion

Ava Max

When the lights go down, inhibitions go away. The dancefloor unlocks unrestricted freedom to move, sing, shout, smile, and simply express any emotion. Ava Max exudes and encourages the same empowering freedom through her music. The first-generation Albanian-American Los Angeles-based multiplatinum chart-breaking pop singer, songwriter, and producer steers her vision with unwavering confidence, taking control of every element and following her instincts without compromise. She knows what she wants, and she brings it to life on her own terms. As such, she has quietly emerged as a pop powerhouse with billions of streams, a procession of multiplatinum certifications, countless sold out shows, and Billboard Hot 100 success.

In charge of her destiny, she shines brighter than ever before on her second full-length offering, Diamonds & Dancefloors [Atlantic Records].

Diamonds represent relationships, and Dancefloors represent letting go and being free,” she notes. “I wanted to make dance music, but it couldn’t be super happy. It’s vulnerable instead. I’ve never talked about my personal life in the songs, but I do now. The album is basically heartbreak on the dancefloor.”

With unapologetic attitude, razor sharp songwriting, and eye-catching fashion as jaw-dropping as her voice, Ava has always carved her own path. During 2018, she vaulted to the forefront of pop culture with “Sweet But Psycho.” The quadruple-platinum smash held a spot in the Top 10 on the Hot 100 for three weeks, clinched #1 in over 20 countries, and reached diamond status in Brazil, France, and Poland in addition to going multiplatinum in 15 other territories. Her 2020 platinum-certified full-length debut, Heaven & Hell, boasted the double-platinum “Kings & Queens,” platinum-certified “So Am I,” and gold-certified “Salt.” In addition to blockbuster collaborations with the likes of David Guetta, Alan Walker, Pablo Alborán, and Jason Derulo, she linked up with AJ Mitchell on the gold-certified “Slow Dance,” Thomas Rhett and Kane Brown on the gold-certified “On Me,” and Tiësto for “The Motto.” The latter not only crashed the Top 5 of the Billboard Dance/Electronic Songs Chart, but it also picked up a platinum certification. Forbes touted her among its coveted “30 Under 30” for 2021, while she has incited the applause of VOGUE, Rolling Stone, Vanity Fair, Billboard, PAPER, and more. Not to mention, she earned “Best Push Artist” at the MTV Europe Music Awards. Beyond captivating capacity crowds everywhere, she has ignited CBS’s The Late Late Show with James Corden, NBC’s TODAY, ABC’s Jimmy Kimmel Live!, and Good Morning America, to name a few.

Over the course of 2022, she assembled what would become her sophomore LP. Out of her home studio, she co-wrote all 14 tracks and served as Co-Executive Producer alongside longtime collaborator Cirkut.

Throughout the process, she reflected on two recent breakups without filter, but she really longed for one of her favorite places…

“During the Pandemic, I missed having fun, moving, and meeting people on the dancefloor,” she admits. “I’ve been going to clubs since I was like 16 in Virginia and South Carolina. It wasn’t about drinking; I’d just get a fake ID and dance all night.”

Leaning into this energy, she teased the album with “Maybe You’re The Problem,” reeling in hundreds of millions of streams. On its heels, “Million Dollar Baby” arrived to widespread critical acclaim. Its high-powered synths pulsate beneath a chantable chorus uplifted by her hypnotic high register run. Right out of the gate, The New York Times hailed it as “a sleek, calisthenic pop song” and added, “Ava Max is partying like it’s 2000 and 2004 on the thumping ‘Million Dollar Baby’.

“It’s about saving yourself from all of the trauma you went through,” she reveals. “Everyone wants to lean on someone, but it’s important to stand on your own two feet.”

“Turn Off The Lights” swings from cinematic horns into a head-nodding beat punctuated by claps, a slick bass line, and a glitchy refrain.

“It’s about coming alive as your best self in the club,” she observes. “Just run wild!”

Disco keys glow on “Ghost” where she balances R&B panache with shimmering house music euphoria. It all culminates on the refrain, “Everywhere I go I’m haunted by your ghost.

“I grew up listening to Mariah Carey and R&B,” she says. “I pursued those elements for ‘Ghost’. Everywhere you go you see your ex like a ghost. I was questioning everything, and he was appearing in my mind all the time. It’s a universal feeling after a breakup.”

Elsewhere, “Weapons” conjures what she refers to as “Classic Ava Max.On the other end of the spectrum, “Last Night On Earth” paints a vivid picture of a torrid romance against an apocalyptic backdrop in broad strokes of lush pop. “Let’s do what we want like it’s our last night on earth—whether it’s bungee jumping or being together underneath the stars, she states. “You’re not letting any obstacles stand in your way. It’s so romantic to me.

The album closer “Dancing’s Done” climaxes on one of her most dynamic vocal performances to date with a confession, “I want to give into your dark temptation.Simultaneously, its widescreen-ready production gleefully evokes the turn-of-the-millennium pop she grew up on.

“I’ve never done a sexy song with lyrics like this,” she states. “It was super fun.”

In the end, Ava rules the dancefloor and beyond.

“I’m figuring out who I am,” she leaves off. “I stripped down everything I thought I was, and I’m redefining myself. I found out I’m stronger on my own. I’ve realized it’s okay to go with the flow and live in the moment. When you listen to the album, I hope you can let go, move forward, and feel empowered—like a boss bitch.”

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Lord Huron

Lord Huron

Performances

June 29 - 9:30 PM @ Generac Power Stage

Lord Huron

Unburdened by contractual obligations and working at their studio and informal clubhouse Whispering Pines in Los Angeles, Lord Huron found the freedom and comfort to pursue their vision without compromise. The result is Vide Noir: a sonically bold, bravely-executed saga that pushes the band’s sound in ambitious new directions.

Singer, songwriter and producer Ben Schneider found inspiration wandering restlessly through his adopted home of Los Angeles at night. His aimless nocturnal journeys ranged all over the city – across the twinkling grid of the valley; into the creeping shadows of the foothills; through downtown’s neon canyons; way out to the darksome ocean. The resulting collection of songs feels like an epic odyssey through the city, across dimensions and out into the cosmos.

Many of Vide Noir’s songs were tested on the road as early as 2016 and honed with a jeweler’s precision into their final form. Dusty ballads share space on the album with punky rippers, ‘50s sock-hop sways and ethereal electronic passages. Each entry is a glinting star, and together they form a sonic constellation examining the search for meaning amidst the cold indifference of the universe.

Vide Noir was mixed by Dave Fridmann (The Flaming Lips/MGMT) and engineered by Sonny DiPerri (Portugal. The Man, Animal Collective). The album honors the traditions of both rock and folk as it embraces modern studio techniques. The stylistic experimentation speaks to Lord Huron’s confidence as storytellers and as craftsmen, armed with a growing array of tools.

Lord Huron’s work always comes richly adorned, and Vide Noir is no exception. The album will be accompanied by a wealth of imagery, films and immersive experiences crafted to expand upon its narratives and themes. A true multi-media artist, Schneider has previously used videos, a comic book, a choose-your-own-adventure hotline and assorted Easter eggs as means of deepening the listener experience. Fans steely enough to confront the ineffable have already uncovered a few of these accoutrements.

Lord Huron was created by Los Angeles-based Ben Schneider. Born and raised in Michigan, Schneider drew inspiration from the Great Lakes, which were carved by glaciers 14,000 years ago, and his music stands in awe and wonder of the natural world.

After writing and recording two independent EPs (Into the Sun and Mighty) on his own, demand grew for Lord Huron to perform live. Schneider recruited friends Mark Barry (percussion), Miguel Briseño (bass) and Tom Renaud (guitar). Having first played music together at the tender age of 12, the group reunited and quickly hit their stride, transforming the project into a full-fledged band. Lord Huron signed with IAMSOUND, and the label released 2012’s Lonesome Dreams, and Strange Trails in 2015.

Strange Trails included the song, “The Night We Met,” which was featured in the Netflix original series “13 Reasons Why.” The series and song both became hits, and “The Night We Met” was certified platinum in January of 2018. This year also marks the beginning of a unique alliance between Whispering Pines and Republic Records, who will partner in the release of Vide Noir.

Lord Huron has toured extensively in North America and Europe, earning rave reviews and performing for sold-out crowds at some of the world’s most prestigious venues. The band has appeared at a wide range of music festivals including Lollapalooza, Coachella, Bonnaroo and Newport Folk Festival.

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Yellowcard

Yellowcard

Performances

July 1 - 9:30 PM @ Uline Warehouse Stage

Yellowcard

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Lauren Daigle

Lauren Daigle

Performances

July 6 - 9:30 PM @ BMO Pavilion

Lauren Daigle

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Smokey Robinson

Smokey Robinson

Performances

July 8 - 9:00 PM @ Uline Warehouse Stage

Smokey Robinson

Acclaimed singer-songwriter Smokey Robinson's career spans over four decades of hits. He has received numerous awards, including the GRAMMY Living Legend Award, NARAS Lifetime Achievement Award, Honorary Doctorate (Howard University), Kennedy Center Honors, and the National Medal of Arts Award from the President of the United States. He has also been inducted into the Rock 'n' Roll Hall of Fame and the Songwriters' Hall of Fame.

Born and raised in Detroit, Michigan, Robinson founded The Miracles while still in high school. The group was Berry Gordy's first vocal group, and it was at Robinson's suggestion that Gordy started the Motown Record dynasty. Their single of Robinson's "Shop Around" became Motown's first #1 hit on the R&B singles chart. In the years following, Robinson continued to pen hits for the group, including "You've Really Got a Hold on Me," "Ooo Baby Baby," "The Tracks of My Tears," "Going to a Go-Go," "More Love," "Tears of a Clown" (co-written with Stevie Wonder), and "I Second That Emotion."

The Miracles dominated the R&B scene throughout the 1960s and early 70s, and Robinson became Vice President of Motown Records, serving as in-house producer, talent scout, and songwriter.

In addition to writing hits for the Miracles, Robinson wrote and produced hits for other Motown greats, including The Temptations, Mary Wells, Brenda Holloway, Marvin Gaye, and others. "The Way You Do the Things You Do," "My Girl," "Get Ready," "You Beat Me to the Punch," "Don't Mess with Bill," "Ain't That Peculiar," and "My Guy" are just a few of his songwriting triumphs during those years. He later turned to a solo career where he continued his tradition of chart-topping hits with "Just to See Her," "Quiet Storm," "Cruisin'," and "Being with You," among others.

He remained Vice President of Motown records until the sale of the company, shaping the label's success with friend and mentor Berry Gordy. Following his tenure at Motown, he continued his impressive touring career and released several successful solo albums. Recently, Robinson was singer/co-writer on the certified gold track "Make It Better" from Anderson Paak's album Ventura and Rita Wilson's Now and Forever: Duets album joining "Where Is The Love." His latest single, "If We Don't Have Each Other," is the first song off his highly anticipated new studio album set for release in Spring 2023 via TLR Music Group/ ADA.

Throughout his 60-year music career, Robinson has accumulated more than 4,000 songs to his credit and continues to thrill sold-out audiences worldwide with his high tenor voice, impeccable timing, and profound sense of lyric and style. 

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Tyler Hubbard

Tyler Hubbard

Performances

July 7 - 10:00 PM @ UScellular Connection Stage

Tyler Hubbard

Tyler Hubbard's face and name are very familiar - and his voice is a staple on country music radio. He's accumulated 20 No. 1 hits with songs now woven into the fabric of music culture. However, he's never made a project bearing solely his name – telling his story – until now.
Hubbard cruised into country music a decade ago as the lead singer of multi-platinum selling duo Florida Georgia Line. The pair had hits including "Cruise," "H.O.L.Y." and "Meant To Be." Hubbard was a 24-year-old when FGL took off. Now, he’s a married father of three. "I do hope that the FGL fans will hear this and know I'm still there for them," Hubbard says. While there's still plenty of fun and lighthearted music on Hubbard's debut album, there's also a depth that comes with growing up.

"I'm thankful for the last 10 years as one half of FGL," Hubbard says. "But there's a lot more layers to who I am. As a duo partner, you are respectful of one another's stories and stick to common ground. I wanted to make music that let the fans into my life on a little bit deeper level."

Tyler Hubbard, the debut solo album, releases January 27, 2023. Making a solo project was never part of Hubbard’s plan. As a songwriter who has had more than 100 songs recorded by artists including FGL, Jason Aldean, Chris Tomlin, Zac Brown and Kane Brown, Hubbard thought he could be happy as a songwriter for other artists. And he was, but the more Hubbard wrote, the more he realized many of the songs were telling his own story, through his music. “The majority of songs on this project came from the last couple of years of writing, but I was in a different headspace then. I believed I was writing for other artists – I’m passionate about songwriting,” says Hubbard. “I would write and get the demos back and realize that I love these songs and there’s a part of me in them, something I connected with on a more personal level.” Eventually, Hubbard decided it was time to put out his own solo album.

Nine months later, he released his debut solo single “5 Foot 9,” written by Hubbard, Jaren Johnston and Chase McGill. By November of 2022, it became Hubbard’s 20th No. 1 hit.
"I really set out to write this album for the fans who have allowed me to do what I love," Hubbard says. "I wanted to make a country album that was authentic to who I am. I’m a husband, father, and man of faith, and these things all shape the stories I am telling through my music as a solo artist. I want to represent where I am today and where I’ve been as well.”

Hubbard says it was a two-step process determining what would actually land on the album. The first step was looking at songs he’d already written and what stood out as favorites. The second step was approaching new writing sessions with the intention of writing for himself and telling his story. Hubbard wrote or co-wrote all 18 songs on the album.
“It was a process – I narrowed it down to 35 or 40 songs. I was picky and asked myself, ‘Do I love this song as much as this other song?’ or ‘Do these songs serve a purpose?’” Ultimately, Hubbard says he put songs in categories that reflected who he was the most and those that fit his story.

Hubbard wanted to include songs that reflected his faith (“Way Home”) and others with an autobiographical theme (“Small Town Me,” “Me For Me”). There are songs that reflect him as a married man in love (“5 Foot 9,” “I’m The Only One”) and another that reflects him as a dad and his love for his kids (“Inside And Out”). He also wanted a rocker (“Out This Way”) and something a little unique, that felt different and authentic to him (“By The Way”). Adds Tyler, “All meet in the middle – with love, happiness and live music.”
Hubbard says he created the album to be listened to in its entirety, and he always kept the idea of playing the songs in front of an audience at the forefront. “I went with my gut on somewhere between what I would want a live set to be and how I would want my story to unfold. It’s a fun ride from top to bottom, and people really get to know me along the way. The track listing provokes a lot of emotion, and as a whole, I hope these songs make listeners feel something.”

Hubbard’s second single, “Dancin’ In The Country,” written by Hubbard, Keith Urban, Jon Nite, and Ross Copperman, is out now. The song was inspired by the nightly dance parties he and his wife have with their kids. “It was my first time writing with Keith Urban, and I wanted to write something that really felt good and would be fun to play live. I wanted to write something my kids and I could dance to and the fans could dance to as well."
Hubbard says the song that most incapsulates who he is, is “Small Town Me.” “I set out to express in this song how all those character traits and personality traits from growing up in a small town are universal. The same lifestyle that inspired this music is the same music that’s taken me all over the world where I have met other people who have grown up in small towns and have things in common with me. It’s a pretty powerful connection.”
The song “Leave Me Alone” is actually a love song, but it takes another approach. Hubbard considers it an important piece of the foundation of the music on the album. “I like to call it a driving song – it makes me want to get on the highway and drive fast. People can hear that sound and say, ‘Wow – there’s definitely some rock influence in Hubbard’s life along the way. At some point in time, he must have loved bands like this, or he must have gotten an electric guitar and learned a power chord.’”
“Me For Me” is a simple country song co-written with Thomas Rhett and Russell Dickerson. It's a song Hubbard says represents him through a lens of gratitude that his wife loves him for being who he is. “When I met Hayley, I felt like I could be myself, and she likes me just the way I am. That inspired me to be my best self, and I think that’s the heart behind this song.”

Another song which Hubbard says is an important one for the album is “Tough,” which was co-written by Jordan Schmidt and Bebe Rexha. At the time of their Nashville writing session, Hubbard was struggling with an injury, his third baby had just been born, Covid was in full swing, and the world was going through a hard time. This inspirational, timely song with a reggae backbeat gave Hubbard “hope and served as a reminder of the simple truth that what doesn’t kill you makes your stronger.”
One of the standout tracks on the album is “Miss My Daddy,” which Hubbard wrote by himself before he decided to make an album, while he was in quarantine, on his bus, during Covid. He actually didn’t think the song would ever see the light of day when he wrote it. For him, writing the song was just a way to release emotions and get real with himself. But he shared the song with a few close friends who had gone through similar losses.
“It was very therapeutic to write ‘Miss My Daddy,’ and I thought I would keep it under wraps and just share it with some friends. When I actually did share the song, my friends told me how encouraging it was and how real it was – that it meant a lot to them. When working with my team on the album, this song kept coming up as a powerful, emotional, vulnerable song, and we really didn’t have anything similar on the project. I decided that it was important for me to hopefully inspire and encourage people who have been through the same thing. I wanted to go a layer deeper with my music than I ever have before with this song.

In advance of the album, Hubbard not only released the six-song project, Dancin’ In The Country, to coincide with his first tour this past fall as a solo artist, but he also released three additional tracks and eight music videos. Hubbard is excited for the fans to hear his debut solo album and calls the experience of making his first solo project "really freeing." He says he’ll look back at the experience as a season of “self-exploration and self-discovery” and will look at this new chapter as a new beginning, which he can incorporate into his legacy. Tyler Hubbard’s debut solo album, Tyler Hubbard, will be released on January 27, 2023.

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Fleet Foxes

Fleet Foxes

Performances

July 8 - 10:15 PM @ Miller Lite Oasis Stage

Fleet Foxes

Fleet Foxes is an American indie folk band from Seattle, WA. Led by lead singer-songwriter Robin Pecknold, the band released their fourth critically acclaimed album Shore in the fall of 2020. Shore earned the band their second Grammy nomination (Best Alternative Music Album), and sweeping praise (MOJO five stars, Rolling Stone four stars, Pitchfork fifth consecutive Best New Music) with Rolling Stone calling the album “...the most immediately rewarding Fleet Foxes record since their brilliant 2008 debut.”

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The War on Drugs

The War on Drugs

Performances

July 6 - 9:30 PM @ Uline Warehouse Stage

The War on Drugs

On The War On Drugs' 2017 album A Deeper Understanding, Adam Granduciel sang about wanting to "find what can't be found." In a way, the history of this band has been a chronicle of their frontman’s ongoing search for greater meaning. Along the way, they've grown with each record. In the aftermath of A Deeper Understanding, they won a Grammy for Best Rock Album. The New Yorker called them "the best American rock band of this decade." Even The Rolling Stones recognized Granduciel’s talents, inviting him to remix their long lost collaboration with Jimmy Page, “Scarlet,” which was previously an unreleased gem from Goats Head Soup.

By any metric, The War On Drugs have made it. They are now firmly embedded in the classic rock lineage. And yet the quest for that ineffable something continues. In practical terms, Granduciel was facing a familiar quandary as work began on the new War On Drugs album, I Don’t Live Here Anymore, in early 2018: What next?

Looking ahead, he was staring down his 40th birthday. He was on the verge of starting a family. And then there was the extended brotherhood of The War On Drugs, who had just spent many months on the road gelling into an excellent live act, as documented on 2020’s Live Drugs. In the 2010s, they had put out three classic studio albums in a row. But now it was time for a new statement for a new decade.

When he reflects on the making of I Don’t Live Here Anymore, Granduciel is quick to talk about the contributions of his bandmates as well as his trusted co-producer and engineer, Shawn Everett. That doesn’t exactly square with how we normally talk about this band. Granduciel typically is portrayed as the loner studio genius diligently pursuing the creation of heartland rock masterpieces. Think back to the cover of their 2014 breakthrough Lost In The Dream, in which we see the band’s leader standing in profile, looking pensive but determined.

But the moments that stand out most from the creation of I Don’t Live Here Anymore aren’t the solitary ones. For Granduciel, the new songs brought him back to the very community he had forged with his band.

“It just reminded me of all the things I love about making music,” he says, “collaborating with my friends, and letting everybody shine.”

As Granduciel sings in “Harmonia’s Dream” — one of the most anthemic tracks from an album positively bursting with them — “sometimes forwards is the only way back.” For The War On Drugs, the path forward started with paring back to the core of Granduciel, bassist Dave Hartley, and multi-instrumentalist Anthony LaMarca. As winter turned to spring in March of 2018, the trio retreated to upstate New York to jam, demo new songs, and deepen their bond.

“Sometimes you have to just get away from the predetermined roles that each member plays in the live setting,” Granduciel explains. These sessions proved highly productive, turning out early versions of some of the catchiest and most immediate songs on I Don’t Live Here Anymore, including the jangly “Change” and the pop-banger-in-waiting “I Don’t Wanna Wait.”

It was the start of an odyssey that lasted about three years. I Don’t Live Here Anymore was made in New York City and Los Angeles from 2018 through the early part of 2021, and included stopovers at iconic studios like Electric Lady in Greenwich Village and Electro-Vox in Hollywood. (Granduciel, as always, is a loyal patron of some of rock’s greatest sonic workshops.)

One of the most memorable sessions occurred in May 2019 at Electro-Vox, in which the band’s entire line-up — rounded out by keyboardist Robbie Bennett, drummer Charlie Hall, and saxophonist Jon Natchez — convened to record the affecting lead-off track and first single from I Don’t Live Here Anymore, “Living Proof.” Typically, Granduciel assembles War On Drugs records from reams of overdubs, like a kind of rock ‘n’ roll jigsaw puzzle. But for “Living Proof,” the track came together in real time, as the musicians drew on their chemistry as a live unit to summon some extemporaneous magic. The immediacy of the performance was appropriate for one of Granduciel’s most personal songs to date.

The songs on I Don’t Live Here Anymore were not written specifically about the pandemic. But at a time when we’re all starting to finally reunite with friends and family members, this record feels extra resonant. Who doesn’t feel right now like they’re entering a new phase of life? Who isn’t looking toward the horizon with a mix of fear and excitement? 

The joy of this album is that The War On Drugs aren’t just exploring these themes lyrically. The sound of I Don’t Live Here Anymore also captures the exhilarating uncertainty of dusting yourself off and taking your first steps into a larger world. Musically, this is the most rousing and upbeat War On Drugs album yet. The kind of music you want to play with your friends, arm and arm, as you steel yourselves against whatever’s coming. It’s medicine.

Of course, there are also the sort of introspective ballads the band is known for, like the folkie “Rings Around My Fathers Eyes” and the gorgeous “Occasional Rain,” which Granduciel considers his personal favorite. But the bulk of I Don’t Live Here Anymore unfolds like a collection of future greatest hits. “Victim” is an electro-pop killer that could put The War On Drugs in dance clubs. “Wasted” slams like a lost Born In The U.S.A. outtake. The title track, which is littered with Dylan references, sounds like it was designed in a lab to shake the rafters in an arena.

As always, Granduciel is a master of crafting singular moments that take your breath away. The guitar solo in “I Don’t Wanna Wait.” The mammoth synth hook in “Harmonia’s Dream.” The stunning piano coda from “Change.” The sultry backing vocals from special guest stars Lucius in “I Don’t Live Here Anymore. 

And then there’s “Old Skin.” I don’t want to spoil it for first time listeners, so I’ll just say this: Wait for when the drums come in. It’s the best and most uplifting moment on the record.

Or maybe it’s the final verse of “Old Skin” that deserves such a distinction. It’s where Granduciel seems to find that special something:

Well there’s a price for everything That tries to pull us all apart

So take control of anything

That tries to kill you from the start But I ain’t sure of nothin’ babe Till I can feel it in my heart

“I keep coming back to it as a record of movement,” Granduciel concludes, “of pushing forward, of trying to realize that version of our most fulfilled life, in spite of forces at every turn pushing down and trying to break you.”

Sometimes you hear a record that makes you feel — if only for an hour or so — that nothing can break you. I Don’t Live Here Anymore is that kind of record.

 

— Steven Hyden, June 2021

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Bleachers

Bleachers

Performances

June 23 - 9:30 PM @ Generac Power Stage

Bleachers

Kicking off 2022, Bleachers made their debut performance on NBC’s Saturday Night Live, performing two songs including their new single "How Dare You Want More" to mark the seminal show’s first episode of the year. Eight-time Grammy® Award-winning singer, songwriter, musician, and producer, Jack Antonoff, is the frontman behind Bleachers. In February 2023, he won the Grammy for Producer of the Year for the second year in a row.

On July 30th, 2021, Bleachers released their highly anticipated third album Take the Sadness Out of Saturday Night via RCA Records. Offering up the first taste of new music in late 2020, Bleachers previewed the album with a series of singles including “Chinatown” ft. Bruce Springsteen and “45,” followed by “Stop Making This Hurt,” which received a ‘Best Alternative Video’ nomination at the 2021 MTV VMAs, hit #1 at Triple A and top ten at Alternative radio.

Associated Press called the project “terrific,” while Entertainment Weekly deemed it "a canny commingling of indie-pop jangle and unabashed arena rock,” and Rolling Stone praised its “rock and roll thrillers with punchy pop pleas.” Known as one of the best live acts in the world, Bleachers hit the road for their sold-out ‘Take the Sadness Out of Saturday Night’ headline tour, a multi-city run across North America. The tour, which began in fall 2021, sold out multiple shows at venues including Red Rocks Amphitheatre (Denver, CO), Radio City Music Hall (New York, NY), and 02 Shepherd’s Bush Empire (London, UK).

Take the Sadness Out of Saturday Night serves as the follow-up to their critically acclaimed second album, Gone Now, which came out on June 2nd, 2017. The first single, “Don’t Take The Money,” hit #3 at Alternative Radio, while The New York Times called Bleachers’ music “anthemic life-affirming pop-rock.”

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Three 6 Mafia

Three 6 Mafia

Performances

June 22 - 10:00 PM @ UScellular Connection Stage

Three 6 Mafia

Three 6 Mafia's legacy is undeniable, and after years of creating music independent of each other, DJ Paul and Juicy J will return together for North America Touring in 2023.

Oscar-winning Three 6 Mafia founders DJ Paul and Juicy J birthed a sound that still heavily influences Hip Hop and Pop music. Their catalog spans over two decades and spawned a plethora of hits, as well as legendary collaborations for/with other artists like Outkast, UGK, T.I., Eightball & MJG, Project Pat, Lil Jon, Trick Daddy and so many more. The roots of crunk in Generation X have evolved into modern-day music, as Millennial and Gen-Z artists seek out the driving basslines and timeless energy of the genre.

In the first half of 2019, both Juicy and Paul have kept the fans talking with their trendsetting talents. "This year has already been a banner year for new music and production from both of us," says DJ Paul, "I know this is what the fans have been asking for, so we're ready to bring them the classics, along with our new music in the best possible way. To quote LL, don't call it a comeback, we have officially been here for years, and we've got a lot to show for it. Just wait to see what comes next..."  

After enjoying over 15 million record sales with Katy Perry's Grammy-nominated "Dark Horse", Juicy J's recent solo collaborations with Travis Scott, Kevin Gates and Lil Skies, and production for 2Chainz, City Girls, Ty Dolla Sign, Nicki Minaj and Cardi B have made some major noise with fans. Additionally, Juicy has appeared on tracks with the likes of Meg Thee Stallion, Young Dolph and Yung Gravy, and has been in the studio with ASAP Rocky. With Gold and Platinum singles under his belt, MTV and American Music Awards on his shelf, and a new television show in the works, Juicy is staying busy in entertainment. Outside endeavors like investing in Core Water, a partnership with Gary Vaynerchuk aka Gary Vee, and building up his own Juicy J Glass company have kept him busy as well, while his new creative partnership with Columbia Records is making way for bigger business endeavors. 

DJ Paul's recent work has included production on Drake and Jay-Z's "Talk Up" on Drake's award-winning Scorpion album, as well as work with Lil Baby, 2Chainz and Future, French Montana, Leikeli47, Lil Jon, ASAP Ferg and the U.K.'s Giggs among others. He completed a second full-length project with Yelawolf, first Trunk Muzik III and  the Ghetto Cowboy album. In April 2022 Paul released his own Power, Pleasure and Painful Things album, which has features from Beanie Sigel, Yelawolf, Wifisfuneral and more. Paul flexed his entrepreneurial skills in entertainment with the launch of Mafia Radio, an engaging podcast series which first launched with Dash Radio, and is now available on iTunes worldwide. Additionally, Paul is a principle investor in the world's #1 ranked Faze Clan esports gaming crew. and has also experienced amazing success as a real estate investor.

The legendary Three 6 Mafia is looking forward to performing for large crowds all over the world in 2023.

 

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Brett Eldredge

Brett Eldredge

Performances

June 24 - 10:00 PM @ Briggs & Stratton Big Backyard

Brett Eldredge

In a genre defined by the credo "three chords and the truth," Brett Eldredge is about to set a new bar with his forthcoming album,Songs About You,due June 17. Candid in its approach and backed by an uncluttered, minimalistic soundscape, each of the 12 co-written songs finds the Warner Music Nashville artist getting raw and unfiltered in a way rarely attempted in country music - or anywhere else. The LP shines a light on themes like fear and desire, a public struggle with anxiety and his newfound appreciation for self-acceptance. And yet, despite the understated arrangements and live horns, the album’s defining characteristic is still Eldredge's cavernous, signature vocal. The title track and single “Songs About You” was the most added song at radio upon release and along with previously released tracks “Holy Water” and “Want That Back,” give fans a taste of what’s to come from the new album. Eldredge has been engaged in one of country’s most transformative evolutions since the 2020 release of his critically acclaimed fourth studio record, Sunday Drive, when he began consciously pushing beyond clever, rom-com country anthems. With help from GRAMMY-winning producers Daniel Tashian and Ian Fitchuk, Eldredge brought the album to life by leaning into vulnerability and pulling inspiration from his own personal experiences. He released the brand-new holiday album, Mr. Christmas, in 2021 following his highly celebrated debut Christmas album, Glow. In 2016, the project inspired a single live show in Nashville, which has now grown into the annual Glow LIVE holiday tour, hitting major cities across the country. With seven country radio No. 1’s, nine Gold and Platinum-certified singles, two Gold-certified albums and multiple CMA, ACM and CMT Music nominations and wins, the critically acclaimed entertainer regularly fills arenas nationwide with his powerhouse vocals and electrifying live performances.

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SOFI TUKKER

SOFI TUKKER

Performances

June 23 - 10:15 PM @ Miller Lite Oasis Stage

SOFI TUKKER

SOFI TUKKER, the genre-defying duo of Sophie Hawley-Weld and Tucker Halpern, is celebrated for their inclusive and global perspective on electronic music as well as their work's themes of liberation, unity, and self-empowerment. Since 2015 they have achieved Gold records on 5 continents, racked up over a billion streams, and have collaborated with forward-thinking artists including Pabllo Vittar, John Summit, Bomba Estéreo, Amadou & Mariam and Mahmut Orhan. Their music has been used hundreds of times in Film, TV, video games and major advertising campaigns for the world’s largest brands including Apple ("Best Friend" for the iPhone X), Peloton ("Purple Hat") and most recently Smartwater ("Wet Tennis"). Many of the duo’s hit songs are sung in Brazilian Portuguese with lyrics by contemporary Brazilian poets, such as Chacal, who they collaborated with on their GRAMMY-nominated debut single "Drinkee". The newest full-length WET TENNIS (When Everyone Tries To Evolve, Nothing Negative is Safe), the follow-up to their GRAMMY-nominated debut album Treehouse, continues their story and growth. The album has been accompanied by a major brand campaign for ESPN and the US Open, with more campaigns to come in 2023, and the sold-out launch of their WET TENNIS fashion line with a presentation at New York Fashion Week.

When the world shut down in 2020, SOFI TUKKER began daily livestreams, eventually doing hundreds of daily consecutive streams for millions of viewers. A vibrant fan community calling themselves the Freak Fam emerged and assembled 24/7 online, eventually connecting at in-person meetups around the globe. When the world reopened, SOFI TUKKER dove back into the live world, with sold out tours on 4 continents, as well as field-packing, high energy festival sets. Their goal with these performances is to spread joy and inspire connection, and they will continue this mission in 2023 at marquee festival stages across the globe, while also expanding their footprint in Las Vegas (where they have been resident DJs since 2021). The duo are about to drop some new tracks and high-level collaborations that will take their signature sound to thrilling places. When asked what the future looks like for them, they've said: wet.

SOFI TUKKER are passionate activists committed to equality, and have raised funds and awareness for organizations including Planned Parenthood, The Trevor Project, National Alliance on Mental Illness, Natural Resources Defense Council, The Nature Conservancy, the March for Our Lives and Red Cross Ukraine.

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GRYFFIN

GRYFFIN

Performances

June 22 - 10:15 PM @ Miller Lite Oasis Stage

GRYFFIN

Since first breaking onto the global scene, Gryffin has cemented his status as one of the most crowd-thrilling and forward-thinking producers in the dance/electronic world. Along with delivering a steady stream of smash singles (including platinum-certified hits like Tie Me Down ft. Elley Duh and making his full-length debut with Gravity (a 2019 release that quickly shot to #1 on Billboard's Dance/Electronic Albums chart), the Los Angeles-based multi-instrumentalist has earned his name as an unforgettable live act, endlessly tapping into the sophisticated musicality he’s honed as a classically trained pianist and longtime guitarist. As he continues his massively successful residency at The Wynn’s Encore Beach Club and XS Nightclub in Las Vegas, Gryffin now returns with his hotly anticipated sophomore album Alive and a national headlining tour, including stops at such legendary venues as Red Rocks Amphitheatre—an auspicious constellation of events sure to make 2022 his biggest year yet.

In a departure from the future-bass-leaning aesthetic of Gravity—an acclaimed project whose standout tracks include the gold-certified “All You Need to Know” with SLANDER ft. Calle Lehmann—Alive embodies a more euphoric and dance-ready sound without sacrificing any of the raw emotion that makes Gryffin’s music so beloved. “It’s important to me to keep evolving with my music, and I’d never want to make the same album twice,” he says. “During COVID, I decided I wanted to keep the same core emotions and melodies I was working with on Gravity, but make it more upbeat and fun. It’s a little dancier than what I’ve done in the past, but it felt right to create something that makes people want to move after being locked down for so long.”

As Gryffin’s most sonically eclectic work yet, Alive finds the Bay Area-bred musician working with a dynamic lineup of collaborators: GRAMMY®-nominated alt-rock/pop band OneRepublic, Danish

electro-pop icon MØ, R&B singer/songwriter Tinashe, and indie-pop phenom Olivia O’Brien, to name just a few. “This album’s a really great combination of artists I’ve wanted to work with for a long time and artists I’ve worked with for years and feel a strong connection with,” says Gryffin, whose repeat collaborators include Maia Wright and Calle Lehmann. “In both cases it’s been amazing to work with people who have a very specific vision, and to figure out how to bring that to life while retaining my own vision at the same time.”

Made with Lehmann, the title track to Alive instantly set the tone for the album’s effervescent mood. “Calle sent me the idea for ‘Alive’ and I fell in love with it from the jump and started producing different versions,” Gryffin recalls. “The idea of the relationships in your life keeping you going completely resonated with me during the pandemic, and I ended up taking the track in a very uptempo direction that turned out be pivotal for opening up my creativity.” An epic confession of post-breakup longing, “Alive” ultimately transforms pain into sublime pleasure, thanks in no small part to Gryffin’s masterful use of dynamics and exhilarating sound design. The first single released from Alive, “You Were Loved” with OneRepublic also marked a major breakthrough for Gryffin. With its stark guitar tones, lush strings, and irresistibly soulful vocal work (courtesy of OneRepublic frontman Ryan Tedder), the achingly nostalgic track bears the unabashed emotionality of truly timeless pop songs. “Working with Ryan was a real highlight for me, and I tried to soak in as much as knowledge as I could in terms of what’s going on in his head when he’s constructing records,” says Gryffin. “I learned a lot about bringing in lyrical hooks and cues early on and building on that throughout the song, and about adding new layers or taking them away to keep the listener intrigued—but all in a very subtle way.”

While much of Alive tends toward the more uplifting edge of house music, Gryffin frequently wanders into unexpected sonic terrain, exploring everything from breakbeat and trance to dark house and indie-pop. “One of the songs I’m most excited to play live is ‘Colors,’ which is an extremely vibey record,” he reveals. “It’s four minutes and it’s only got one drop; it just keeps building and building all the way through, and feels very structurally different from anything I’ve ever done.” In dreaming up such a kaleidoscopic body of work, Gryffin once again incorporated organic instrumentation all throughout the album. “Alive is definitely more synth-focused than Gravity, but every single track has some element of guitar or other real instruments,” he says. “Mixing the electronic components with guitar or piano gives everything that human touch and warmth that I always want to get across in my music.”

As countless fans and festival-goers have learned in recent years, Gryffin’s output takes on an even greater vitality in his live show, a wildly immersive spectacle that’s captivated crowds at leading festivals like Coachella, Bonnaroo, and Lollapalooza. With his 2022 festival appearances including Life is Beautiful, Firefly, and more, Gryffin develops each set with the intention of creating a highly emotional experience for the audience. “There’s always a lot of singing in unison and people embracing each other, a lot of love and energy,” he says. “My goal is for everyone to get lost in the music and lost in the world I’m curating, and to feel overcome with emotion but in a good way—like happy crying.” Like most of his shows so far, Gryffin’s tour in support of Alive will feature a full band, as well as a series of vocalists as special guests. “I’ve been working on new edits and new productions for a lot of the songs, so that people at the live shows will be able to experience them in a completely fresh way,” he points out. In addition to the Red Rocks show (his first time headlining the historic Colorado venue), the Alive Tour includes a stop at L.A. State Historic Park, a particularly meaningful gig for the longtime Angeleno. “I’m going to have a ridiculous number of artists from the albums come out to sing and perform those records with me, and I’ll definitely go extra on the production for that one,” he says. “It’ll be the biggest show I’ve ever done.” Meanwhile, Gryffin is holding down his hugely popular Vegas residency, a gig he first landed in early 2020. “Vegas is more of a party vibe, and it’s always fun to play my own music along with other music I’m into,” he says. “There’s so many exciting things happening right now, and it just keeps on getting crazier.”

Looking back on his journey to this point, Gryffin notes that Alive serves as something of a full-circle moment. “It’s funny because I started off doing remixes that were more house-tempo-ed, and then as I evolved I ended up producing more of the half-time, future-bass-inspired records you hear on Gravity,” he says. “Now it’s like I’m returning to my house roots, only with way more experience than I had before.” Born Dan Griffith, he first discovered his musical side by taking up piano at age seven and later learned guitar, playing in several bands throughout high school. While studying electrical engineering at University of Southern California, he taught himself production and soon gained attention for his ingenious remixes of songs like Years & Years’ “Desire,” eventually inking a deal with Interscope Records. In 2016, he broke through with two singles showcasing his deeply melodic take on dance music: “Heading Home” ft. Josef Salvat (which shot to #1 on Spotify’s US and Global Viral charts) and the gold-certified Bipolar Sunshine collaboration “Whole Heart.” Scoring his first platinum record with 2017’s “Feel Good” (with Illenium and featuring Daya), Gryffin continued making waves with hits like “Remember” ft. Zohara (a cut from Gravity that amassed 6.5 million streams in its first few weeks alone).

For Gryffin, there’s a certain surreal element to the unstoppably upward trajectory that’s defined his career to date. “More often than not, I’m in disbelief of the things that happen on a day-to-day basis,” he says. “I’ve always loved music, but part of me thought I’d be living the nine-to-five life as a circuit designer in the Bay Area. Everything that’s happening right now is so exciting and fulfilling, but my favorite part of the job is still just sitting in my studio, working on the music—I get so much satisfaction out of creating something that makes me feel something, and that will hopefully end up impacting other people on a really emotional level. That never stops being the most rewarding thing for me.”

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Fitz And The Tantrums

Fitz And The Tantrums

Performances

June 23 - 9:30 PM @ Uline Warehouse Stage

Fitz And The Tantrums

Multi-platinum artists Fitz and the Tantrums have quickly grown from independent upstarts to bonafide hitmakers.  The LA-based band recently released their much-anticipated, fourth full-length album "ALL THE FEELS," featuring singles "123456" and "I Just Wanna Shine." "ALL THE FEELS" follows the band's 2016 release "FITZ AND THE TANTRUMS," which spawned the group’s biggest hit to date, “HandClap.” The RIAA-certified 2x Platinum single has logged more than 400 million global streams, went top 5 on both the Hot AC and Alternative Radio charts, and also enjoyed major airplay across the country at Top 40.  The band has brought the infectious energy of their live shows to the small screen, with nationally televised performances of “HandClap” on ABC’s “Dancing With The Stars,” “Good Morning America,” and “Jimmy Kimmel Live!,” NBC’s “TODAY,” “Tonight Show Starring Jimmy Fallon,” “America’s Got Talent,” and Macy’s Thanksgiving Day Parade, and the syndicated “Ellen DeGeneres Show” among others.

Fitz and the Tantrums’ eponymous album followed their breakout major label debut, “MORE THAN JUST A DREAM,” which featured back-to-back Platinum-certified, #1 Alternative Radio singles in “The Walker” and “Out Of My League.”   Both singles also enjoyed Top 15 success at Hot AC.  The band has performed countless, sold-out headlining shows and is always a standout at music festivals around the world, including Coachella, Bonnaroo, Lollapalooza, Austin City Limits, and more.

Fitz and the Tantrums are Michael “Fitz” Fitzpatrick (vocals), Noelle Scaggs (vocals), James King (saxophone, flute), Jeremy Ruzumna (keyboards), Joseph Karnes (bass), and John Wicks (drums, percussion).

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Yung Gravy

Yung Gravy

Performances

June 30 - 9:30 PM @ Generac Power Stage
June 30 - 4:00 PM @ AmFam House Stage

Yung Gravy

Go ahead and call him "The People's Champ..."

The people quite literally demanded his rise by galvanizing his jump from underground stalwart into a mainstream force.

23-year-old MC, Minnesotan disruptor, and MILF connoisseur Yung Gravy quietly emerged as a gold-certified phenomenon by way of hilarious ad-libs and airtight rhymes. Within a year, his 2018 Snow Cougar EP yielded a pair of gold-selling bangers -- "Mr. Clean" and "1 Thot 2 Thot Red Thot Blue Thot" -- jumping from early SoundCloud success to the hottest playlists on Spotify such as New Music Friday and Pop Rising, to name a few. In its wake, he sold out three tours in North America, two tours in Europe, and his run of Australia and New Zealand. This hot streak continued as his world tour, Experience The Sensation, Part 2,” also sold out.

During 2019, his full-length debut Sensational [Republic Records], crashed the Top 5 of the Billboard Top R&B/Hip-Hop Albums Chart and put up 450 million-plus streams across bangers a la “Alley Oop” [feat. Lil Baby” and “Gravy Train,” which gave a 808 facelift to Maxine Nightingale’s “Right Back Where We Belong.”

Gravy just does Gravy though…

“I really felt like there was something missing,” he explains. “I wasn’t hearing what I wanted to hear, so I stepped up to the plate and actually started doing it myself.”

Rewinding to the beginning, he hit his stride in 2016. Inspired by everyone from OutKast, Nate Dogg, Curren$y, and Action Bronson to Patrice Rushen and The Blackbyrds, Gravy took to SoundCloud to begin releasing music. The first song he uploaded, “Karen”, quickly garnished new fans and stirred a palpable buzz online. His first independent EP, Mr. Clean, went viral on the strength of “Continental Breakfast” on SoundCloud. Sandwiching a sample of The Chordettes’ “Mr. Sandman” between racy and raw rhymes, the title track “Mr. Clean” popped off and paved the way towards literal gold as well Thanksgiving’s Eve, Yung Gravity EP, and Baby Gravy EP. Soon, he reached #1 on Indify and had labels knocking at his door. Gravy kicked off 2018 with the sizzling single “1 Thot 2 Thot Red Thot Blue Thot.” Flipping the Dr. Seuss limerick upside down, the hook proves immediately infectious.

“I was at a house party in Georgia that got broken up by the cops,” he recalls. “We were accused of burglary, and I spent the night in jail. I got probation with community service. I was in the wrong place at the wrong time, so all of the felonies were expunged, but I still got charged with ‘Criminal Trespassing’ and ‘Underage Drinking.’ The day I got off probation, I was super hyped and inspired. This is my freedom song.”

A free man, he shows no signs of stopping or slowing down. He teamed up with frequent collaborator bbno$ for a 2020 collaborative project introduced by the track “shinin on my ex,” which OnesToWatch predicted as “a surefire Tik Tok hit” and Lyrical Lemonade pegged as “another absolute slapper” and “a true classic.” Their chemistry really exploded on the single “iunno.” Over off-kilter horns and a subtle beat, they lock into a vibrant verbal volley before the hashtaggable hook.

It supports his main goal though -- as always.

“At the end of the day, this is all meant to make people feel good,” he leaves off. “This is party music, and everyone’s invited.”

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Vance Joy

Vance Joy

Performances

June 29 - 10:15 PM @ Miller Lite Oasis Stage

Vance Joy

You don't sell over two million copies of your debut album without some serious hard work, and Australian singer/songwriter Vance Joy has never been shy of major elbow grease. When Vance Joy first cut his teeth performing at open mic nights in Melbourne, he was feeding on a diet of artists like The Pogues and Paul Kelly. By 2013 he was ready to introduce the world to his ukulele-led charm ‘Riptide’, which became an instant global classic. The connection and journey his music was about to have on the world in years to come was an unexpected reward to the young songwriter.

Vance Joy (born James Keogh) consolidated on that first impression with further anthems ‘Mess is Mine’, ‘Georgia’ and ‘Fire and the Flood’. Those hits all found a home on the 2014's debut ’dream your life away’. Vance Joy spent 2013 and 2014 playing clubs around the world before the album was released which then saw him surface everywhere from singing on the American Idol Season Final to being handpicked to open Taylor Swift’s 1989 World Tour, festivals from Lollapalooza in Chicago and South America, to Coachella, Splendour in the Grass and the AFL Grand Final. After his successful Sold Out 2016 ‘Fire and The Flood’ North American theatre run, and Australian performances at the Sydney Opera House, Margaret Court Arena and Riverstage he took a well-earned rest.

Come July 2017 – Vance Joy kicked off the campaign for his sophomore album ‘Nation of Two’ with the lead single ‘Lay It On Me’ showing it was destined to be another successful album. The track was followed six months later with the album and follow up single ‘Saturday Sun’, a tune so good that he held up delivering Nation of Two to ensure it made the cut.

The success of ‘Nation of Two’ saw Vance Joy tour the world throughout 2018 on the ‘Nation of Two World Tour’ ranging in venues from Arena’s across Canada, amphitheatres in North America including the famous Red Rocks, the first Latin American headline shows, theatres across Europe and Arena’s across Australia including two sold-out hometown shows at Melbourne’s Rod Laver Arena. November 2018, the end of the 83 date World Tour, Vance Joy had yet another offer to tour with one of the world's biggest female artists. P!NK extended an offer for Vance Joy to join her European stadium run on her Beautiful Trauma World Tour. Summer 2019 saw Vance Joy and band join her biggest tour to date and enjoy an extensive run of Stadium shows across Europe before taking another well-earned break to work on album number three.

In 2021 Vance Joy returned with ‘Missing Piece’, the song soon hit x2 Platinum in Australia, #1 at USA Triple A Radio, #2 on the Australian Radio Chart, #2 at the USA and Canada Alternative Radio Chart and won Best Video at the ARIA Awards. Released in June 2022, 'In Our Own Sweet Time', the third album by Vance Joy featured hit single, 'Clarity' which peaked at #3 on the USA Alt Radio Charts. The song spent one week at #1, nine weeks in the Top 5 and eleven weeks in the Top 10 on the Triple A Radio Charts in the US. In Australia, Vance Joy received 5 ARIA Nominations after the album's release including, Best Solo Artist, Best Adult Contemporary Artist, Best Pop Release for Clarity, Song of the Year for Clarity and Best Video for Every Side of You. Winning Best Video for the 2nd year in a row.

With 5 billion streams across all platforms, It’s no surprise that listeners all over the world connect to Vance Joys intimate yet anthemic song writing. His lyrics take you on a journey that will reach out and hold you for a delicate moment. Bringing together a unique, charming mix of folk music with pop influences, these songs capture the familiar pulse of everyday experiences in a unique and celebratory manner.

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Cypress Hill

Cypress Hill

Performances

June 29 - 9:30 PM @ BMO Pavilion

Cypress Hill

Cypress Hill shifts culture. The South Gate, California rap group championed cannabis before it before fashionable, ushered in a genre-shifting sonic tapestry, performed thousands of shows at a time when rappers were having a hard time getting booked for live gigs, and helped pave the way for rappers to use Spanish in their rhymes. Along the way, Cypress Hill earned a star on the Hollywood Walk of Fame, sold more than 9 million albums, and were nominated for three Grammy Awards.

During a time increasingly defined by singles of the moment, rappers B-Real and Sen Dog wanted to make a statement by releasing an album. Back in Black, the group’s forthcoming tenth studio project, finds the group flexing its musical muscles and pushing itself creatively.

“If you're making music, you don't just want to make one song,” B-Real says. “You want to make an album to show people like your skillset, your versatility, and to capture their minds. You can do that with one song, but an album is a journey. You have to take the trip. We were always fond of taking people on a journey, the rollercoaster ride, if you will, and you can only do that with an album.”

With a mesmerizing mix of celebratory, confrontational, inspirational, reflective, and rugged songs, Cypress Hill shines throughout Back in Black. Entirely produced by Black Milk (Slum Village, Lloyd Banks, Pharoahe Monch), the LP is an homage to Cypress Hill’s return and its collaboration with Black Milk.

Over crisp, thunderous drums and undulating bass, B-Real and Sen Dog turn a distinctive leaf on Back in Black selection “Open Ya Mind.” Here, the pair rap about the educational and legal aspects of cannabis. Yes, Cypress Hill enjoys getting high, of course. But the group’s affinity for herb runs much deeper. “We can talk about smoking, but there's still a lot of people out there that need to be educated,” B-Real reveals. “As the scene has progressed and evolved into what it is now, there still are some road bumps out there. It’s not federally legal across the United States. It’s legal here in California and other states, but we still face a lot of obstacles in terms of the federal government. A lot of us are pushing to finally get it recognized federally. There’s still a whole lot of work to be done, so we just keep pushing along.”

As is the case on much of Back in Black, Sen Dog delivers the first verse on “Open Ya Mind.” “We haven’t done a lot of that,” Sen Dog says. “I’ve always been on the second verse or on a song by myself, so it feels good to be the one to throw out that first rhyme in a song.”

On the dark, percussive “Bye Bye” Cypress Hill throws another curveball by featuring rising rapper Dizzy Wright, who delivers a standout verse about the cost of violence. Elsewhere, the meditative “Come With Me” features Cypress Hill channeling Tupac Shakur. “We were good friends with him,” Sen Dog says of the late rap icon. “We never got to the point where we made a song together, though, so we wanted to give him props.”

Like Tupac, Cypress Hill has remained prolific throughout its illustrious career. On the drum-driven “Break of Dawn,” B-Real declares that he’s not going to stop regardless of what obstacles he’s facing, while on the sonically stirring “Hit ‘Em,” B-Real and Sen Dog rap about the importance of not slowing down and staying focused on your goals.

“Staying aggressive and going forward has to be part of the plan because you don’t get anywhere without that mentality,” Sen Dog says. “We’ve done it all, but since hip-hop is overcrowded, you have to keep your foot on the gas pedal and keep it moving or else you’re going to fall by the wayside. We don’t want that.”

Elsewhere, Back in Black cut “The Original” features live percussion from Eric “Bobo” Correa and turntable wizardry from DJ Lord, both of whom also add heft to brilliant album-closing cut “The Ride.” On the latter, B-Real recalls the pain he suffered and inflicted on others while participating in the street life. He made a conscious effort to leave that life behind when he dedicated himself to music, which he knew was also a cutthroat business. “I don’t think any of us thought that we would’ve been this successful,” B-Real says. “Hip-hop is a tough industry. It’s dictated by the record companies and is supposedly a young man’s game. But it’s really not. It’s about who still has the pass and who can put it down properly.”

Since releasing its eponymous debut album 1991, Cypress Hill has regularly revolutionized rap. B-Real and Sen Dog’s innovative lyrics, distinctive voices and poignant street-centered subject matter catapulted the group to superstar status. Cypress Hill ushered in a dusted sound thanks to primary producer DJ Muggs, introducing a distinctive West Coast aesthetic and presence. Its first LP sold more than 2 million units and its second album, 1993’s Black Sunday, pushed another 3 million units thanks to the Grammy-nominated singles “Insane In The Brain” and “I Ain’t Goin’ Out Like That.”

As its music captivated millions of listeners, Cypress Hill earned fans around the world thanks to its riveting stage show, which features phenomenal percussionist Bobo bringing additional sonic wrinkles to such songs as “Rock Superstar,” “How I Could Just Kill A Man,” “Lick A Shot,” and “Real Estate.”

More than 30 years since it debuted, Cypress Hill knew it had more to offer with Back in Black. “This album is a return to our roots,” Sen Dog says. “We were proud hip-hoppers back in the day and we’ve gone through it all. We’re proud to be part of the hip-hop industry. Doing a straight hip-hop joint was the way to go.”

Back in Black proves Cypress Hill right. Again.

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The Pretty Reckless

The Pretty Reckless

Performances

July 7 - 10:15 PM @ Miller Lite Oasis Stage
July 7 - 4:00 PM @ AmFam House Stage

The Pretty Reckless

The Pretty Reckless gave rock n roll the jumpstart it needed for a new generation - but they did so entirely on their own terms.

Since 2008, the group - Taylor Momsen [vocals, guitar], Ben Phillips [guitar, keys, piano], Mark Damon [bass], and Jamie Perkins [drums] - have emerged as the rare force of nature who can be featured by INTERVIEW Magazine, Good Morning America, Entertainment Tonight, NYLON, and Women’s Wear Daily — as well as share a stage with Guns N’ Roses and Soundgarden.

Joined by late producer Kato Khandwala, they fanned this flame on Light Me Up [2010] and Going To Hell [2014]. The latter housed three #1 smashes —the platinum-certified “Heaven Knows” (the biggest rock song of 2014), “Fucked Up World,” and “Follow Me Down. In the wake of 2016’s Who You Selling For, “Take Me Down” vaulted to #1 on the Mainstream Rock Songs Chart, enshrining them as "the first band to send its first four singles to #1 on the chart," according to? Billboard?.

During 2021, Death By Rock and Roll elevated them to rarified air. With its impact, the four-piece carved out a place in history as “the first female-fronted band to have back-to-back No. 1 singles at the active rock format” and “the first female-fronted act to have seven No. 1 singles on the Billboard Rock Radio Chart.Beyond acclaim from V Magazine, The TODAY Show, PEOPLE, Spin, ELLE, American Songwriter, Bustle, ABC News Nightline, The Daily Beast, and more, it bowed at #1 on the Billboard Top Album Sales Chart. It also notably boasted collaborations with legends such as Soundgarden’s Matt Cameron and Kim Thayil on “Only Love Can Save Me Now” and Rage Against the Machine’s Tom Morello on “And So It Went.”

Through and through, The Pretty Reckless didn’t simply throw the rulebook out the window; they set the fucker on fire on the way down. Introducing a bold vision unlike anything else this era had seen, Taylor’s bluesy seductive howl collided with revved-up and raucous rhythms, sweetly stoned melodies, and enough unpredictability in the studio and onstage to bring the danger back to rock ‘n’ roll. By sticking to their guns, the musicians reaped the rewards of such uncompromising fearlessness.

This boundlessness drives Other Worlds [Fearless Records] where they deliver their first proper acoustic recordings, unexpected covers, and other reimaginings, covering new territory once more.

“For a long time, we’ve been trying to figure out an alternative way of releasing music, including songs we love that didn’t make our records, covers, and alternate versions,” explains Taylor. “We found a way to do this coherently and consistently with Other Worlds. We’re a rock band, so there are lots of electric guitars on our records. However, we’ve gotten incredible feedback from fans about our acoustic performances, and we’d never put those out in any real format. So, this is a different take on the traditional format of a record and a stripped back version of us that our fans haven’t really heard before, but it’s still us.”

“You get to hear a different side of Taylor’s vocals,” adds Ben. “It was a chance for us to see what she would sound like singing songs by people who have inspired us. It also gave us some perspective of where we need to go and what we need to be if we want to be that good.”

As such, the record collates striking acoustic renditions of personal favorites accompanied by some very special guests. The recording of Elvis Costello’s “(What’s So Funny ‘Bout) Peace, Love and Understanding” served as Taylor’s first cover originally performed for the “Fearless at Home” livestream in the midst of COVID. As another Pandemic-era cover, Matt Cameron played guitar and sang as Taylor powered an airy and lithe reimagining of Soundgarden’s “Halfway There” from King Animal, generating hundreds of thousands of views on its initial post. Iconic multi-instrumentalist, producer, and artist Alain Johannes handled guitar on The Pretty Reckless’s pensive and poetic interpretation of “The Keeper” originally by Chris Cornell, while David Bowie pianist Mike Garson performed a stirring piano movement for The Thin White Duke’s “Quicksand.”

“When we were doing those initial performances, we made sure they were recorded well enough to release,” she goes on. “Everything during COVID had a certain tone to it. These songs fit the mood of the world. With covers, we did have a criteria—either you meet it, beat it, or equal it in a way that makes it just as good. Or, you don’t do it, at least not in public in front of other people,” she laughs.

In addition to exploring the work of other artists, the group also dressed down Death By Rock and Roll staples to their bare essence with shuddering, stirring, and striking acoustic performances of “Death By Rock and Roll,” “Only Love Can Save Me Now,” “25,” and the heartfelt finale “Harley Darling.” They introduce Other Worlds with the “Got So High (Remix).” Uplifted by ethereal keyboards, they reinvented the original as an intoxicating and infectious fever dream in waves of anesthetized sonic bliss.

“Taylor wrote it by herself in all of the mayhem of everything she was going through,” recalls Ben. “It was before she came out on the other side of this trauma, so it’s very revealing.”

“The song wasn’t written as a reflection where I was looking back on a bad time,” she adds. “It was written while I was in this bad time. There’s a simplicity to it with a pure jarring honesty. For the Remix, I wanted a stoner version that continues to repeat and puts you in that state of mind.”

Meanwhile, The Pretty Reckless plugged in again on Soundgarden’s “Loud Love.” Marking a full circle moment, Taylor originally performed with the surviving members of Soundgarden at the Chris Cornell tribute concert I Am The Highway. They mirror the hulking intensity of the original punctuated by Taylor’s own vocal flare.

“It’s tied in with Death By Rock and Roll, because it’s the first thing we technically recorded during the process,” she notes. “We still got the chance to pay homage now that the cycle is over.”

In the end, The Pretty Reckless continue to push ahead.

“To us, this record is pleasurable to listen to,” Ben leaves off. “The lyrics really mean something. You can escape into them. Maybe they give you insight and depth into your own life and soul. You can plug out for a little while.”

“It has a dreamier arc to it from front to back,” Taylor concludes. “At this point, The Pretty Reckless is my life. Like life, it’s ever-evolving. I have no idea where it fucking goes next, but I’m looking forward to it.”

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Coi Leray

Coi Leray

Performances

June 29 - 10:00 PM @ UScellular Connection Stage

Coi Leray

Coi Leray consistently asserts herself as an elite rapper, dynamite vocalist, massive personality, and boundary-breaking superstar without comparison or rival. Born in Boston, raised in New Jersey and based in Los Angeles, the multiplatinum force of nature has captivated without compromise. Projecting her attitude just as loudly as her voice, she has served up a string of anthems from her debut album TRENDSETTER, including the gold-certified “Big Purr (Prrrd)” [feat. Pooh Shiesty], double-platinum “No More Parties,the Billboard Hot 100 Top 40 hit “Blick Blick” [with Nicki Minaj], and the viral “TWINNEM.Now to kick off 2023, she earned a new Billboard Hot 100 Top 20 with her highest charting single to date “Players” taking over social media with popular remixes such as “Players (DJ Smallz 732 Jersey Club Remix)” and “Players (DJ Saige Remix).Together they set TikTok on fire with a staggering 7 billion views and just shy of 2 million video creates as the success simultaneously translated to streaming platforms. Between generating billions of streams and views, she has infiltrated every corner of culture, appearing on XXL’s coveted Freshman Class cover, performing on NBC’s The Tonight Show Starring Jimmy Fallon, as well as ABC’s Jimmy Kimmel Live!, starring as the face of the SKIMS “Cozy Collection” by Kim Kardashian West, and guesting on Slime Language 2, which bowed at #1 on the Billboard 200. Coi Lerays reach continues to expand thanks to collaborations with everyone from Calvin Harris to K Pop’s TOMORROW X TOGETHER. Beyond a slew of magazine covers and nominations at the American Music Awards, BET Awards, and iHeartRadioMusic Awards, to name a few, she has incited critical acclaim from New York Times and Billboard to E! Online and more. As a powerhouse performer in her own right, she has shined at Rolling Loud, Lollapalooza Festival, Governors Ball and more. Still, she keeps pushing forward. The crown belongs to Coi as she unveils her anxiously awaited 2023 full-length album and much more to come.

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Walk The Moon

Walk The Moon

Performances

July 8 - 9:30 PM @ Generac Power Stage
July 8 - 4:00 PM @ AmFam House Stage

Walk The Moon

Hailing from Cincinnati, OH, WALK THE MOON consists of Nicholas Petricca (singer/keyboardist), Eli Maiman (guitarist), and Sean Waugaman (drummer). In 2015, the band catapulted to stardom when their hit single "Shut Up and Dance," which is included on their RIAA Certified Platinum album TALKING IS HARD, became a multi-platinum global smash that peaked at No. 1 on the Alternative, Hot AC, and AC charts, went to No. 2 at Top 40 radio, No. 4 on the Billboard Hot 100, and broke the record for consecutive weeks at #1 on the Billboard Hot Rock Songs chart. Throughout their career, the band has had a slew of honors including winning two Billboard Music Awards, and nominations for an MTV Music Video Award for Best Rock Video, American Music Award for Favorite Pop/Rock Duo Or Group, New Artist of the Year, and Favorite Alternative Rock Artist and iHeartRadio Music Award for Best Duo/Group of the Year, Song of the Year, and Alternative Rock Song of the Year for "Shut Up and Dance." WALK THE MOON's third album, 2017's What If Nothing, included hits such as "Kamikaze" and the #1 Alternative Radio hit "One Foot." WALK THE MOON's highly anticipated fourth album HEIGHTS is out now and features radio hits "Can You Handle My Love??" and "Giants."

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Brett Young

Brett Young

Performances

July 1 - 10:15 PM @ Miller Lite Oasis Stage

Brett Young

With an undeniable string of hits to start his career, BMLG Records' Brett Young has already cemented his status as country's master over matters of the heart. But after two albums defined by a transcendent romantic spark, the multi-Platinum star now broadens his emotional scope.

Released on June 4 and featuring eight bigger-picture anthems, Young’s third album finds this modern-country crooner singing a new tune. “This is the most glaringly different stage of life that I’ve experienced,” Young says of Weekends Look a Little Different These Days. “And I think this collection is a really clear picture of where I’m at – not only in life, but as a songwriter as well.”

A California native with an instinctual Southern charm, Young broke out in 2016 with the tender longing of “Sleep Without You” … and then never hit the snooze button. Going on to perfect a new-country mix of sunshine soul and effortless back-porch pop, the result was seven straight Number Ones boasting 13 Platinum certifications, and a rocket ride into the genre’s top tier.

Two studio albums found their mark – his self-titled Platinum debut and Gold follow-up, Ticket to L.A – and as Young continued to pull hits from his own beating heart, he sealed the deal with fans and critics alike. He’s now an ACM-Award winner and ASCAP’s 2018 Country Songwriter-Artist of the Year. And with more than 5.5 Billion global streams, international tours, a headlining arena run (put on hold in 2020), a successful clothing line, and his own festival, the steady-handed talent has endeared himself to fans around the world.

But now, with his family growing and his role at home changing, the music is following suit. That emotional x-ray vision Young used to zero in on all-consuming passion? It’s now been turned toward life’s full-circle journey, while still revolving around the romance he does best. “I’m always just writing what I’m living,” he says. “But this was a really significant chapter. I had to dig a little deeper.”

Working again with producer Dann Huff (Keith Urban, Thomas Rhett), Young dials in his smooth-as-silk sound on Weekends Look a Little Different These Days, adding tasteful progressive touches to a timeless, acoustic-pop foundation. And that chart-topping vocal has never felt so free.

Years in the making, the project started with “Lady,” a PLATINUM-certified Number One expressing his wife’s amazing grace – and his hopes for their first daughter, Presley. The gentle sway of a lullaby matched a father’s pride, and its from-the-heart success set the stage for more of the same.

Reflective tracks like “Weekends Look a Little Different These Days,” “This” and “Dear Me” pull on the same thematic thread, pairing personal growth and emotional fluency as golden-hour anthems. Each finds Young looking back on the man he was – and forward with excitement.

Meanwhile, the upbeat “Not Yet” captures smitten spontaneity in the vein of hits like “Catch” and “Here Tonight,” preaching a love-for-the-moment outlook that maturity doesn’t stop the fun. “Leave Me Alone” abandons the past with a bouncy tropical strut, and Young taps into romantic ‘80s-rock for the overdriven anthem, “You Got Away With It.” And finally, the star proves he can still melts hearts, getting vulnerable with the burn-for-you blues of “You Didn’t.”

When it all combines, one of country’s elite hit makers takes the next step in both his life and creativity, taking fans along for the ride. Young’s third album gives a clearer picture of the man he’s still becoming. And with all new inspiration to work with, things will surely look different from here on out.

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Ne-Yo

Ne-Yo

Performances

July 8 - 9:30 PM @ BMO Pavilion

Ne-Yo

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Flyleaf with Lacey Sturm

Flyleaf with Lacey Sturm

Performances

July 1 - 9:30 PM @ Generac Power Stage

Flyleaf with Lacey Sturm

Flyleaf is an American rock band formed in Belton, Texas, in 2002. The band has charted on mainstream rock, Christian pop, and Christian metal genres. They performed around the United States in 2003 before releasing their eponymous debut album, Flyleaf, in 2005. The album went platinum after selling more than one million copies. Flyleaf released their second album, Memento Mori, on November 10, 2009; it debuted and peaked at No. 8 on the Billboard charts. Flyleaf's third album, New Horizons, was released on October 30, 2012.

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Yungblud

Yungblud

Performances

July 6 - 9:30 PM @ Generac Power Stage

Yungblud

"Everyone has an opinion about what Yungblud is: whether you love it, you hate it, or you're indifferent; whether you've just found it or known it for years. Everyone has an opinion," says Harrison, dragging up a chair in the Hawley Arms. Since his emergence in 2018, the gulf between who he is and the world's perception of him has widened: the higher he has risen, the more the expectations of others have distorted Yungblud's definition of himself, stunting an evolution that extends beyond caricature.

That's why his third record is simply titled Yungblud: it's a reclamation of his own narrative. This is no longer a statement made by a bratty 17-year-old, lashing out with anger at his own powerlessness, which defined his 2018 debut album, 21st Century Liability. It’s not a deflection, an avoidance of self-confrontation by elevating the stories of others through its 2020 successor, weird! This record is the story of a 24-year-old man who, for the first time, is daring to offer the world every skeleton, every secret, that he once so closely guarded – because he has got nothing left to lose.

“Everything up until now has been, ‘Hello! I’m Yungblud! Love me, love me, love me!’” Harrison says, parodying himself. “But this is my soul on a fucking plate now, so if you don’t like it, I can’t really do much about it. The question behind this album is, ‘Who is Yungblud?’, and the answer is: I don’t know. Listen to this album, and you tell me.”

Yungblud was brought to life through hard-won battles Harrison thought he didn’t have the strength to see through. There came a time where Harrison would dread being seen in the street, fearful to be among the public because he’d have to make paranoid calculations to guess what they thought of him, what they might be saying behind his back. That’s why the album cover, shot by close friend and photographer Tom Pallant, is so black: like pitch, like noir, like hate – the hate that started malicious rumours, the hate that gave way to ignorance. “I felt that pain, and I will remember it – but it won’t be a scratch on people deliberately misunderstanding me.”

He did what we would all do when the walls are closing in, and he called his mum. With perspective, and new resolve, he decided that with this album, he would drop the act - because, yes, he does give a fuck. “I don’t understand why not giving a fuck has been put on such a pedestal. I do give a fuck. I give a fuck about being a showman. I give a fuck about my stage presence. I give a fuck about my image. I give a fuck about what I say. I give a fuck about my kids,” he insists. “I give a fuck.”

Once Harrison has committed to his record, studios and industry-polished songwriters were lunging at the chance to be a part of it. They gave them his ideas of what Yungblud should do next: a pop-punk record just like he was always destined to do, to capitalise on the trend. But he didn’t listen. “I don’t want to be a punk rock star,” he shrugs. “I don’t think it fulfils my potential. It’s a trivial version of rock, a reincarnation, that’s not coming from a real place. I can’t be a scruffy punk, jumping about, unless I want to play Brixton Academy for the rest of my fucking life. I have to put out music that’s real and relatable to the masses. The age of the new kid on the block is over.”

After having time to breathe, he realised not interested in commercial success anymore, either. “Art has been compromised for virality,” he says. “I didn’t want to create another bratty rock album that would be great at Leeds Fest – I had to let go of it. I realised that after the videos from my last album, Weird!, were getting millions of views, I was using that to fill the void of the people who were tearing me down. But I realised virality is going to fill the hole.”

That’s why Yungblud was recorded in a tiny, converted living room in Glendale, California, with producers who couldn’t care less for the boardroom expectations. With his long-term producer Chris Greatti (Yves Tumor, Slayyyter, Poppy), he went to a Thai restaurant where his flatmate worked in Hollywood. He was their waiter, who introduced himself as Jordan Gable; Harrison noticed that he had a Karl Marx book in his back pocket, and after his shift was over, they ended up chatting until 2am. “He’s a complete intellectual. We spoke about everything you can imagine, so I said, ‘I’m going to bring you in on the album.’”

Why them? “They listened. They engaged me. They allowed me to take risks. Can I tell you the most fundamental thing?” says Harrison. “They haven’t had commercial success yet, so they’re not afraid of anything. As soon as you do, you’re afraid of not living up to what you did last week.”

The sound Harrison created with them on Yungblud is quintessentially British, built on the notion that with everything sweet, there is something bitter to taste. This duality, of dark lyrics cloaked in uplifting tunes, as pioneered by Harrison’s own heroes, Joy Division and The Cure, is the spinal cord of the record. It’s the kind of sound that one moment will lead you to the dancefloor of the Blitz Club with the new-wave kids and the new romantics, the next taking you by the hand into the dingy corners of post-punk in the Hacienda.

The music became his Asbestos gloves to handle material he otherwise could not touch. Everything is rooted in a specific, personal experience, but Harrison writes the songs with holographic meaning: “I wanted to write so personally so that when you hear me sing about my life, you hear it almost as if it’s your own voice. I wanted my lyrics to be at the forefront more than ever. In the past, they were bratty, scatty and clever – but this is poetry.”

The propulsive “Memories”, featuring firebrand vocals from WILLOW, appears for all the world to be a love song: “Dreams of you wrap around my throat, I think I’m gonna choke”. Harrison says, “I’ll let everyone think it’s a love song for a bit, but what it’s really about is I was abused when I was younger, and the song is about letting go of past traumas. Me and Willow, we wrapped it up in a love song, so I get the release when I sing it.”

The same can be said for “Sweet Heroine”: this record is the first time Harrison has ever written about falling in love. It’s an ode to his girlfriend, singer and fashion designer Jesse Jo Stark, his heroine who rescued him from desperate times, but it’s also about the drugs that threatened to pull them apart. It’s a soft, synth-driven ballad, foregrounded by some of his most personal lyrics: “See the thing about these days is I really need to fucking call up my mum / I saw my father cry one time and I must admit, it really twisted me up / And it hurts you and it burns you learning everything ain’t what it seems / See the thing about these days is I need something to sew me up by the seams again like sweet heroine”.

After a friend started to cry after hearing “Sweet Heroine”, Harrison wrote: “I Cry Too” that he describes as more of a thought process than a song, a reassuring conversation between men that it’s okay to feel. It’s one of the most interesting offerings on the record, with it’s strange, electronic inflections giving a nod to the legacy of Radiohead’s Kid A. Lead single “The Funeral”, a triumphant tune in the vein of Bruce Springsteen, is the armour Harrison has built from his insecurities, and “Mad”, an indie-driven anthem, is, simply: “Me on my fucking bedroom floor tearing my hair out. I’ve felt so lonely in this. Being a leader is a lonely place, because no one’s there with you.”

But “Tissues”, featuring a sample from The Cure’s “Close to Me”, is a black-and-white love song. “I really fell in love. Jo Jo really turned things around for me. She picked me up off the floor, when I was trying to escape everything. It was so frightening. I was leaning on her, and I was frightened she’d hurt me,” Harrison explains.

Everything about Yungblud is considered: a chronological journey that starts with death, and goes into excavating a painful past, a redemptive present and ends with making peace. “The Boy in The Black Dress”, a melodic anthem that will twist your heart in knots, is a song dedicated to his inner child. He sings, voice like electric: “He tried to erase him by 24 / Because now he can’t walk out the door / They all think he lied, but the lord knows he tried to be something they all would adore / They hate what he is, and they hate what he’s not / But hate is nothing new, you will see / From the grave to the cot, how I wished that I forgot that the boy in the black dress is me.”

Yungblud is about playing the truth and watching what happens. “The immediacy is not what I want. The immediacy is the compromise, and the longevity is the reward. I’m inviting people to question what they think, rather than me telling them. What would I say to people now?” Harrison shrugs. “I wouldn’t say anything.”

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Japanese Breakfast

Japanese Breakfast

Performances

July 7 - 9:30 PM @ Generac Power Stage

Japanese Breakfast

From the moment she began writing her new album, Japanese Breakfast’s Michelle Zauner knew that she wanted to call it Jubilee. After all, a jubilee is a celebration of the passage of time—a festival to usher in the hope of a new era in brilliant technicolor. Zauner’s first two albums garnered acclaim for the way they grappled with anguish; Psychopomp was written as her mother underwent cancer treatment, while Soft Sounds From Another Planet took the grief she held from her mother‘s death and used it as a conduit to explore the cosmos. Now, at the start of a new decade, Japanese Breakfast is ready to fight for happiness, an all-too-scarce resource in our seemingly crumbling world.

 

Jubilee was released by Dead Oceans in June and quickly became one of the most praised albums of 2021, earning a GRAMMY nomination for “Best Alternative Music Album” alongside the band’s GRAMMY nomination for “Best New Artist.”

 

2021 also saw Zauner release the widely lauded, New York Times Best Selling memoir, Crying in H Mart, which she’s currently adapting for the screen for MGM’s Orion Pictures. Crying in H Mart is an unflinching, powerful memoir about growing up Korean American, losing her mother, and forging her own identity. She also released the original soundtrack to the anticipated video game Sable, which Entertainment Weekly compared to David Bowie’s 1977 masterwork Low and Pitchfork said is “a streamlined glimpse into her versatility as a narrative artist.” 

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Dylan Scott

Dylan Scott

Performances

July 6 - 10:15 PM @ Miller Lite Oasis Stage

Dylan Scott

Curb Records recording artist Dylan Scott is a triple threat — a powerful vocalist with a deep, unmistakable drawl; an old-soul songwriter with a young spirit; and a family man with a tender heart. The multi-Platinum singer has notched three No. 1 singles at radio (“My Girl,” “Nobody,” and “New Truck”), as well as Top 5 hit “Hooked.” Following his first career nomination for “Best New Country Artist” at the all-genre iHeartRadio Music Awards and a coveted spot among Country Radio Seminar’s New Faces of Country Music, his Platinum-certified ode to his wife, “Nobody,” earned him a 2021 CMT Music Award for Breakthrough Video of the Year. Dylan presented the CMT Breakthrough Video of the Year Award at the 2022 CMT Music Awards on CBS. With career streams exceeding 2 billion, the Louisiana native has provided tour support for Garth Brooks, Luke Bryan, and Chris Young, among others, cementing him as an in-demand live act. Livin’ My Best Life, the new album from Scott, features fiery, #1 lead single “New Truck,” along with viral TikTok ballad, and current radio single, “Can’t Have Mine (Find You A Girl).”

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Styx

Styx

Performances

July 7 - 9:30 PM @ BMO Pavilion

Styx

The six men comprising Styx have committed to rocking the Paradise together with audiences far and wide by entering their second decade of averaging over 100 shows a year, and each one of them is committed to making the next show better than the last. Styx draws from over four decades of barnburning chart hits, joyous singalongs, and hard-driving deep cuts. Like a symphony that builds to a satisfying crescendo, a Styx set covers a wide range of stylistic cornerstones. From the progressively sweeping splendor that is “The Grand Illusion” to the hunker-down fortitude of all that is the “Blue Collar Man,” from the majestic spiritual love for a special “Lady” to the seething indictment of preening, primping pageantry for pageantry’s sake of “Miss America,” from an individual yearning for true connection as a “Man in the Wilderness” to a soul-deep quest to achieve what’s at the heart of one’s personal vision in “Crystal Ball,” from the regal reach-for-the-stars bravado of “Come Sail Away” to the grainy all-in gallop of that rugged “Renegade” who had it made, the band draws on an unlimited cache of ways to immerse one’s mind and body in their signature sound.

Styx hit its stride with guitarist/vocalist Tommy Shaw’s first LP with the band, 1976’s Crystal Ball, and then they become the first group to score four triple-platinum albums in a row: The Grand Illusion (1977), Pieces of Eight (1978), Cornerstone (1979), and Paradise Theater (1981). Over the ensuing decade, Styx weathered the shifting winds of the public’s musical taste, reconvening for a highly successful 1996 Return to Paradise tour that was expertly documented on both CD and DVD in 1997. With a little help from their many friends in Cleveland’s Contemporary Youth Orchestra, One With Everything (2006) became a hybrid orchestral rock blend for the ages. And on The Grand Illusion / Pieces of Eight Live (2011), the band performed at its peak when tackling every track from a pair of their finest triple-platinum albums back to back. Not only that, but the band re-recorded two discs’ worth of its classic material with much finesse and musculature, aptly known as Regeneration Volume I & II (2011 & 2012). Observes Tommy, “Now you have something you can take home with you and go, ‘Yeah, that’s the band I saw last night.’ ”

After more than a decade together on the road, this incarnation of Styx is looking forward to performing as many shows as it can as long as it can. “It all comes back to the chemistry,” says bassist/vocalist Ricky Phillips. “The legacy of this band will be that it brought joy to millions of people,” notes drummer Todd Sucherman. Observes keyboardist/vocalist Lawrence Gowan, “We’ve always tried to explain why this is this happening. It’s obviously a multitude of factors, but the main one is that our show is really good! And if it’s really good, they’re going to come to see it again.” Styx hopes it’s a wave that never crests. “Every night, we go on that magic carpet ride together,” observes original bassist Chuck Panozzo, who joins the band on tour as often as he can. “Music is this amazing force that comes from a higher place. I'm humbled for this band to have the great success that it has,” says co-founding guitarist/vocalist James “JY” Young. “We just want to keep on doing this,” asserts Tommy. “We want to let life take its course and let this music continue to be the soundtrack to it. And this band will continue to evolve as long as we live and play this music.” The jig is up, the news is out: The Esprit de Styx is alive and well, and now it’s time to see for yourself. Welcome to the Grand Evolution.

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Grupo Niche

Grupo Niche

Performances

July 7 - 10:00 PM @ Briggs & Stratton Big Backyard

Grupo Niche

El Grupo Niche es denominado por gran parte de la crítica y público colombiano, como una de las orquestas más reconocida, en el mundo, durante más de cuatro décadas. Fundada en la ciudad de Bogotá por el chocoano Jairo Varela Martínez en 1979 pero activa desde 1980 . Tiempo después deciden viajar temporalmente a la ciudad de Buenaventura en busca de inspiración, en la costa pacífica colombiana, y finalmente en 1983 instalarse en la ciudad de Cali en el occidente del país que se convertiría en la sede principal de sus éxitos.

En 1982, tienen su primer hit nacional: “Buenaventura y Caney”, que les permite realizar su primera gira por Estados Unidos, las cuales no se han detenido hasta la fecha. En 1984 Jairo Varela compone y produce "Cali Pachanguero" canción que le daría figuración nacional y global al Grupo Niche y fue declarada como tema oficial de la "Feria de Cali". Las giras internacionales se incrementarían a partir de ese momento.

En 1987 , músicos del grupo entran en diferencias con Varela, quien decide no contar más con ellos. . Con algunos integrantes que le brindaron lealtad, más otros nuevos, que él llamó, empezó una nueva etapa del Grupo Niche en 1988 que resultó en grandes logros como "Nuestro Sueño" y "Cómo podré disimular" con los cuales conquistaron Perú y Venezuela. En el país inca, por ejemplo, lograron reunir más un millón de personas en el Campo de Marte.

En 1990, Jairo Varela realiza la producción "Cielo de Tambores", la más exitosa hasta el momento del grupo. Canciones como "Una Aventura", "Busca por dentro" , "Se pareció tanto a ti","Sin Sentimiento", "Cali Ají" y "Debiera Olvidarla" traspasaron fronteras y fueron suceso indiscutible en toda latinoamérica.

Desde 1992 sucedió una época larga de consolidación internacional del Grupo Niche que lo mantuvo en gira permanente durante casi 5 años en Estados Unidos, Perú, México, Colombia y Europa. En 1999 Jairo Varela se independiza de las disqueras y lanza un nuevo trabajo musical: "A Golpe de Folklore". Luego lanza un compilado regrabando todos su éxitos.

En 2001 luego de una meditada decisión Jairo Varela decide trasladar la sede principal del Grupo Niche a Miami, para tener facilidad de atender las numerosas giras internacionales, que la orquesta realiza anualmente. Ya desde 1996 se había creado su empresa en Estados Unidos, Niche Business Enterprises Inc.

Desde 2005 el Maestro Jairo Varela se dedica a producir nuevas canciones para el Grupo Niche, teniendo en cuenta los nuevos tiempos lanzando una canción cada seis meses. Las giras internacionales se mantienen y nuevos territorios como Japón son visitados por la agrupación.

En el 2007 Jairo Varela sufre un infarto que lo obliga a abandonar su ineludible cigarrillo. Nuevas canciones como "Un Día Después" y "Robando Sueños" muestran un nuevo sonido de la agrupación, algo más sofisticado y romántico.

A partir de 2010 Jairo Varela, en su perfeccionismo y meticulosidad, dedica más tiempo al estudio de grabación probando diferentes voces con nuevos matices y estilos. Una nueva canción, "Aprieta", suena como un epílogo de la famosa "Buenaventura y Caney ".

En junio de 2012 el Maestro Jairo Varela cumple uno de sus sueños más preciados cuando el Grupo Niche es contratado por primera vez en África lo que fue considerado como un viaje a los ancestros de la orquesta.

El 8 de agosto de 2012, el Maestro Jairo Varela sufre un nuevo infarto que esta vez le produce la muerte. Inmediatamente se generó un sentimiento de dolor popular en Colombia y varias naciones. Su funeral se prolongó durante cuatro días ante el clamor de la gente. Numerosos homenajes de gobiernos y personas se presentaron de inmediato y Jairo Varela pasó a la condición de leyenda.

Con el deceso de Jairo Varela comenzó una nueva etapa para el Grupo Niche. Cientos de canciones inéditas quedaron grabadas en demos y anotadas en libretas para ser producidas durante varios años. Su hija mayor, Yanila Varela, quien era la mano derecha de su padre, ha sido la encargada de sucederlo en la dirección general.

En ese mismo año y durante 2014 y 2015 sus giras alrededor del mundo se incrementan y viajan con más frecuencia por Europa, Estados Unidos, Ecuador, Perú, Canadá, México, Colombia y conquistan nuevos territorios como Australia. A finales de 2014 realizan una presentación histórica junto con el Gran Combo de Puerto Rico en el Madison Square Garden, escenario en donde precisamente, casi 30 años (1986) antes el Grupo Niche, comenzada a gustar en todo el planeta

En 2020-2021 logran, los preciados Grammy Latino y Grammy Anglo por su álbum 40, bajo la producción de Jose Aguirre que fue la persona en la cual la familia Varela, liderada por la hija del Maestro, Yanila, le da toda su confianza, volviendo a lo más alto de los charts en gran parte del mundo.

La historia del Grupo Niche se sigue escribiendo cada día ya que el Maestro Jairo Varela dejó un gran testamento musical que sus herederos cumplirán al pie de la letra y que seguramente será el deleite de los millones de admiradores de la agrupación en el mundo

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Tesla

Tesla

Performances

July 8 - 10:00 PM @ Briggs & Stratton Big Backyard

Tesla

That they are still roaring and soaring should be no surprise. That’s just how they are built. TESLA may have been born in the mid 80s, but their bluesy, soulful sound is strongly embedded in the roots of organic, authentic, 1970s rock and roll. The same roots that produced bands like The Allman Brothers, Grand Funk Railroad, AC/DC, Lynyrd Skynyrd, and Aerosmith.

The ground started shaking in Sacramento, CA, in 1984; gold country that would soon be producing some platinum. They started out as City Kidd, until a suggested name change to TESLA, honoring the eccentric inventor Nikola Tesla who pioneered all things electrical. Their 1986 platinum debut album, Mechanical Resonance, included Top 40 hits “Modern Day Cowboy” and “Little Suzi.” 1989’s double-platinum The Great Radio Controversy included hits “Heaven’s Trail (No Way Out)” and “Love Song”. Suddenly, TESLA, who had been touring with bands such as Def Leppard and David Lee Roth, earned headlining status. In 1990, TESLA helped reshape the face of modern rock music by stripping down to the Five Man Acoustical Jam, an informal collection of their biggest hits peppered with rock and roll classics by the Beatles, Stones, and others. This album produced their biggest hit single to date, a cover of Five Man Electrical Band’s “Signs.” Other 90s albums from Tesla include platinum

selling Psychotic Supper and Bust a Nut. The band continues to record and release material including 9 new albums since 2000 and recently debuted their new single, “Time To Rock!”

TESLA has endured many of the same taste-changing challenges that affected many in the post- grunge world, but through it all, their blue-collar work ethic and dedication to the faithful fan base has helped them not just survive, but thrive. TESLA’s legacy is alive and well as they continue to record and sellout venues all over the world. As comfortable, rugged, and dependable as your favorite pair of boots, they endure. TESLA is a celebration of the greatest spirits of rock and roll.

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NLE Choppa

NLE Choppa

Performances

June 24 - 9:30 PM @ Generac Power Stage

NLE Choppa

NLE Choppa raps with a confidence, maturity, and magnetism few his age can match. The 19-year-old Memphis superstar came up making street-ready hip-hop full of grit, but his recent hits—and forthcoming Me Vs. Me project—showcase new depth and perspective. To be sure, Choppa still raps his ass off, churning out ecstatic, radio-ready hits. But he also turns inward, reflecting on his devotion to healthy living and numerology, and sharing more of himself than he ever has. Choppa grew up in the roughest parts of Memphis, an upbringing that’s loomed in his head even as he began racking up successes—including Platinum single “Shotta Flow” and his Top 10 debut album, Top Shotta. His songs about overcoming struggles and celebrating wins have won support from Billboard, The New York Times, Forbes, GQ, and Complex. And he’s secured support across the rest of the industry too, garnering over 5 billion global streams, thirteen RIAA-certified plaques, a spot on the 2020 XXL Freshman list, and a nomination for the 2020 BET Hip-Hop Awards’ Best New Artist. Never one to rest on his laurels, he’s continued to drop music at an enviable pace, dipping, and diving between modes, unleashing raps that are intimidating, inspiring, and hysterical in turn. As one of the most flexible young rappers working, NLE Choppa already has the discography and accolades others dream of, but he’s still only just beginning to share his full vision with the world. With the new project Me Vs. Me, he’s introducing us to all of himself.

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Cheap Trick

Cheap Trick

Performances

June 22 - 10:00 PM @ BMO Pavilion

Cheap Trick

Cheap Trick is part of the very fiber of American music, inspiring and delighting generations with their unique union of massive melodies and razorblade riffs, their own special brand of mischievous wit and maximum rock ‘n’ roll. Frontlined since 1974 by Robin Zander (vocals, rhythm guitar), Rick Nielsen (lead guitar), and Tom Petersson (bass guitar), the Rockford, IL-born band is set to impact still another era with the spectacular new BANG ZOOM CRAZY…HELLO, their 17th studio collection and first in more than five years. Co-produced by Cheap Trick and GRAMMY® Award winner Julian Raymond (Glen Campbell, Fastball), songs like “Heart On The Line” and the turbulent first single, “When I Wake Up Tomorrow,” are deeply connected to the band’s own irrepressible history just as they accelerate their trademark sound and vision into the now. The glorious “Long Time No See Ya” marks another in a long line of salutations spanning “ELO Kiddies” and “Hello There” to “Goodnight” and “Say Goodbye,” while the piledriving “Do You Believe Me” showcases dueling solos from Nielsen and six-string icon Wayne Kramer – a milestone meeting of the long established Midwestern mutual appreciation society between Cheap Trick and the mighty MC5. BANG ZOOM CRAZY…HELLO prove Cheap Trick to be as energetic and idiosyncratically irresistible as ever before, a callback to their classic canon yet somehow as inventive and exciting as a bunch of crazy kids just coming out of the garage.

“We wanted to make something that was new and fresh but also going back to our 70s sound and feel,” Zander says, “this Midwestern rock band that’s got a hard edge but still plays pop music.”

“It’s loud and it’s noisy,” Nielsen says, “which is exactly what we are. It sounds like there’s a lot going on but really it’s just a three piece band with a great singer.”

Cheap Trick are of course a indisputable institution, beloved for their instantly identifiable, hugely influential, powerhouse pop rock ‘n’ roll. The constant core of the band remains one of a kind – three guys, four chords, and tunes that will last in perpetuity, from “He’s A Whore,” “California Man” and “Dream Police” to “Surrender,” “I Want You To Want Me” and the worldwide #1 hit single, “The Flame.”

“The songs are why everybody knows Cheap Trick,” Nielsen says. “We have some good songs. ‘I Want You To Want Me” has been around for 40 years but people still love it. And even if you’re sick of it, it’s over in three minutes! The songs are still relevant, they still have the right words and the right emotion to move 99% of all humans.”

Amidst that not inconsiderable demographic, one particular fan served as catalyst for Cheap Trick’s return to the studio. Founder, president, and CEO of Nashville-based Big Machine Records, Scott Borchetta has also been a lifelong supporter of the band. Conversations began in 2012 and were sealed when veteran producer/songwriter Julian Raymond – a longtime Cheap Trick associate and Academy Award nominee for co-writing the GRAMMY®-winning “I’m Not Gonna Miss You,” featured in 2014’s acclaimed documentary, Glen Campbell: I’ll Be Me – joined the zeitgeist-defining label as its Vice President of A&R. A multi-album deal was soon struck, a contract as rare as hen’s teeth for any rock band in the modern era let alone one of Cheap Trick’s considerable vintage.

“It’s a pretty big career tool,” Nielsen says. “Much better than putting a bunch of CDs in my car.”

“It’s been great working with Scott,” Petersson says. “He’s such a music lover. It’s rare for the guy that’s running the label to be so musical. Usually we have to battle it out with those guys but he left us alone. He was like, I love your band, you know what you’re doing in there.”

Deal in hand, Cheap Trick and Raymond quickly set to work. Described by all as the band’s de-facto “fifth member,” Raymond has been a friend and sometimes collaborator for three decades, relied upon as both confidante and traffic cop.

“We could produce our own records but we prefer to have Julian there to quell the storms,” Zander says. “You’ve got three writers in the band so there’s a lot of ideas floating around. You’ve got to have somebody that’s outside of the band to help give some direction. Otherwise you just get lost in yourselves.”

“Julian really brings the best out in us,” Petersson says. “He really understands our band and because he’s not us, he can see things that we don’t or can’t see in ourselves. We’re so close to this music, you need somebody else like Julian.”

Sessions got underway in 2015 at Los Angeles’ East West Studio. The band immediately got into their groove by locking into a playful version of “The In Crowd.” Written by Billy Page and made famous in not one, not two, but three distinct chart hits by Dobie Gray, the Ramsey Lewis Trio, and Bryan Ferry respectively, the song was a staple of Cheap Trick’s earliest live sets, a reliable crowd-pleaser as they made their bones at local dives all over the Midwest.

“The feel started there,” Zander says. “We continued writing from that sound.”

All three original members cite drummer Daxx Nielsen as the most significant contemporary influence on Cheap Trick’s current creativity. A musical polymath who has played with artists spanning Dick Dale to Brandi Carlisle, the younger Nielsen was the obvious choice when the seemingly irreplaceable Bun E. Carlos retired from active touring and recording with the band he co-founded. Daxx’s innate virtuosity and spirited musicianship were propulsive in more ways than the usual, inspiring fresh energy while also keeping the band in touch with its roots.

“Daxx is so talented,” Petersson says. “He’s so into it, he can play all of our songs on any instrument. We’ll pull something from our back catalog and he’ll tell us how the bridge goes.”

“We have to recall stuff,” Rick says. “Daxx remembers.”

After more than half a decade away from the studio, Cheap Trick was fired up and ridiculously prolific, cranking out close to 30 new tunes over two pair of sessions in Los Angeles and Nashville. Tracks like “No Direction Home” hit hard as a teenage crush’s kiss, affirming the eternal strength of Cheap Trick’s smart, sly, sometimes sarcastic songcraft. Each member has skin in the songwriting game, contributing elements – a riff, a chorus, a hook that won’t stop – which are then jammed into three-and-a-half minute pop perfection by the entire unit, ensuring everybody’s respective two cents are represented in every finished tune.

“We start something and the songs take on a life of their own,” Petersson says. “There’s a lot of back and forth. It’s not like one person had to think of everything for 40 years straight. I think that keeps us in top form.”

Fast approaching their fifth decade, Cheap Trick is among the most active and successful in music history, with featured appearances on over 20 movie soundtracks, more than 40 international gold and platinum certifications, myriad awards and industry honors, and total record sales well in excess of 20 million. BANG ZOOM CRAZY…HELLO arrives just as the band are inducted into the Rock and Roll Hall of Fame, a long overdue honor that confirms their incredible influence while simultaneously acknowledging the millions upon millions of Cheap Trick fans around the planet.

“It’s pretty amazing,” Nielsen says. “It wasn’t some goal we were trying to achieve – it’s kind of out of the blue. It means a lot to a lot of people.”

“People are so overwhelmed by it,” Petersson says. “They come up to me at the grocery store or at the bank, saying congratulations, that’s the greatest thing ever. It really means a lot to our fans.”

Surely on any shortlist of rock’s all time greatest live acts, Cheap Trick will take to the road in celebration of their electric new album, traveling as they have for decades, rocking arenas, concert halls, and amphitheatres worldwide more than 150 nights each year. BANG ZOOM CRAZY…HELLO affirms Cheap Trick as an indefatigable going concern, not merely Hall of Fame-worthy legends but a vital and vibrant fact of life.

“I don’t ever see us quitting,” Zander says. “We’re not cut out for sitting around and watching TV.”

“This is what we do,” Petersson says. “We’re very proud of this record, we have no problem going around the world playing songs from it. We’re going to do that anyway. That’s what we do.”

“We’re not a nostalgia band,” Nielsen says. “We never stopped making records, we never stopped touring. We’ve had ups, we’ve had super lows, but we kept at it and I think people appreciate that. Sometimes I think we’re just too dumb to quit. We just keep going.”

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Lyle Lovett

Lyle Lovett

Performances

June 24 - 9:30 PM @ Uline Warehouse Stage

Lyle Lovett

A singer, composer and actor, Lyle Lovett has broadened the definition of American music in a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel and blues in a convention-defying manner that breaks down barriers.

Whether touring as a 'Duo' or with his 'Acoustic Group' or his 'Large Band,' Lovett's live performances show not only the breadth of this Texas legend's deep talents, but also the diversity of his influences, making him one of the most compelling and captivating musicians in popular music.

Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music's most vibrant and iconic performers. Among his many accolades, besides the four Grammy Awards, he was given the Americana Music Association's inaugural Trailblazer Award, and was named Texas State Musician.

His works, rich and eclectic, are some of the most beloved of any artist working today.

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Tegan & Sara

Tegan & Sara

Performances

June 23 - 10:00 PM @ Briggs & Stratton Big Backyard

Tegan & Sara

Tegan and Sara are still evolving the way they collaborate, even twenty years into recording together and twenty more as twin sisters. For their tenth studio album, Crybaby, they got inside each other’s songs in a whole new way. “This was the first time where, while we were still drafting our demos, we were thinking about how the songs were going to work together,” says Tegan. “It wasn't even just that Sara was making lyric changes or reorganizing the parts to my songs, it was that she was also saying to me, ‘This song is going to be faster,’ or ‘It's going to be in a different key.’ But Sara effectively improves everything of mine that she works on.” Sara adds, with a laugh: “Maybe I am the renovator. I’m the house-flipper of the Tegan and Sara band,”

 The reality is that Sara did step up greatly in her role as a producer for this exciting, elevated collection of songs, which began with her glitchy lo-fi demos for “I Can’t Grow Up” and “All I Wanted.” She says: “I've been joking about making ‘my bedroom electronic record’ for the last twenty years. I’ll make these instrumentals with vocal ad libs, and I’m basically always working on it. When the pandemic started, I would go to my little studio and mess around – not really thinking about making an album for Tegan and Sara, just thinking about how to get through the day and not collapse under stress and anxiety about the pandemic. I started fooling around with a very simple sampling app called Keezy, using it to make all sorts of vocal samples, and that’s how those songs began.” Tegan remembers Sara sending her those demos and instantly feeling inspired by them. “They felt very new and fresh and really different from anything we'd been doing,” she says.

 In August of 2021, they booked studio time in Seattle with producer John Congleton, whose previous works include albums they love by Sharon Van Etten, Angel Olsen and Future Islands.  It was their first time leaving Canada since the start of the pandemic, and they thought they’d just be getting their feet wet at in-person recording again. At that point, the plan was to simply record a couple singles, and they truly had no intention of beginning their next album. They had, after all, recently signed on to make the upcoming TV adaptation of their 2019 memoir, High School, and were planning to focus on that first. High School is a new coming-of-age series that just finished production in Calgary, Alberta, Canada. It is co-created and executive produced by Tegan, Sara and Clea DuVall and produced by Plan B Entertainment and Amazon Studios.

 But, within hours of their arrival at Seattle’s Studio Litho, they felt more new ideas coming, and an unexpected rush of enthusiasm when Congleton quickly suggested that they record an entire album together. “There was so much energy,” says Tegan, “and once we were in the studio with John and started adding layers, it started to feel alive, and it was like, ‘OK, change of plans! Let's not just focus on a couple songs. Let's actually make an album.”

 They went back home and dug through their demos, looking for songs that echoed the spirit of those first couple songs. Sara came back with tracks like the dancefloor-ready “I’m Okay” and the sweet, anthemic “Yellow,” among others – as she puts it, “songs about change, and never changing, and the nostalgia aching in our bones.” And Tegan, who had been working on her own cache of songs during the pandemic, came forth with “Fucking Up What Matters” and “Smoking Weed Alone” and “Pretty Shitty Time” – or as she puts it, songs “about my body, about age, about love, about the loneliness I felt the past couple years, about how it feels to have everything you want and a desire to throw it all away.” Informed by some of the intense new experiences they’ve had the past couple years – the stress and trauma of the pandemic, the upheaval of changing their entire professional team including their label and management, and other personal trials and tribulations – the twins found some of their most potent inspiration yet, and a willingness to try doing things differently.

 “With this album, I wanted there to be a dialogue that we could have about the songs,” says Sara. “Some of Tegan’s songs became almost like duets, because she allowed me to go in there and challenge her to rewrite lyrics. I wanted a narrative that could tie into our relationship and some of the things that were happening in our life, even if the song wasn't about that. And for ‘Smoking Weed Alone,’ there’s a chorus where we’re sort of singing to each other, and we haven’t done that before, in our career.”

 When they returned to the studio – this time in Los Angeles, at Sargent Recorders – Congleton refined and elaborated on the production aesthetic Sara had conceived for the demos, while still remaining true to their sonic blueprint. “John was so generous in the way he honored the production decisions in these demos, and the fact that I’m also a producer,” says Sara. “But he also is a bit of a renovator, so some of the songs he was like, ‘I mixed everything up and added a bunch of shit.’ And he works so fast – he’s like a madman. I think that that's another thing that's helped inspire us in this period of our life. As you get older as an artist, you spend too much time thinking about yourself, and too much time thinking about what work you're doing. But for this album, we were not in a place where we needed to overthink our music, and John kept reinforcing that: ‘Does it feel good? Do we like this? Let’s move on.’ It was refreshing and fun and it didn’t feel so serious, like we were having to make our magnum opus.”

 Although the source of the title Crybaby isn’t revealed until several tracks in, as a refrain in the bridge to the deliriously catchy “Under My Control,” the word is meaningful for the album as a whole. In the past, they had both tried to avoid using the words “cry” and “baby” in their songs (there are exceptions, of course), out of feeling that both words had become cringe-inducing clichés. But, similar to naming their chart-topping 2013 album Heartthrob to reappropriate the word from its masculine connotation, they wanted to explore new contexts for the words, both separately and together.

 “One of the major themes on this record is the empowerment that comes with being vulnerable and accepting your feelings,” says Tegan. “The word ‘cry baby’ seems sweet and innocent and youthful, but there's also this other energy to it – like when you're in the airport, and you see a three year-old throw themselves down on the ground and cry. And you think, ‘I would love to be able to do that every once in a while. I'd feel better if I could just toss myself on the ground and have a good ol’ tantrum. And then stand up and be totally recovered, because they got it all out of their system. As adults, we suppress all of that tension, anxiety, sadness, disappointment and we're just a mess. So there's something powerful about ‘crybaby,’ because it’s like, ‘Yeah, I’m gonna be a fucking disaster, and that’s great.’”

 The twins say they’ve begun to feel a renewed sense of intensity around all of their creative projects, whether the upcoming album or the TV show or various other endeavors they’ve undertaken. “With everything we’re doing now, there’s a passion and urgency that I haven’t felt in a long time,” Sara says. “I think it has a lot to do with the fact that I’m very rested for once, and during a lot of the last decade, Tegan and I were really running on empty. And so right now everything feels really big and exciting and energetic. And I love the new album for that reason – it doesn't feel introspective, there's an activeness to it, and it feels like it needs to live in the world.”

 “We dismantled the way we do things, and put ourselves in this place where we’re uncomfortable,” says Tegan. “And that makes good things happen, creatively. At this point in our career, we are so deep into our strength and our confidence that we were just like, we can fucking destroy absolutely everything because we know that we can rebuild. I think that's a theme of our band. We never play it safe. We're dismantlers. And I think this album is us power-tripping on the fact that we just lit fire to everything.”

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Declan McKenna

Declan McKenna

Performances

June 22 - 10:00 PM @ Generac Power Stage
June 22 - 4:00 PM @ AmFam House Stage

Declan McKenna

Back in early 2020, British musician Declan McKenna was psyching himself up to release his dazzling second album, Zeros. It was a bold statement of a record, packing punches and wisdom in equal measure. But then March arrived and Declan (like the rest of us) was stuck at home, stewing on what should have been. He needn't have worried though, throwing caution to the wind just few months later, Zeros was released to near faultless acclaim pitting him in a heated chart battle for the top spot with The Rolling Stones. Zeros was pipped by Mick & co on the final day, but really it was the record itself that left the lasting impression.

Dipping into the 60s and 70s and giving it a suitably contemporary sheen, Declan toyed with glam rock and psychedelic pop in broad brush strokes. Zeros sounded unlike anything else of its time, with nods to Bowie, T-Rex and Dylan, and spawning big radio hits “Beautiful Faces”, “The Key To Life On Earth”, and the show-stopping anthem, “Be An Astronaut”.

It’s a record that has since taken him right around the globe to ever-increasing rooms and audiences. Selling over 45,000 tickets in the UK alone, the tour culminated in sell-out shows at Brixton Academy (2 nights) and a special one-off night at the Royal Albert Hall. A late afternoon slot on Glastonbury’s Other Stage drew a huge crowd (and an even bigger one on the BBC’s televised coverage), and Declan has just returned from a sell-out run across the US, where his star has shone bright ever since the release of his rough-hewed debut single, Brazil, when aged just sixteen.

 

Now locked in the studio to start building shapes for album 3, Declan has become an artist who asks big, pertinent questions and demands answers that his generation collectively strive for. A smart young musician making smart, essential and unexpected sounds.

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Sean Paul

Sean Paul

Performances

July 1 - 10:00 PM @ Briggs & Stratton Big Backyard
July 1 - 4:00 PM @ AmFam House Stage

Sean Paul

It's rare for an artist to become the personification of their genre. For just a word or phrase from their mouth to personify the entire artform.

Sean Paul is one of those artists.

Let him say Dutty yeah in his commanding voice, and you'll hear the nuance of dancehall. Across seven studio albums and counting, Sean Paul has taken the genre global, from its origin in clubs in Kingston, Jamaica to the top of the charts, packing some of the biggest venues in more than 120 countries. Only Sean has the distinction of being the first Jamaican to play shows in Kazakhstan and Madagascar.

Born Sean Paul Henriques on January 9, 1973, in Jamaica’s capital, Sean grew up in a sporting family and played on the national water polo team between the ages of 13 and 21. Both of his parents were talented swimmers, and his grandfather competed on the first Jamaican men’s national water polo team. But when Sean turned 15, music began competing with sports for his attention.

Initially he wanted to go into production. “My mum got me a little Yamaha keyboard from a flea market,” he recalls. “That started me off on working on riddim (rhythm) tracks, and then it built up to me writing more and more songs.” He remembers that his talents developed across many years, since he was dividing his time among school, athletics, and music.

By the time he was in his twenties all the swimmers he’d been training and competing with had left Jamaica to attend college on scholarships.

“I didn’t have that opportunity,” he says. “My grades weren’t good, and my mum didn’t have the funds at the time to support me.” Instead, he went to university to study hotel management.

Still, he continued honing his music skill at open-mic nights in Kingston, eventually landing a manager who saw his potential. In 1994, he joined the Dutty Cup Crew and released his first solo song Baby Girl two years later. In 1998 he got his first big look outside of the island when he appeared alongside DMX on the muscular Top Shotter, from the soundtrack to the influential cult classic movie Belly.

“People still come up to me and tell me the first time they heard me was on the Belly soundtrack,” he says. “Top Shotter was a big moment for me.”

In 2000 he released his debut album, Stage One, but it was 2002’s multi-platinum follow-up, Dutty Rock, that sent his career into the stratosphere. Supported by the five top 15 singles, including the immortal No. 1 smash Get Busy, Dutty Rock went on to win the Grammy for Best Reggae Album and earned Sean a nomination for Best New Artist, the first time a dancehall artist had garnered such a distinction.

His 2006 album The Trinity notched Sean another solo No. 1 hit, with Temperature, a scorching party-starter driven by hammering percussion. Proving that Dutty Rock wasn’t some outlier, The Trinity went platinum, cementing his status as a hitmaker that continues to this day.

In the last 20-plus years of music-making Sean has earned several Grammy and Billboard Music award nominations and is the recipient of an American Music award, MOBO awards, Soul Train awards, MTV Music awards, ASCAP Rhythm and Soul Music awards, a Source award and a BET award. He is the only Jamaican artiste to have won an American Music award (2006) for Favourite Pop/Rock Male Artist.

Collaboration is key to Sean’s success; he has multiple Hot 100 No. 1 singles with other artists including, “Baby Boy” with Beyonce and “Cheap Thrills,” with Sia. He’s embraced the idea on two of his most recent projects, 2018’s Mad Love: The Prequel, and 2021’s Live N Livin. The former finds him paired with pop stars from around the world, like Dua Lipa and Becky G, while the latter is a celebration of his Jamaican heritage and dancehall roots on which Sean trades the lyrics with Buju Banton and Mavado.

He’s also worked with stars in the worlds of Latin music, EDM, and Afropop. In 2014, his relationship with Spanish-speaking audiences spiked after an alignment with Puerto Rican Reggaeton artist Farruko on their single Passion Whine, and global recording sensation Enrique Iglesias who collaborated with Sean for the Bailando remix. The latter peaked at No. 1 in 33 countries and its music video generated over 261 million views on YouTube.

Demonstrating his versatility and good taste, Sean’s upcoming 2021 release will pair him with Ty Dolla $ign for a cheeky ode to sex workers called Only Fanz. In his booming intro Sean sings, “She don’t work but I know she work for that,” setting the tone for this summer bop.

Later 2021 release will find Sean reunited with Sia, making magic with the rising dancehall queen Shenseea, and putting Gwen Stefani back in touch with the reggae sound her band No Doubt was known for.

Sean is still raising the musical temperature flame.

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lovelytheband

lovelytheband

Performances

June 30 - 10:00 PM @ Briggs & Stratton Big Backyard

lovelytheband

lovelytheband are a Los Angeles based alternative rock band. Their debut single "broken" made billboard history (charting for 76 weeks and reaching number 1 on multiple charts). The song has recently been certified triple platinum. Aug. 3rd 2018 saw the band release their debut album "finding it hard to smile" which is about to be RIAA certification gold. The album sales fueled by the success of singles "these are my friends" "maybe, i'm afraid" and the aforementioned "broken."

lovely have been nominated for multiple awards, including Billboard, Teen Choice, Disney and were the winners of iheart Radio’s 2019 Best New Rock/Alternative Act. Later that year the band co-headlined the NYC ball drop with Bebe Rexha and Christina Aguilera.  They have cultivated a global fanbase through non-stop touring. Headlining multiple North American tours as well as European tours supporting supporting 5 Seconds of Summer and LANY. 

lovely released their sophomore album Aug. 8th 2020 despite being unable to tour until the end of 2021. The album featured the singles “loneliness for love” and “buzz cut”. 

In September of 2021 a Selena Gomez executive produced film directed by David titled “This Is The Year” was released in theaters. The movie follows a group of teens on a road trip to a festival headlined by their favorite group, lovelytheband! A slew of lovely songs are played throughout the film culminating with an emotionally epic onscreen performance from the band. 

2022 has seen the band start their own label, happy accident. The label’s first release “sail away” dropped June 24th. The  song has been well received, with at impressive streaming rate globally week after week since it’s release. The current metric growth of the track closely mirrors that of their chart breaking debut single “broken.”  lovely has announced their third full length album “if we’re being honest”will drop June 2nd 2023 with a headline US tour of the same name to coincide. 

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Mitchell Tenpenny

Mitchell Tenpenny

Performances

June 30 - 10:00 PM @ UScellular Connection Stage

Mitchell Tenpenny

For an artist who’s amassed so many light-hearted country songs, Mitchell Tenpenny is actually dead serious about his craft. And the result of that is a carefully curated batch of bona fide country songs that he hopes will keep getting fans to listen and to love what they hear.

“This isn’t a hobby for me. This is my job: to get people to love and believe my songs. I have a responsibility to make music that people latch on to. That’s what songwriting is to me,” Tenpenny says now, four years after making his debut in 2018 with Telling All My Secrets. “It’s like that old adage, ‘With great power comes great responsibility.’” That album earned him the best first week showing for any major label country debut LP at the time of its release, is certified Gold and also includes the 3x platinum selling #1 single, “Drunk Me.”

Even with that solid work ethic, Tenpenny knows that half the fun of making the music is the having fun part. The songwriting and wordsmithing come naturally, he says, even when he’s been out drinking with friends. “There’s a clarity in the drunk. Sometimes that’s when you have the best titles, phrases, and alliterations, because you’re free and you’re talking, and things just come out differently.” He says his hook book is packed with ideas from good hangs and nights out.

Now that he’s on the verge of releasing his ambitious 20-track studio album This Is The Heavy, he maintains that while his rock influences are featured on the songs, with heavy drums and guitars, the foundation for everything he does is country. Which you’d expect from someone who was born and raised in Nashville, in a family with deep roots in the country music business.

“In the heyday of Brooks & Dunn, they were my favorite band. And going to Fan Fair with my grandma (former Sony/ATV Music CEO Donna Hilley) was awesome,” he recalls. “But there was a lot more than just country music going on in Nashville. There was the emo-rock scene and the Rocketown scene. After being so engulfed in country music, when I got to high school, I made friends by starting a rock band.” Even as they explored that sound, Tenpenny’s origins stayed with him and ultimately, led him to a proper career in country music. “When teacher says, ‘write whatever you want in your journal’: that’s how songwriting feels to me. Just free. So lyrically we stay country, but we also explore new sounds.”

That’s the very reason that Tenpenny’s music sounds like an evolution of sorts. If fans expect him to recreate traditional country music, that’s just not him. “If I copy Waylon and Willie, that’s not authentic. Because those records have already been made. I write what I know and what I like, and hope that other people like it, too.”

At 33, Tenpenny also knows that he hasn’t lived quite enough life to make every single song about him. He’s okay with telling a compelling story when it happens to make a compelling song. “I don’t always just write about myself. Johnny Cash didn’t really shoot a man in Reno just to watch him die. It was just a great lyric. A lot of my songs come from true life, but a lot of them are stories I make up in my head.”

He’s learned those songwriting lessons from his idols, like Bobby Braddock, who he says can write a million different songs a million different ways. And from Brett and Brad Warren, who he credits with getting him his first publishing deal. “They told me when we met that if they ever had a songwriting cancellation, they’d call me. They did, and we ended up writing ‘That’s How She Goes.’ Keith Urban put it on hold, then Blake Shelton put it on hold. I always thought it was someone else’s song, but then it finally felt right for me, and I knew I needed to cut it myself.” The song makes its debut appearance on This Is the Heavy even though it was written nearly a decade ago.

The Nashville that built Tenpenny isn’t much like the one that exists today. His memories of the influential music from Lower Broadway take him back to Paradise Park Trailer Park at 4th and Broadway. A place where he and his buddies could drink $6 pitchers of Natty Light and listen to a guitar player with a Fender Forever tattoo. “It was the coolest place in the world. Rest in peace, Paradise Park,” he says of the honky-tonk that closed in 2018.

Another instrumental part of Tenpenny’s early attempts at songwriting came in college when he hit the roommate jackpot. He lived with Brad Clawson -- “Happy Does,” “Up Down” -- the son of prolific hitmaker Rodney Clawson. They didn’t plan to make a living in country music, but they also didn’t plan not to. “We had guitars in our room, and there was nothing else to do but just try to figure this out. We started writing country songs. It just kind of happened, because we didn’t have a plan B. We were so naïve. But we had jobs – I worked in construction and valet parking – and I learned that you never know who’s in the room. When you’re too focused on becoming an artist, you lose sight of everything that’s around you. And then you might miss the opportunities around you.”

Opportunities such as meeting a producer while he was putting insulation in a roof in Nashville. “You have to be open minded enough to take chances every time you get them,” he says. And then those seemingly random moments can lead to bigger things, like Tenpenny’s breakout #1 hit “Drunk Me,” which has amassed over 616 million total global on-demand streams. He wrote the song with Jordan Schmidt and Justin Wilson, and it became his debut single. It was released in 2018, but he remembers hearing it on the radio for the first time as if it was yesterday.

 

“I remember being in my truck driving around Nashville, and I heard my voice. I thought it was just my CD and that I was listening to the mix. But it sounded different,” he says. When he pushed the eject button and nothing came out, he had the quintessential epiphany: “Is this the radio? I couldn’t believe my song was on the radio. I started crying, I called my mom: that feeling never changes.”

He considers his new song stack more mature, with a best-of-both-worlds sound. “It goes back to my rock influences, with more expressive arrangements, but lyrically it’s about what I’ve been doing the last four years of my life,” he says. His intention was not to veer off course. “There are still songs that have the vibe of ‘Drunk Me’ and ‘Alcohol You Later.’ I’m not one to ever leave the fans behind. Because I loved when bands stuck to what made me fall in love with them. That’s important to me. I never want to venture off too far from what first got me started.”

And it’s those fans that have pushed his on-demand streams to be among the best out of today’s breakout artists, with over 1.5 billion total and as many as six tracks exceeding competitive artists’ tracks thanks to his loyal fan base. His social following continues to grow and specifically, his TikTok following, and likes are competitive with current headlining acts. In the weeks leading into the release of This Is The Heavy Mitchell made history with the shortest time between #1 songs in the modern chart era with just a three-week span between “Truth About You” and “At The End Of A Bar.”

When Tenpenny set out to make This Is The Heavy, there was no question that he’d write all the songs the way he did on his first studio album. “It’s hard for me to make someone believe a song I didn’t write. When it comes to my own record, I feel like I’m the best one to write my own story and say what I want to say.”

Tenpenny will launch his headline “This Is The Heavy Tour” in early 2023. The schedule includes back-to-back Ryman dates in his hometown of Nashville.

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38 Special

38 Special

Performances

June 30 - 9:30 PM @ Uline Warehouse Stage

38 Special

After more than four decades, 38 SPECIAL continues to bring their signature blast of Southern Rock to over 100 cities a year. At each and every show, thousands of audience members are amazed by the explosive power of the band's performance.

Their many Gold and Platinum album awards stand in testament to the endurance of a legendary powerhouse.

With sales in excess of 20 million, most associate the band with their arena-rock pop smashes, “Hold On Loosely,” “Rockin’ Into the Night,” “Caught Up in You,” “Fantasy Girl,” “If I’d Been the One,” “Back Where You Belong,” “Chain Lightnin’,” “Second Chance,” and more – Timeless hits that remain a staple at radio, immediately recognizable from the first opening chord, and paving the way to their present-day touring regimen.

Guitarist/vocalist DON BARNES says it's all about maintaining that intensity in their live shows. “We never wanted to be one of those bands that had maybe gotten a little soft or complacent over the years. We're a team, and it's always been kind of an unspoken rule that we don’t slack up, we stack up. We go out there every night to win.”

Completing the team is bassist BARRY DUNAWAY, drummer GARY MOFFATT and keyboardist/vocalist BOBBY CAPPS. The most recent addition to the band is legendary virtuoso guitarist and vocalist JERRY RIGGS.

For 38 Special onstage, it is a celebration of camaraderie and brotherhood, a precision unit bringing the dedication and honesty to a long history of classic songs, as well as surprisingly fresh new material.

Since 1976, the band has released more than 15 albums. And from the start, they’ve toured relentlessly, bringing their signature brand of ‘muscle and melody’ to fans worldwide.

It is that steely determination that lives on in the hearts of these ‘Wild-Eyed Southern Boys.'

Barnes adds, "This music keeps our wheels on the road. We're a band that's tried to stay honest with what has driven us over the years. We started out with nothing but bold determination to make our own history and to endure. Looking back now, it has been our greatest pride to have persevered and attained that level of success and longevity. For us, it's the ultimate validation.”

“The magic's still there,” adds Barnes. "It's an emotional high for us to keep 'bringing it' after all these years. When those lights go down and we all walk up those steps to the stage and hear that crowd roar, it’s a real rush to the head. It feels like we're getting ready to strap ourselves in and it just takes off from there."

 

www.38Special.com

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Night Ranger

Night Ranger

Performances

June 29 - 9:30 PM @ Uline Warehouse Stage

Night Ranger

Heavy hitting rock legends, Night Ranger released their 12th studio album, "ATBPO” (which stands for And The Band Played On), an ode to making music during the covid era, on August 6, 2021 via Frontiers Music Srl. Album is available on CD, Color Vinyl (a variety of limited edition versions), and Digital. The band began writing the album in early 2020, amid the rise of the global pandemic. After narrowing down the song selection and tightening them up to their well-known rock ‘n roll sound, the band hit the studio, although separately, due to the times we are in. Throughout ATBPO we hear Night Ranger continuing their hot streak that kicked off with 2011's "Somewhere In California". Ten years on, and two highly acclaimed albums later, "High Road" and "Don't Let Up", the band's latest studio work shows them still burning with that high octane hard rock energy. Night Ranger has always had a knack for killer melodies, intricate instrumentation, and captivating lyrics; ATBPO delivers all of that and more.

 

Having sold over 17 Million albums worldwide, performed across more than 4000 stages, and captivated a radio audience that exceeds 1 Billion, Night Ranger has both epitomized and transcended the arena rock sound and style well beyond that era. The band continue to grow their ever-evolving fan-base and they are proof that powerful songs alongside, incredibly talented musicians is the perfect formula for continued success.

 

Night Ranger have earned widespread recognition that includes both multi-platinum and gold album status all while leaving their indelible mark on the music industry with a long list of best-selling albums (Dawn PatrolMidnight Madness7 WishesBig Life and Man In Motion). Their popularity is fueled by an impressive number of instantly recognizable hit singles and signature album tracks, including legendary titles such as "Sister Christian", "Don't Tell Me You Love Me", "When You Close Your Eyes", the anthemic "(You Can Still) Rock  In America",  along with "Sentimental  Street", "Goodbye", "Sing Me  Away" and "Four in the Morning".

 

Over the years, the band's music has made notable contributions to and been featured in many different areas of global media and pop culture. Night Ranger was one of the first big "video" bands on MTV, with over ten #1 hit videos. Their songs can be heard in TV Shows like, The Unbreakable Kimmy SchmidtAmerican DadGleeGrey's AnatomyParks & Recreation.  The band have also had music featured in video games such as, Rock BandGuitar Hero and Grand Theft Auto, plus hit Broadway musical Rock of Ages, the Oscar-Nominated film Boogie Nights, and other feature films such as Friday the 13thTeachersSixteen Candlesand The Secret of My Success. Most recently the band’s classic hit “Sister Christian” can be heard in a Dr. Pepper commercial. They can also be heard throughout JBL’s "Hear The Truth" brand campaign.

 

Night Ranger is Jack Blades (bass, vocals), Kelly Keagy (drums, vocals), Brad Gillis (lead & rhythm guitars), Eric Levy (keyboards) and Keri Kelli (lead & rhythm guitars).

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Greensky Bluegrass

Greensky Bluegrass

Performances

June 29 - 10:00 PM @ Briggs & Stratton Big Backyard

Greensky Bluegrass

For two decades now, Greensky Bluegrass have been building an empire, brick by brick.  They are widely known for their dazzling live performances and relentless touring schedule, but that is only the tip of the complex tale of the five musicians that make up Greensky Bluegrass: Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin].  The five are connected through a deep bond, just as they are seasoned road warriors, they’re a band of brothers who have seen each other through decades of ups and downs, personal and collective highlights, and the moments when life turns it all upside down. These are real people having real experiences. As with traditional bluegrass, they write about their own contemporary day-to-day happenings, emotions, and experiences in the modern world.

The band’s underground die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman.  

“As songwriters and musicians, we have a need for people to be on board,  we’re not just regurgitating the same shit,” explains Bruzza.  

Hoffman adds, “we aren’t a band all for money. We did it for romantic reasons such as love, catharsis, and because it mattered to us and the listeners. It would be easy to make decisions based on our needs to eat or the desires of others, but that’s not doing it for love. We love what we do, and we’re grateful for the love we receive in return from the people listening.”

Bruzza continues, “I hope they know we’re doing this for us and them.”

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Dinosaur Jr.

Dinosaur Jr.

Performances

July 6 - 10:00 PM @ Briggs & Stratton Big Backyard

Dinosaur Jr.

Sweep It Into Space

Here is Sweep It Into Space, the fifth new studio album cut by Dinosaur Jr.. during the 13th year of their rebirth. Originally scheduled for issue in mid 2020, this record's temporal trajectory was thwarted by the coming of the Plague. But it would take more than a mere Plague to tamp down the exquisite fury of this trio when they are fully dialed-in. And Sweep It Into Space is a masterpiece of zoned dialing.

In the decades since the release of Dinosaur Jr.'s original triptych of foundational albums, it has become clear that their sound -- once hailed as a sort of almost-tamed noise -- is/was/always- has-been fully functioning pop music of a sort. The subsequent generations of bands who grew up breathing Dino's fumes managed to tinker around with the edges of their original post-hardcore song-forms enough for listeners to realize there had always been melodies at the center of everything they did. What Dinosaur Jr.. produces is nothing but a beautiful new version of the rock continuum -- riff, power, beat and longing, created with an eye on the infinite future.

Recorded, as usual, at Amherst's Biquiteen, the sessions for Sweep It Into Space began in the late Autumn of 2019, following a West Coast/South East tour. The only extra musician used this time with Kurt Vile.

J Mascis says, “Kurt played little lead things, like 12 string one at the beginning of 'I Ran Away.' Then I ended up just mimicking a few things he'd done. I was listening to a lot of Thin Lizzy, so I was trying to get some of that dueling twin lead sound. (laughs)”

“But the recording session was pretty well finished by the time things really hit the fan. So I just ended up doing more things by myself. Like the mini digital mellotron on 'Take It Back.' Originally I'd thought I'd have Ken Mauri (who has done keyboard work for Dino in the past) come in and play piano. But when the Lock Down happened in March, that meant I was on my own. But it was cool.”

Indeed, Sweep It Into Space is a very cool album. As is typical, Lou Barlow writes and sings two of the album's dozen tunes and Murph's pure-Flinstonian drumming drives the record like a go cart from Hell. Lou's songs here are as elegant as always. “Garden” is a mid-paced ballad with genteel guitar filigree giving it a '60 Brit feel in spots. And the album's closer, “You Wonder,” is a strangely excellent answer to the question -- “How would Blue Oyster Cult handle a country tune?”

J's tracks flow and flower in the different directions he often follows. Some are guitar howlers, like “I Met the Stones,” with a string sound midway between Hendrix and Asheton. Some are power ballads, like “And Me,” its lyrics atomized in a manner invented by Mascis, then famously borrowed by Kurt Cobain. And there are anomalies, like “Take It Back,” which starts with a blue-beat rhythm putting one in mind of Keith Richards' Jamaican explorations (at least for a little bit.)

But there are very few moments where you wouldn't know you were hearing Dinosaur Jr.. in blindfolded needle drop. They have a signature sound as sure as the Stooges or Sonic Youth or Discharge ever did. They continue to expand their personal universe with Sweep It Into Space, without ever losing their central core.

So if you ever do find yourself swept into space (hey, who knows?), I just hope these tunes are on your playlist.

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Jenny Lewis

Jenny Lewis

Performances

July 6 - 5:30 PM @ Uline Warehouse Stage
July 6 - 2:00 PM @ AmFam House Stage

Jenny Lewis

Hailed as one of the great singer-songwriters of the last 20 years (UPROXX), Jenny Lewis released her fourth solo album,On The Line(Warner Records), in 2019.On The Linewas warmly welcomed as the latest and arguably greatest of a staggering body of work including solo albums such as 2014's The Voyager (Warner Records), 2008's Acid Tongue (Warner Records) and 2006's Rabbit Fur Coat (Team Love) - as well as Lewis's universally-loved work in Rilo Kiley, side projects Nice As Fuck and Jenny & Johnny, and her time with The Postal Service.

After a prolific acting career in notable commercial, TV and film roles—including Troop Beverly Hills, The Wizard, Foxfire and Pleasantville—Jenny Lewis founded the Los Angeles-based Rilo Kiley in 1998 with Blake Sennett, Pierre de Redder and Dave Rock. With Lewis as lead singer, the band quickly signed with Barsuk Records in 2001 and released their debut studio album Takes Offs and Landings—the first of four albums the group would release. 

Shortly after Take Offs and Landings, Rilo Kiley signed with Saddle Creek Records in 2002 to release The Execution of All Things. As the band’s career reached new heights, they released two more albums including 2004’s More Adventurous (Brute/Beaute Records/Warner Records)—which featured “Portions for Foxes”—and Rilo Kiley’s final and most successful album, Under the Blacklight (Warner Records), which featured “Silver Lining.”

In between recording with Rilo Kiley, Lewis worked alongside Ben Gibbard and Jimmy Tamborello in The Postal Service, contributing to their classic one and only album, 2003’s Give Up (Sub Pop).

In 2006, Lewis took time away from Rilo Kiley to release her debut solo album Rabbit Fur Coat (Team Love) with sisters-in-arms The Watson Twins. Showcasing a markedly new side of Lewis, the release of Rabbit Fur Coat kicked off the beginning of a singular solo career, with Entertainment Weekly triumphantly proclaiming her “the Emmylou Harris of the Silverlake set.”

Following Lewis’s solo debut, Rilo Kiley put out what would be their final proper studio album, Under the Blacklight, in 2007.

In 2008, Lewis released her second solo album, Acid Tongue, on Warner Records. Cementing her status as a rock icon, reviews were quick to praise the eclectic album as immediately pleasurable… brimming over with hooks and songwriting techniques that announce themselves with openness and surety” (PITCHFORK) and a confident amalgam of tracks that sparkle, stew, and storm” (AV CLUB).

After a slew of high-profile collaborations and side projects (Nice As Fuck, Jenny & Johnny, The Postal Service) Lewis released 2014’s The Voyager (Warner Records), which NPR likened to “California sunshine glinting off the Pacific Ocean, steeped in the West Coast pop sounds of the 1970s” and PITCHFORK proclaimed as one of their 200 Best Albums of the 2010s: “armed with a perfect rainbow Nudie suit, Lewis asserted herself as a mature, somewhat wistful rock veteran, and took her rightful place as a bona fide solo star.”

On March 22, 2019, Jenny Lewis released her fourth and most acclaimed solo album to date, On The Line (Warner Records). Recorded at the distinguished Capitol Studios, the album features a who’s who of supporting players including Beck, Don Was, Benmont Tench, Jim Keltner, Ringo Starr, Beck sidemen Jason Falkner and Smokey Hormel among others. In addition to earning a #1 debut on the U.S. Alternative, Vinyl and Internet Album charts, On The Line garnered high critical praise—with Vulture calling it her “best work to date…a triumph of patient refinement” and USA Today declaring, Any conversation of the best singer-songwriters of the past 20 years is incomplete without Jenny Lewis’ name…master-level storytelling…always leaves, arm-in-arm with the listener, with her head held high.—as well as top spots on Best Albums of 2019  and Best Albums of the Decade lists:

“Jenny Lewis is in a league entirely of her own…It’s her boldest album to date, not only because she recruited a who-who’s of players—including Beck, Ringo, Don Was, and more—to help her craft a lush background of vintage rock, country, and soul, but also because  she knows how to write directly to the chest. Lewis reveals the human nature at the core of her characters”—PITCHFORK (Best Rock Albums of 2019) 

“the sound of an artist both coming home and hitting her 21st century singer/songwriter peak…The music nods to vintage Laurel Canyon soul but shows her own roots…all wry sincerity and stoner punchlines.”—ROLLING STONE (100 Best Albums of the Decade)

After a globe-spanning 2019 tour that saw her headline the likes of The Ryman and Brooklyn’s Kings Theatre, a very special stop at NPR Music’s Tiny Desk, and a surprise 2020 collaboration with Chicago-based rapper Serengeti, Jenny Lewis hit the road again in 2021 as a special guest of Harry Styles.

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Scotty McCreery

Scotty McCreery

Performances

July 8 - 10:00 PM @ UScellular Connection Stage

Scotty McCreery

Scotty McCreery’sSame Truck: The Deluxe Albumis available now on vinyl, CD and digital formats. McCreery kicked off hisDamn Strait Tour;in January 2023, boasting over 20 shows through April. He will be touring with two of his musical heroes on the Brooks & Dunn REBOOT Tour 2023 in May and June.Same Truck: The Deluxe Albumcontains two No. 1 RIAA Gold-certified hit songs “You Time” and “Damn Strait,” and his current single “It Matters to Her,” as well as six additional new songs not on the original album. In total, McCreery has achieved 5 consecutive No. 1 hits in the last few years, including the two mentioned above as well as an additional three from his last albumSeasons Change, the RIAA Gold-certified project which debuted at No. 1 on theBillboardCountry Album chart: the RIAA Double Platinum-certified “Five More Minutes,” the RIAA Platinum-certified “This Is It,” which stayed at the top of the charts for two weeks, and RIAA Gold-certified “In Between.” McCreery co-wrote all 11 songs onSeasons Change, whichRolling Stonenamed as one of the “40 Best Country and Americana Albums of 2018.” Four of his albums have debuted at No. 1 on aBillboardAlbums chart, with current combined sales surpassing 4 million copies. With five consecutive No.1 hits to his credit, he’s earned one Double Platinum, four Platinum and four Gold singles; one Platinum and two Gold albums; won the 10th season of “American Idol” in 2011; was named the ACM New Artist of the Year in 2011; won the CMT Music Award for Breakthrough Video of the Year (‘The Trouble with Girls’) in 2012; American Country Awards for New Artist of the Year in 2011 and Breakthrough Artist of the Year in 2013; BMI Awards for writing One of the Top 50 Country Songs of the Year five times (in 2015 for “See You Tonight,” in 2018 for “Five More Minutes,” in 2019 for “This is It,” and 2021 for “In Between,” and in 2022 for “You Time”); a Carolina Beach Music Award for National Dance Song of the Year (‘Barefootin’’) in 2018; the NSAI Nashville Songwriter Award for One of the Top Ten Songs I Wish I’d Written (‘Five More Minutes’) in 2018; and the Randy Owen Angels Among Us Award from St. Jude Children’s Research Hospital in 2022. The North Carolina native released his first book,Go Big or Go Home: The Journey Toward the Dream, in 2016; it was re-released in paperback in 2020. His song “Five More Minutes” inspired a popular movie of the same name which aired on the Hallmark Movies & Mysteries Network during November-December 2021. A second movie, “Five More Minutes: Moments Like These” will air on the Hallmark Movies & Mysteries Network on December 17, 2022. McCreery launched his recording career by making history in 2011 as both the first country artist and the youngest male artist of any genre to debut his first studio album, the Platinum-certifiedClear as Day, at No. 1 on the all-genreBillboardTop 200 Albums chart. For more information, visitwww.ScottyMcCreery.com.

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bbno$

bbno$

Performances

July 8 - 7:30 PM @ Generac Power Stage

bbno$

bbno$'s life changed forever in 2019 on the day he walked across the stage to receive his college diploma. To be clear, graduating didn't do anything for him. On that day, he released "Lalala," a cheeky earworm of a rap single that nicely encapsulated his "ignorant but melodic" approach to hip hop and erupted on a global scale. To date, "Lalala" has racked up over 800 million streams worldwide, and bbno$'s extensive catalog of music has amassed over 2,000,000,000 (yes, two billion) streams.

"I would say that I'm pretty stoked on life 24/7," says bbno$ (pronounced "baby no money"). His baseline enthusiasm spills out into his music, his colorful music videos, as well as his growing online identity as a gamer under the moniker bbnogames. His raps place an emphasis on creative melodies, humor, and mischievous wordplay, and his philosophy of avoiding overthinking at all costs allows his true personality to shine through. bbno$ is a renaissance man in the age of the internet, and his career, a story of both virality and sheer persistence, is just getting started.

A former competitive swimmer who gave up athletics after he broke his back, bbno$ decided to give music a serious shot while he was earning his kinesiology degree at the University of British Columbia. He gave up alcohol and partying, took up consuming "an excessive amount of coffee at 3 AM," and in 2016, he started to post his own music to SoundCloud. His setup has evolved only slightly from those early years, when all he had was a mic, an audio interface, and a blanket and two pieces of foam he would put over his head while he recorded. ("I've probably downgraded, to be honest," he says of his current recording setup.)

bbno$ got his first break when a popular Chinese dance crew called the TFBoys used his song "Yoyo Tokyo." Despite minimal clout in his native Vancouver at the time, that exposure enabled him to sell out back-to-back tours in China in 2017. In 2017 and 2018, he toured extensively in North America, Europe, and Australia with his frequent collaborator Yung Gravy, first in support of their joint EP Baby Gravy and then for bbno$'s debut album Bb Steps. Bbno$'s musical output was (and is) prolific; during this era, he often released singles on a weekly basis, and he organically grew his audience until he crossed the threshold of one million Spotify monthly listeners in late 2018. His fan base has only expanded since then; in early 2019, bbno$ self-released his sophomore album Recess and booked his first headlining American and European tours.

"Lalala" gained immediate traction on social media and TikTok and accumulated 12 million streams within a couple of weeks. Three weeks after its original independent release, Columbia Records stepped in to license the single and re-issue it. From there, things went ballistic. Enrique Iglesias and Carly Rae Jepsen appeared on the official remix. The track went double platinum, spent 21 weeks on Billboard charts, and was featured on over 350 Spotify staff-curated playlists.

In the following year, bbno$ became the 84th most-streamed artist in the world across genres on Spotify and received two JUNO Award nominations. He continued his upward trajectory with the release of his third album i don't care at all, produced entirely by "Lalala" collaborator Y2K. The album's 53-city, 4-continent world tour was cut short due to Covid, but undeterred, bbno$ put out his fourth full-length good look have fun in October 2020 to see it debut as the #8 album in the world on Spotify.

For all his success, bbno$ has retained the hands-on, DIY mentality that shaped the first couple years of his career. Take for example his 2020 single "quarantine freestyle," produced by lentra. The music video, which depicts bbno$ bopping around in his Vancouver apartment, where he still records the bulk of his work, was also filmed by lentra. To this day, bbno$ has never paid for studio time and records his own music. "Without being able to mix and master and record my own vocals, I don't think I would be nearly as successful," he says. "The slow grinds always works if you don't have to rely on anybody. It's up to you to take it far."

bbno$ says his primary artistic mission is to have fun and pursue the indelible satisfaction that arises when he makes something that he loves -- though he may email it to his mom to get a second opinion. "I'm most happy when I make a song where I'm like, 'Damn. this is good as fuck.' Right at that moment where I'm like, 'this is it. This slaps.' I think that's like the point of bliss for me."

bbno$ plans to put out a series of singles and music videos leading up to the release of his fifth full-length album in fall 2021.

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Cautious Clay

Cautious Clay

Performances

July 6 - 7:30 PM @ Uline Warehouse Stage

Cautious Clay

"Ever since I started playing music, it was always about the feel," says Josh Karpeh, AKA Cautious Clay. "There are a lot of things in art that you can learn by practicing or studying, but feel's not one of them. It's something you've just got to have."

It's that feel, that deep emotional intuition that fuels Cautious Clay's sound. Blending R&B, hip-hop, and experimental indie, his productions are dark and engrossing, built upon a unique combination of organic instruments, digital programming, and soulful vocals. He writes with unflinching honesty, engaging in deeply personal self-reflection with boldly vulnerable and vividly poetic lyrics. At times recalling contemporaries like James Blake or Sampha, Cautious is a profoundly modern songwriter and a forward- thinking producer, but he's also steeped in the past, quick to cite Burt Bacharach as an idol and credit Stevie Wonder and Quincy Jones as ever-present influences in his artful arrangements.

"I used to think about songwriting and production as completely separate," he explains, "but when I learned how to merge those two things, that's when I was able to start creating music that really connected with people."

Originally from Cleveland, OH, Cautious began his artistic journey at the age of seven when he picked up classical flute. His studies led him deep into the worlds of blues and jazz, and by the time he hit college in Washington, D.C., he'd added a number of other instruments to his repertoire in addition to songwriting and production. Now based in Brooklyn, Cautious is consistently working on music for both his own project and for others.

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Collective Soul

Collective Soul

Performances

July 7 - 9:30 PM @ Uline Warehouse Stage

Collective Soul

It’s probably (well, definitely) somewhat of an understatement to say Collective Soul frontman and chief songwriter Ed Roland is unwaveringly driven in his desire to double down on doing more of what he does best — making music, sweet music, both in the studio and onstage.

 

“People ask me if I have a hobby, but for me, it’s just music,” Roland confirms. “I mean, I don’t know what else to do, because that’s what I love to do. I live in the studio — but then the time comes when I go, ‘Well, now I wanna go play live.’ I just love the creation of music, and the process of finding out what’s gonna happen with it next. That kinda defines it all for me.”

 

In following his ever-tenacious muse, Roland is always looking to connect with his current Collective Soul bandmates any which way he can. Actually, the word current is a bit of a misnomer, since Roland truly believes the Collective Soul of the here and now is as permanently intertwined as any group of musicians he’s ever worked with over the course of his illustrious career. “It’s worth noting See What You Started by Continuing was really the demo for this band as it stands right now,” Roland points out, referring to the 2015 album that realigned the rock quintet’s creative compass. “I mean, this is the band for the rest of my life. This is it, man.”

 

Indeed, if a) 2015’s aforementioned See What You Started by Continuing was the reset blueprint for how a revamped and revitalized five-man lineup fully gels as a unit, and b) 2019’s Blood was the ensuing coagulant further infused by an in-tune rock ensemble clearly firing on all corpuscles, then c) Collective Soul’s upcoming, long-awaited 2022 album release Vibrating simply sends the band’s artistic spirit into the next stratosphere.

 

“Our fans have already picked up on that,” agrees Roland, “because they’ve been waiting for Vibrating for almost three years now — and I can’t wait for them to hear it. They’re excited because both See What You Started and Blood set such a high standard for where we’re going as a band — and it’s only going to continue getting better with Vibrating. I really do believe that.”

 

You can believe it too, for the proof lies within the new album’s deeply delineated grooves. Fact is, Vibrating positively pulsates with the boundless energy that has been Collective Soul’s aural calling card for going on three full decades. From the propulsively gnarly kiss-off of “Cut the Cord” to the reflective midtempo jangle of “Take” to the heart-wrenching reality check of “Rule #1” — replete with a soaring string section, no less! — to the choir-backed emotional crossroads of “Where Do I Go,” Vibrating contains 42 minutes of irrefutable sonic evidence of a band wholly uninterested in sitting still. “I think we’re on a roll,” observes Roland. “We’re not afraid to stretch the boundaries — but we do know how to stay in our lane when we need to. Sometimes, though, we just have to go faster.”

 

The next logical acceleratory step, of course, resides in taking Vibrating out on the road where the band belongs, and test-driving how this electrifying new material meshes with indelible Collective Soul setlist classics like “Shine,” “December,” “The World I Know,” “Gel,” “AYTA,” “Why, Pt. 2,” “Precious Declaration,” and “Heavy” — in addition to more recent, Blood-spawned tracks like “Right as Rain,” “Observation of Thoughts,” and “Over Me.”

 

“We’re ready to go,” declares Roland. “Most of us grew up together and knew each other as kids, so that helps with the live chemistry. I’ve always said this about this band — we know when to knock each other out, and we know when to hug each other. We won’t put up with any crap, but if you’re feeling down and need help, we’ll pick you up. We’re coming up on 30 years as a band, so we have to be friends first and foremost to keep it all going. If we aren’t friends like that, then we’re not going to have longevity in our career in order to continue doing what we love to do. That’s just the bottom line.”

 

Seeing eye to eye, and ear to ear, is part of the secret sauce of why Collective Soul continues to both record and play together at an uncompromised level of high quality. “That’s the end goal for everybody in this band,” agrees Roland. “Just because I write the songs doesn’t mean I’m the only one who wants it all to come out right. We all want it to be right — and that’s because this is a band that acts like a band.”

 

Working in tandem, sharing unbridled opinions, and listening to what everyone else has to say without recrimination are all key proponents in fostering Collective Soul’s perpetual harmony. “That’s the forte of this band,” Roland acknowledges. “We discuss things together, we figure them out together, and we make sure to get everything right. That’s how we love to do it. And I say this out of confidence, and not out of ego — we’re really, really good at it, too.”

 

You’ll get no arguments here. As 2022 unfurls, it’s clear heaven continues to shine its light down on Collective Soul, a formidable five-man band humming along in unison with many more good vibrations of their own to share with the masses far and wide. There’s a reason Collective Soul are made for me and you — so be sure to see and hear them for yourself first-hand, the next time they make their presence known in your neck of the woods.   —Mike Mettler, official Soulographer

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Destroy Lonely

Destroy Lonely

Performances

June 24 - 8:00 PM @ Generac Power Stage

Destroy Lonely

Destroy Lonely makes every flex feel like an adventure. Fusing colorful melodies with labyrinthine flows and playful braggadocio, the Atlanta rapper has built a career by pushing himself to try new things—and pushing at rap’s boundaries in the process. The 21-year-old weaves together video-game synths, elastic vocals, off-kilter rhythms, and his inborn mystique and charisma to craft stylish soundtracks for a high-wire lifestyle that’s getting more luxurious by the day. His daring approach is on fuller display than ever on “NOSTYLIST,” the mesmerizing first single from NO STYLIST, his debut mixtape on Playboi Carti’s record imprint Opium. 

Spitting over Technicolor keys, Destroy Lonely combines high-roller escapades with an icy disregard for potential enemies. “Yeah, I fucked that hoe, but I can’t cuff her, I won’t make her Mrs.,” he raps. “I don’t know that boy, and I can’t tell you how he end up missing.” Meanwhile, on “JETLGGD,” he unloads rapid-fire flows over racing hi-hats and surreal sonar bleeps, laying out a day of drink, smoke, and fun with international women, all without losing the beat. Free-wheeling yet possessed with the technical proficiency to rhyme in unpredictable ways, Destroy Lonely threads disparate ideas with spontaneity and imagination—a side effect of being someone more comfortable rapping than they are speaking. 

“I feel like when I’m talking to people talking to people in conversation, they won’t completely understand me,” he says. “When I make music, I’m able to say exactly what I want to say.” 

The young artist born Bobby Sandimanie III began developing his truest language early on. “My pops told me he used to look in the backseat and I’d be freestyling shit when I was four or five,” he remembers. Before too long, Lonely discovered the sounds of artists like Eminem, Green Day, Gorillaz, Lil Wayne, and Earl Sweatshirt, a kaleidoscopic blend of artists that helped him develop his combination of melodically rich yet mechanically sharp rap skills. 

Soon, Lonely crystallized a version of the style he uses today. At age 17, began dropping fully realized projects, demonstrating an already visionary approach to rap on efforts like Forever, ILY, Underworld, Overseas, and </3² on SoundCloud, each earning thousands more streams than the last. When his 2019 single “Bane” blew up, Destroy Lonely’s path to stardom began to solidify. His rise was cemented when he met Carti in early 2021, who was taken by his groundbreaking sounds, and by the end of the year, he’d signed a deal with his fellow Atlanta rapper’s Opium label. 

With a fan base that grows every day, Lonely understands his position—and the gift of a platform. In July, he hit the stage to perform in front of thousands at Rolling Loud Miami. And soon he’s hitting the road with Ken Carson’s X-Man Tour after making a typically charismatic appearance on Carson’s single “MDMA” earlier this year. 

NO STYLIST will give fans a lot more to be grateful for. It’s composed of nimble flows and all the mellifluous half-sung lyrics that propelled Lonely to stardom, but the rhymes are more decisive, the soundscapes more pristine, and the identity even more distinct. It’s another evolution of Destroy Lonely, an artist who’s made his name off of never slowing down, never being content. 

“This is where I get to finally show people who the fuck I am within my own rules and my own jurisdiction. It’s like when the roller coaster is going up,” he says. “But it’s never gonna go down.” 


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Buddy Guy

Buddy Guy

Performances

June 22 - 10:00 PM @ Uline Warehouse Stage

Buddy Guy

At age 86, Buddy Guy is a Rock & Roll Hall of Fame inductee, a major influence on rock titans like Jimi Hendrix, Eric Clapton, and Stevie Ray Vaughan, a pioneer of Chicago’s fabled West Side sound, and a living link to the city’s halcyon days of electric blues. Buddy Guy has received 8 GRAMMY Awards, a 2015 Lifetime Achievement GRAMMY Award, 38 Blues Music Awards (the most any artist has received), the Billboard Magazine Century Award for distinguished artistic achievement, a Kennedy Center Honor, and the Presidential National Medal of Arts. Rolling Stone Magazine ranked him #23 in its "100 Greatest
Guitarists of All Time."

In 2019, Buddy Guy won his 8th and most recent GRAMMY Award for his 18th solo LP, “The Blues Is Alive And Well”. In July of 2021, in honor of Buddy Guy’s 85th birthday, PBS American Masters released “Buddy Guy: The Blues Chase The Blues Away”, a new documentary following his rise from a childhood spent picking cotton in Louisiana to becoming one of the most influential guitar players of all time. The documentary
features new interviews with Buddy Guy, Carlos Santana, Eric Clapton, John Mayer, Gary Clark Jr, and more. Watch the full documentary at PBS Online here.

Though Buddy Guy will forever be associated with Chicago, his story actually begins in Louisiana. One of five children, he was born in 1936 to a sharecropper’s family and raised on a plantation near the small town of Lettsworth, located some 140 miles northwest of New Orleans. Buddy was just seven years old when he fashioned his first makeshift “guitar”—a two-string contraption attached to a piece of wood and secured with his mother’s hairpins.
In 1957, he took his guitar to Chicago, where he would permanently alter the direction of the instrument, first on numerous sessions for Chess Records playing alongside Howlin’ Wolf, Muddy Waters, and the rest of the label’s legendary roster, and then on recordings of his own. His incendiary style left its mark on guitarists from Jimmy Page to John Mayer. “He was for me what Elvis was probably like for other people,” said Eric Clapton at Guy’s Rock and Roll Hall of Fame induction in 2005. “My course was set, and he was my pilot.”

Seven years later, July 2012 proved to be one of Buddy Guy’s most remarkable years ever. He was awarded the 2012 Kennedy Center Honor for his lifetime contribution to American culture; earlier in the year, at a performance at the White House, he even persuaded President Obama to join him on a chorus of “Sweet Home Chicago.” Also in 2012, he published his long-awaited memoir, When I Left Home.

These many years later, Buddy Guy remains a genuine American treasure and one of the final surviving connections to an historic era in the country’s musical evolution.

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Queensryche

Queensryche

Performances

June 23 - 10:00 PM @ UScellular Connection Stage

Queensryche

Against the formidable obstacles of an ever-changing cultural landscape, the rise and fall of various musical trends, and the near-collapse of the record industry itself, QUEENSRŸCHE secured a triumphant legacy as one of hard rock’s most respected and celebrated acts, selling 30 million albums around the world across a 30-plus-year career.

The band’s name is uttered in the same breath as many of the groups they looked to as influences and others who arose as peers. Queensrÿche built a dedicated legion of fans traveling the globe on tour with fellow rock giants like Iron Maiden, Guns N’ Roses, Metallica, Judas Priest, and Def Leppard. In recent years, they’ve consistently delivered high-octane live shows combining the hungry fire of a new band with the tempered experience of master showmen. Even with eleven gold and platinum plaques and several Top 10 hard rock anthems woven into the very fiber of the genre, Queensrÿche won’t relent. In fact, they’re in the throes of a jaw-dropping creative resurgence.

Condition Hüman tracks like “Guardian,” “Hellfire,” and “Bulletproof” are destined to take their place among Queensrÿche’s most beloved songs. Produced by Zeuss (Rob Zombie, Hatebreed, Sanctuary) in the band’s native Washington, Condition Hüman is a new mountain towering over many of the peaks and valleys of the hard rock landscape.

Among the great strengths of Queensrÿche is the band’s diversity, from the classic metal majesty of early demo banger “Queen of the Reich” to the soaring and orchestral-backed balladry of #1 smash “Silent Lucidity.” Condition Hüman is the massive, densely layered, unflinchingly driving and consistently memorable Queensrÿche album the world demanded. Cofounders Michael Wilton (guitar), Eddie Jackson (bass), and Scott Rockenfield (drums) with Todd La Torre (vocals) and Parker Lundgren (guitar) draw power from stunning collective synergy, a renewed sense of urgency, and overall life-affirming optimism. Reverent to the band’s iconic past while forging fearlessly into the future, Condition Hüman is a definitive statement of purpose from a hard rock institution.

The seminal bursts of the Queensrÿche EP, stone-cold classic debut full-length The Warning, and badass monster Rage for Order reignited the flames of heavy, progressive, melodic hard rock and metal. Operation: Mindcrime single-handedly redefined the concept album and charged into the Top 40 with timeless Queensrÿche anthems “I Don’t Believe in Love” and “Eyes of a Stranger.” A precision collection of near-perfect songs pushed landmark masterpiece Empire to triple platinum. “Silent Lucidity” earned the band their second and third Grammy nominations, plus five nominations at the MTV Video Music Awards, where Queensrÿche picked up the Viewer’s Choice Award and cemented their status as a true band of the people. The signature sound defined in this era wove its way into the hearts and minds of millions.

Queensrÿche’s dominance at rock radio continued into the ‘90s with a string of hits including “Jet City Woman,” “Another Rainy Night (Without You),” “Real World,” “I Am I,” “Bridge,” and “Sign of the Times.” Promised Land entered the charts at #3 and became another platinum seller. Even with the advent of grunge, shrinking radio formats, MTV’s new reliance on reality television, and the bankruptcy of their longtime major label, the band continued to craft impressive collections and remained a mainstay on the charts. The richly exploratory Hear in the Now Frontier, Q2K, and Tribe precipitated the release of Operation: Mindcrime II, which boasted guest vocals from the late Ronnie James Dio.

Unmistakably powerful, hypnotic, and melodic, the definitive sound established by the first five Queensrÿche releases found new life with La Torre, whose mastery of the classic material, inspired enthusiasm, and introduction of traditional metal grit invigorated hardcore fans around the world. Metalholic put the band’s first record with La Torre and Lundgren at #5 (!) in an editorial ranking Queensrÿche’s sizable collection of studio albums. Standout track “Don’t Look Back” set the stage for the new era. Queensrÿche established they would honor the band’s legacy but never surrender to pure nostalgia.

True to the promise of the album prior, Condition Hüman injects the immediacy of right now into a potent distillation of what’s come before. “Guardian” boasts perhaps the most anthemic chorus of the band’s career. “Hellfire” is balls-to-the-wall and in the pocket, a la “The Mission,” with a dirty groove. “Bulletproof” is a power ballad bigger than anything of the contemporary era while “Just Us” has an almost ‘70s era singer/songwriter vibe. At over seven minutes, the epic title track that closes the album is both a visceral gut punch and passionate journey, like “Roads to Madness” meets “Suite Sister Mary.”

Dark, melodic, dynamic, diverse, instantly memorable, with an intellectual slant to the songwriting and lyrics that are always inviting on the surface while rewarding deeper listening, Queensrÿche continuously replenishes themselves, more than three decades into their body of work. Brave, adventurous, never less than authentic, Queensrÿche captured the rare lightning-in-a-bottle status of being both legendary and contemporary.

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Rosa Linn

Rosa Linn

Performances

June 22 - 6:30 PM @ Generac Power Stage

Rosa Linn

Rosa Linn is a young and bold music artist, who's not only breaking free from the confines of her conservative hometown Vanadzor, Armenia, but also making history as the first global music sensation from the country. At the tender age of 22, Rosa is already living proof that if you dare to dream big, you can achieve it.

Rosa was encouraged to pursue her passion for music from an early age and started playing the piano at the tender age of 6. But the path to musical success wasn't an easy one, as she found herself navigating the treacherous terrain of the music industry alone. With no infrastructure or support from sponsors, Rosa felt like her dream was slipping away. But she refused to give up and her persistence paid off when she was discovered by Nvak Collective.

With Nvak Collective, Rosa found a community of like-minded musicians, who not only encouraged her but also gave her the platform to showcase her talent to the world. Her first single KING showcased her unique style, which blended late 80s and early 90s indie pop with modern beats and synths. The song's universal appeal, with its mix of

Russian and English, was a hit with audiences across the world. Rosa’s big break came when she was selected to represent Armenia at the Eurovision Song Contest in May 2022. Her submission “SNAP” was a fan favorite and quickly went viral, with over 3 million streams a day on Spotify. The track took on a life of its own, reaching #1 on AAA radio for 6 non-consecutive weeks and amassing over 1 billion streams.

Rosa’s partnership with Columbia Records has propelled her to new heights and she’s not slowing down. She’s already released a new track “WDIA” with Duncan Laurence and is gearing up for a stadium tour with Ed Sheeran and Upcoming tour with Young The Giant. With her full album set to release in 2023, the future looks bright for Rosa Linn, who’s not only breaking free from her hometown but also breaking new ground in the world of music.

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Breland

Breland

Performances

June 23 - 5:30 PM @ Generac Power Stage

Breland

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Nitty Gritty Dirt Band

Nitty Gritty Dirt Band

Performances

June 24 - 3:30 PM @ Generac Power Stage

Nitty Gritty Dirt Band

With a refreshed lineup and newfound energy, The Nitty Gritty Dirt Band remains one of the
most accomplished bands in American roots music.

Following an extended 50th anniversary tour, the ensemble grew to a six-piece in 2018 for the first time since their early jug band days. The group now includes Jeff Hanna (acoustic guitar, electric guitar), Jimmie Fadden (drums, harmonica), Bob Carpenter (keyboards), Jim Photoglo (bass, acoustic guitar), Ross Holmes (fiddle, mandolin), and Jaime Hanna (electric and acoustic guitar). All six members also sing, and when their voices merge, the harmonies add a powerful new component for the legendary band. And with the father-son pairing of Jeff and Jaime Hanna, the band carries on a country music tradition of blood harmony.
Jeff Hanna says, “It’s like when you throw a couple of puppies into a pen with a bunch of old
dogs. All of a sudden, the old dogs start playing, you know? That’s kind of what’s happened with us. The basic vibe is so up and positive, and the music– we’re hearing surprises from Jaime and Ross all night. And they’re encouraging us in the same way to take more chances. It’s opened a lot of doors for us, musically, and the morale is really great. That’s important for a band that’s been out there for over 53 years.”

The Nitty Gritty Dirt Band played their first gig in 1966 in Southern California as a jug band and by 1969 had become a cornerstone of the burgeoning country-rock community. Their career breakthrough came in 1970 with the release of the record Uncle Charlie & His Dog Teddy and the single “Mr. Bojangles,” a folksy Top 10 pop hit that remains a staple of their live show.

During a tour stop in Nashville around that time, Earl Scruggs and his family came backstage to say hello. That introduction led to a friendship and some of the connections the band needed to record Will the Circle Be Unbroken. That three-disc album brought Nitty Gritty Dirt Band together with a number of country, folk, and bluegrass legends. Heroes like Roy Acuff, Mother Maybelle Carter, Jimmy Martin, Merle Travis, and Doc Watson joined the scruffy, young band to record country music standards such as “I Saw the Light” and “Keep on the Sunnyside.” The acclaimed project is considered a landmark recording in American music.

Nitty Gritty Dirt Band earned a pop resurgence in 1980 with “An American Dream” and “Make a Little Magic.” Those singles also found traction on the country chart, setting the stage for a major run at country radio. The band secured 16 Top 10 country hits between 1983 and 1990, including three No. 1 singles: “Long Hard Road (The Sharecropper’s Dream),” “Modern Day Romance,” and “Fishin’ in the Dark.” Bernie Leadon, a founding member of The Eagles, played in the band from 1986 to 1988 filling a vacancy by longtime member John McEuen.

With so much material to work with, the band is making it a point to shuffle the set lists more often, meaning that this isn’t the same Dirt Band show from years past. “We’re fortunate that we’ve got a deep songbook. That’s been on our list, to resurrect some of the tunes we haven’t done in a while, in addition to some new stuff,” Hanna says.

At the peak of their country career, the band toured Europe with Johnny Cash and June Carter Cash, who hinted that they’d love to appear on a sequel to Will the Circle Be Unbroken, if the band ever decided to make one. That gesture convinced the band to get back in the studio to record another all-star album. Circle Volume II featured Johnny and June, as well as Rosanne Cash, Emmylou Harris, Levon Helm, John Hiatt, Bruce Hornsby, John Denver, Ricky Skaggs, New Grass Revival, and many other marquee names – not to mention encore performances by Roy Acuff, Jimmy Martin, and Earl Scruggs. Released in 1989, the album won three Grammys and a CMA Award for Album of the Year.
As the country music landscape shifted toward a youth market, the Nitty Gritty Dirt Band kept on touring and recording. They played on two projects by The Chieftains, cut a song with Karla Bonoff for an album dedicated to the 1996 Olympics, and contributed “Maybe Baby” to a Buddy Holly tribute, Not Fade Away. Another collaborative album, Will the Circle Be Unbroken, Volume III, arrived in 2003. Soon after, the band earned an additional Grammy for “Earl’s Breakdown,” which they recorded with Earl Scruggs, Randy Scruggs, Vassar Clements and Jerry Douglas. Meanwhile, both “Mr. Bojangles” and Will the Circle Be Unbroken were inducted into the Grammy Hall of Fame.

The Nitty Gritty Dirt Band took a moment to acknowledge their incredible history by filming a 50th anniversary concert event at the Ryman Auditorium in Nashville. Guests for that Circlin’ Back special included early Dirt Band member Jackson Browne, Sam Bush, Rodney Crowell, Vince Gill, Alison Krauss, John Prine, Jerry Douglas, Byron House, Jerry Jeff Walker, and longtime Dirt Band member Jimmy Ibbotson. The concert aired as a nation-wide PBS Pledge special in 2016 and won a regional Emmy for Special Event Coverage.
Today, the Nitty Gritty Dirt Band consists of Jeff Hanna, Jimmie Fadden, Bob Carpenter, for
years known as “the new guy,” and Jim Photoglo, a friend of the band whose credits include cowriting “Fishin’ in the Dark”, as well as touring and recording with Carole King, Dan Fogelberg, and Vince Gill. Newest members Jaime Hanna and Ross Holmes also bring years of experience to the band. Hanna toured and recorded with The Mavericks and Gary Allan, while Holmes toured and recorded with Mumford & Sons and Bruce Hornsby.
“The energy these days is so up -- and our fans have responded in a really great way,” Hanna says. “As a fan of other bands, I know how complicated it can be when members come and go.

You can either embrace that or you don’t. Our fans are really gracious and I appreciate that. It’sbeen a really good run and there’s a lot of daylight ahead of us.”

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Jesus Jones

Jesus Jones

Performances

July 1 - 8:15 PM @ UScellular Connection Stage

Jesus Jones

Jesus Jones are back – but to be strictly accurate, they never actually went away. Jesus Jones first came together back in 1988, and their distinctive brand of sample-heavy pop found an instant, and receptive audience. Throughout the early 90’s the band enjoyed phenomenal success, particularly in America, where their single “Right Here Right Now” rose to number one, and their second album “Doubt’ sold over a million copies. They played the Pyramid stage at Glastonbury, supported INXS at Wembley Stadium, and performed to a quarter of a million people in Brazil.

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Nicky Youre

Nicky Youre

Performances

June 30 - 7:30 PM @ Generac Power Stage
June 30 - 2:00 PM @ AmFam House Stage

Nicky Youre

Harnessing the infectious energy of sticky melodies and relatable lyrics, Nicky Youre is putting smiles on fans' faces one song at a time. The Indie pop artist is creating a body of work that is sure to be a staple on people's playlists, as its inherent feel-good vibes uplift fans and stick with them throughout their day.

Nicky Youre's disarming authenticity and genuine excitement has already connected with fans across the country, catching the attention of Columbia Records where Youre is now signed in partnership with Thirty Knots Records. Garnering over 50 million streams independently and praise from playlisters and publications from the likes of Masked Mortal, Ari Elkins, Early Rising and more, the Southern California native is gearing up to release more songs in 2023.

His breakout single, “Sunroof,” solidified itself as one of 2022’s songs of the summer by catapulting its way into the Top 10 on Billboard’s Hot 100 for 11 consecutive weeks (peaked at #4). With over 650M streams worldwide and an EP of remixes featuring Thomas Rhett, Manuel Turizo, 24kGoldn, and Loud Luxury, the track spent multiple weeks atop Pop and Hot AC radio formats. Earning Nicky his first nomination at the 2022 MTV VMA’s for ‘Song of the Summer,’ the success of “Sunroof” also saw the star make his television debut with a performance on The TODAY Show.

Born and raised in Aliso Viejo, California, Youre became interested in music through his older brother who played guitar growing up, filling the background of his childhood with Beatles songs and classic rock. In high school, Youre began making music with his friends on Garage band. He adds “It was definitely during the weird stages of everyone’s life when we’re all trying to figure ourselves out. The songs started off quite terrible but eventually we got really into it and did it for fun almost daily.” Youre went on to study at the University of California San Diego to earn a degree in international business though he is now pursuing music full time.

Taking inspiration from Dominic Fike, Jeremy Zucker, Alexander 23, blackbear and more, Youre’s tracks start with the most powerful aspect of his music, the undoubtedly catchy melodies.  “My best songs come from humming melodies that pop into my head out of the blue, often without a beat. I try to fill the melody with words and visualize the energy or the type of beat that would go well with it. From there I work with a producer to help bring the vision to life and the rest just comes together naturally.” 

Outside of music Nicky is a “self-diagnosed mama’s boy” who loves playing golf and exploring new cities. Additionally, Youre played water polo for 12 years and enjoys going for a swim or a workout whenever he gets the chance to.

At the end of the day, Nicky hopes his music can be an escape for his fans. He adds “I hope when people listen to my tunes they feel good. I want them to forget about any issues that they have, even just for a couple minutes, and relax.” A melody that started in Nicky Youre’s head is sure to be stuck in yours sometime soon, and he apologizes ahead of time. 

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Beach Weather

Beach Weather

Performances

June 30 - 8:00 PM @ Briggs & Stratton Big Backyard

Beach Weather

Beach Weather catch a vibe somewhere between the most disparate of extremes. They write hooks universal enough for even the biggest arena full of people, yet introspective enough for even the most introverted wallflower to ponder. Their breezy guitars and sun-soaked choruses barely veil an honest exploration of emotional tumult, anxiety, and loneliness. Musically, the group—Nick Santino [vocals, guitar], Reeve Powers [bass], and Sean Silverman [production]—teeter on an axis of nostalgic melodies and future-facing provocation. With over 100 million-plus streams, they frame this distinct vision perfectly on their 2023 full-length debut, Pineapple Sunrise [Arista Records].

For as inimitable as the sound may be, Nick sums it up with a rather perfect analogy…

“I compare our band to a blacklight poster,” he offers. “You have to turn off the light and sit in full darkness to let the colors shine and see the bright side. We’re called ‘Beach Weather’, but we have a darker tint to our music. Even though we sound very bright and happy, the lyrics go deeper.”

With various musical experiences under their respective belts, Beach Weather initially formed back in 2015. The friendship between Nick and Sean even dated back at least a decade prior. As the story goes, they served up a series of EPs—Chit Chat, What A Drag, and Basement Sessions—and logged quite a few miles on the road, building an audience one show at a time.

Since then, life happened. Nick built a career in graphic design, got married, and became a dad (twice). Sean furthered his career in music production and songwriting. Reeve survived a tornado and got engaged but also stayed in the industry – touring and writing for Nashville artists, and editing for a video production company.

The guys kept in touch. Nick remembers, “The conversations keep circling back to a mutual desire to make music together again. It turned into, ‘if you guys were down, I’d be down.’” Sean furthered his career in music production and songwriting. Reeve survived a tornado and got engaged but also stayed in the industry – touring and writing for Nashville artists, and editing for a video production company.

It turns out everyone was down.

While living in three separate states, the guys remotely started sharing voice memos, titles, and ideas that eventually evolved into Pineapple Sunrise. Around the same time, “Sex, Drugs, Etc.” organically caught fire. A sync on Spanish-language NETFLIX drama Control Z stirred up initial buzz. On social media, TikTok users implemented the song in a myriad of ways, touching every facet of culture from Stranger Things to K-pop. The success transferred over to streaming platforms as the track amassed 80.8 million Spotify streams and counting.

With its understated palm-muted guitar, handclaps, and swooning windswept harmony, the disarmingly catchy chorus of “Sex, Drugs, Etc.” rings out, “I don’t need that late night high. I’m floating on my vibe.

“We never thought ‘Sex, Drugs, Etc.’ would be the song people gravitate to,” he admits. “I can relate to the meaning of it personally. It’s about having anxiety. I don’t really go out. I’m not a big party guy. I’m the opposite; I’m a homebody. It’s amazing to see a lot of listeners identify with it.”

They’ll undoubtedly identify with what the boys have in store on Pineapple Sunrise as well. The single “Unlovable” begins with a laidback verse punctuated by claps. It culminates on a chantable chorus awash in fuzzy distortion as Nick pleads, “Oh no, oh my God, how’d I get so damn unlovable?”

“In a way, it’s a self-deprecating anthem,” he observes. “You feel crazy, you’re trying to figure out your own brain, and you’re locked out of your own head. You ask, ‘Why am I unlovable?’ It’s a relatable idea though. Musically, there’s a lot of energy to it. It’s one of the heavier rock tracks, but it’s still Beach Weather.”

Ultimately, Beach Weather will have a vibe for you to catch as well.

“When you listen to us, I hope you feel like you discovered something new and fresh,” he concludes. “All of our songs are different from one another. We want you to play our music on a long drive through the desert or at the beach relaxing at night. This band is a huge part of my life these days. I think the other guys can relate. We’ve all experienced so much in and out of music. Now, we found our comfort zone with Beach Weather, and we’re just kind of loving it.”

 

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Wang Chung

Wang Chung

Performances

July 1 - 6:30 PM @ UScellular Connection Stage

Wang Chung

Wang Chung came out of the post-punk, New Wave scene of the UK going on to achieve global success selling millions of records. The duo of Nick Feldman and Jack Hues, have had 6 US Top 40 hits including their massive Number 1 single “EVERYBODY HAVE FUN TONIGHT”, with its now famous line, “Everybody Wang Chung tonight”. Their decade-defining hits include:
DON’T LET GO
DANCE HALL DAYS
EVERYBODY HAVE FUN TONIGHT
LETS GO
HYPNOTIZE ME
and more!

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Smash Mouth

Smash Mouth

Performances

July 6 - 10:00 PM @ UScellular Connection Stage

Smash Mouth

With the proud introduction of the hugely-talented new frontman Zach Goode, Smash Mouth is shockingly improved and utterly re-energized.

The New York City-born, Los Angeles-based Goode boasts a dazzlingly impressive, never ending list of stage credits as both actor and singer. His beautifully rough-and-tumble...yet pitch-perfect and rangy...vocal style instantly proving a perfect match for Smash Mouth’s beachy brand of high energy Alt-pop.

A look back at Smash Mouth’s formative years shows a band determined to make an impact from the get-go. Formed in late 1994, the band immediately begins recording demos and showcasing in both San Jose and Hollywood. In June of 1997, Smash Mouth is signed to Interscope Records when label brass catch wind of an unknown (and unsigned) band being ADDED to monumentally influential L.A. radio station KROQ’s playlist after only one spin of their song “Walkin’ On The Sun”.

Smash mouth’s major-label debut “Fush Yu Mang” goes more than DOUBLE PLATINUM and sets the table for what most consider their masterpiece; 1999’s brilliant follow-up album “Astrolounge”. Boasting three top-ten hits (All-Star...Then The Morning Comes...Can’t Get Enough Of You Baby), sales for “Astrolounge” nearly double those for “Fush Yu Mang”. Approaching nearly QUADRUPLE PLATINUM status.

Several catch phrases come to mind with Smash Mouth. Onward and upward! Bigger and better! New and vastly improved! But here’s the reality: Smash Mouth is now poised to consistently deliver the best live show you’ll see. And here’s why: Ammunition. Smash Mouth has the best songs. And more of them than any of our friendly competitors. Period. And in new recruit Zach Goode, Smash Mouth has landed the perfect commanding/veteran frontman who will return them to the top of the mountain. And keep them there.

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Built To Spill

Built To Spill

Performances

July 7 - 7:30 PM @ Generac Power Stage

Built To Spill

Built to Spill is an indie rock band from Boise, ID, formed in 1992 by guitarist/vocalist Doug Martsch.

In September 2022 they released their most recent album, through SubPop - "When the Wind Forgets Your Name". 

Known as well for its rotating line up, the band currently counts with Melanie Radford on bass and Teresa Esguerra on drums. 

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Morgan Wade

Morgan Wade

Performances

July 8 - 8:15 PM @ UScellular Connection Stage

Morgan Wade

Morgan Wade didn’t write to be a sensation, for critical acclaim or massive concert tours. She wrote to speak her truth, to save her own life – and perhaps throw a rope to others struggling with the weight of a world moving too fast, loves where you fall too hard and nights that, good or bad, seem to go on forever. Blue Ridge Mountain girl willing to put her whole truth out there as an artist without flinching – and as a performer who gives it all away onstage – Wade has a voice The FADER lauds is “like a jagged blade, sharp enough to draw blood but lustrous under the light” while The New York Times declares “she sounds like she’s singing from the depths of history.” The old soul writer understands chaos, compulsion and letting go in a way most people will never experience; with her songs, she brings listeners inside the rollercoaster ride of euphoria, emptiness and exile with a soft touch and deep truth. With her unabashed debut album Reckless, she landed on various Best Album and Songs of 2021 rankings from TIME, Rolling Stone, The New York Times, Stereogum, The FADER, Tennessean, Boston Globe, and more. Produced by Jason Isbell + the 400 Unit guitarist Sadler Vaden and Paul Ebersold, the trio worked to create a song cycle that pulled the lean rock of Tom Petty through a modern take on country -- and achieved a No. 1 on SiriusXM The Highway’s Top 30 Countdown with debut single “Wilder Days.” Having reached radio’s Top 30 with the acoustic guitar-driven track, Reckless (Deluxe Edition), available now, expands the conversation with six additional
tracks, including a scalding, heart beating read on Elvis’ Presley’s “Suspicious Minds” and desperate “The Night” –Wade’s first release. Having toured with Lucero last fall, she joins Luke Combs, Chris Stapleton, Brooks & Dunn, and more on the road throughout 2022.

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Runaway June

Runaway June

Performances

July 6 - 4:15 PM @ Miller Lite Oasis Stage

Runaway June

Strong-minded, soft-hearted, and wildly free-spirited, each member of Runaway June possesses the kind of powerhouse talent and radiant charisma that fully commands the spotlight. But when the three musicians sing together, their crystalline harmonies create an impact well beyond the sum of its parts and instantly stir up a whole world of feeling: sweet relief from heartache, escape from the everyday chaos, an unabashed freedom to shake off your inhibitions. With Runaway June’s career triumphs including earning nominations from the Academy of Country Music Awards and the CMT Music Awards, bringing their electrifying live set to spots on tour with Country icons like Carrie Underwood, and scoring a major radio hit with their GOLD- certified breakthrough single “Buy My Own Drinks,” the Nashville-based trio are now set to deliver a new body of work that lets their boldly honest songwriting and effervescent sound shine like never before.

The first single from Runaway June’s newly revamped lineup – founding member Jennifer Wayne and fellow vocalists/multi-instrumentalists Natalie Stovall and Stevie Woodward – “BROKEN HEARTS (DO BROKEN THINGS)” perfectly embodies the band’s irresistible balance of timeless Country musicianship and rule-breaking originality. With its strutting groove and sing-along-ready gang vocals, the fierce yet tender anthem finds Runaway June sticking up for anyone who’s ever followed their most outrageous impulses in the haze of breakup blues (from the pre-chorus: She’s been dancing up on tables / Call her crazy and unstable / But she ain’t as messed up as you think”). “We all know that feeling of getting your heart broken and going out and doing some questionable things, so we wanted to make ‘BROKEN HEARTS’ feel as supportive and inclusive as possible,” says Woodward, Runaway June’s newest member. “Whenever we play that song live, we see the groups of girls out in the crowd dancing and going crazy, acting out the lyrics,” Stovall adds. “That’s exactly what we want from all our music – for people to hear it and let loose and have so much fun.”

Penned by Mandi Sagal, Steve Fee, and Sarah Lake, and produced by Mitch Furr (Eric Paslay, Keith Urban) and Justin Weaver (a musician/producer known for his work with The Chicks and Wynonna Judd), Runaway June’s latest output took shape in a series of freewheeling sessions at Furr’s apartment. “We were like Sherpas carrying in six or seven instruments at once, and then we’d try out all these different sounds to see what felt right,” Stovall recalls. But even as that spontaneity infuses their music with a certain unbridled energy, Runaway June elevates each track with their refined playing and exquisite attention to sonic detail.

Whether they’re offering up an intimate confessional or a barnburning anthem, Runaway June endlessly reveal the eclectic sensibilities at the heart of their collaboration. Originally from California, Wayne started out on a path as a tennis pro before forming her first band with an ex-boyfriend and cutting her teeth playing in pubs around London. With her early influences including Dwight Yoakam and other key players from the California Country scene, she moved to Nashville after college and soon began writing for artists like Eric Paslay, then co-founded Runaway June in 2015. Not long after the arrival of the band’s 2019 debut album BLUE ROSES, a shift in lineup found Stovall joining the ranks and strengthening their sound with the sophisticated musicality she’d honed since taking up classical violin at the age of four. Also, a longtime mandolin and guitar player, the Central Tennessee native kicked off her music career by playing fiddle and singing in the Opryland Kids Club at age 10, later attended Berklee College of Music, and eventually crossed paths with Wayne while on tour with her former band. Following the departure of a former Runaway June member in early 2022, Stovall and Wayne reached out to Woodward and asked the then-solo singer/songwriter to meet up for a co-writing session. “As soon as we got together it was magic – our voices blended so well that it gave me chills,” says Wayne. As a kid growing up in Myrtle Beach, Woodward had written her first song at age five and began playing solo gigs all over South Carolina at 14. A self-described rock ‘n’ roll girl who’s also a classically trained violinist (as well as an accomplished guitarist, pianist, and harmonica and ukulele player), she studied songwriting and music business at Middle Tennessee State University before embarking on a solo career in Nashville. “Right away it felt like we were sisters,” Woodward says. “Being a solo artist can get lonely, and it takes so much of the pressure off when you’ve got other people to rely on. We’re there for each other when things aren’t going our way, and we get to celebrate all the beautiful highs together.”

With an appearance at the historic Grand Ole Opry marking their first-ever public performance together, Runaway June spent much of summer 2022 thrilling crowds at major festivals. “You typically don’t see women shredding onstage the way we do, and I think people really love seeing how much fun we have up there,” says Woodward. Wayne adds, “My favorite thing is when people say to us, ‘We can tell how much fun you girls are having onstage, and it makes us feel good too.’ We always want everyone to feel like they’re a big part of what we’re doing.” And for all three members of Runaway June, that heartfelt push for joyful inclusivity serves as the driving force of the band. “When the audience is really engaged and having a good time, it’s like there’s this cycle where we keep giving more back to them and they give more and more back to us,” says Stovall. “With the live show and with our songs, we want everyone to feel like they’re hanging out with us, like there’s no separation. It’s our way of making sure people know that they’re not alone.”

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Larry Fleet

Larry Fleet

Performances

June 22 - 5:30 PM @ BMO Pavilion

Larry Fleet

Blue-collar, Tennessee native Larry Fleet grew up with a love of music sparked by an eclectic mix of influences spanning Merle Haggard to Marvin Gaye. To make ends meet, he spent tireless hours working construction jobs – never losing sight of his dream to make music. A chance encounter with Jake Owen in 2017 led to a collaborative friendship and an opening slot on the road. Shortly thereafter, Fleet was sharing the stage with one of his heroes - Willie Nelson - and etching his mark in the Nashville songwriting community, co-writing with esteemed tunesmiths Rhett Akins, Brett James, and Kendell Marvel. The hard-working family man is turning heads now with full-length album, Stack of Records (Big Loud Records), produced by Joey Moi, the follow up to his aptly titled first project, Workin' Hard. Breakout hit “Where I Find God” – a powerful ode to finding peace in a higher power's presence – is featured on the new set, garnering Fleet praise for his “emotive vocals” (Billboard) and amassing over 27 million official music video views. Fleet just wrapped a run supporting Morgan Wallen's Dangerous Tour and launched his first-ever headlining One For The Road Tour, selling out shows across the country.

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Deer Tick

Deer Tick

Performances

June 23 - 7:30 PM @ BMO Pavilion

Deer Tick

The best art often challenges widely held preconceptions about performance and beauty. We’re moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice’s finest current purveyors is named after a blood-sucking survivor.

Deer Tick: undercutting expectations since 2004.

“I think a lot of my favorite artists have always done stuff like that,” Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band’s love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick’s perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol. 2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

Ambitious and smart, the twin albums complement one another but also stand independently. Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band’s longtime garage-rock flirtations for a triumphant foray into punk.

McCauley sees the two records as a natural progression. “I think it’s something that was bound to happen, just because I’ve always had one foot in each door,” he says. “Every album we’ve put out has had its manic moments in one way or another. I felt good enough about everything that I was writing to think that we could truly separate our two big interests: quiet and loud.”

It’s been six years since Deer Tick’s last release Negativity, and devotees have grown restless. It wasn’t that the band—made up of McCauley, guitarist Ian O’Neil, drummer Dennis Ryan, and bassist Christopher Ryan—was withholding information. They just weren’t sure they had anything more to share. “It wasn’t anything that we actually talked about,” McCauley says. “We never said, ‘Hey, we should take a break,’ or ‘Maybe this isn’t working anymore.’ We just took some time off. We’d just done our 10-year anniversary shows, and I had a kid like two weeks later.” He pauses before adding with a hint of a laugh, “We just kind of got comfortable away from each other.”

McCauley, O’Neil, and the two Ryans popped up solo and on others’ projects. Personal lives also underwent massive changes, especially for McCauley, who married Vanessa Carlton and became a dad. The couple’s little girl is now two years old. For the first time ever, Deer Tick—an all-consuming band known for constant touring and steady artistic output—took a backseat.

When the band came back together for their beloved after-party shows at the Newport Folk Festival, the reunion reminded them what they missed about creating with one another. “Playing that week with the guys made me really want to do it—it made everyone want to do it,” McCauley says. “So we started making some plans to go in the studio.”

The result, recorded at Ardent Studios in Memphis, Tennessee, is a bold double punch that reminds us not only why Deer Tick has been so missed, but why they’ve become important artists. The songwriting on both volumes is masterful. McCauley wrote most of the tunes alone, but O’Neil and Dennis Ryan also make killer contributions. Self-aware and never self-important, McCauley excels at provocative lyrics that are sometimes confessional, sometimes accusatory. His compositions capture those internal contradictions that define us, like rock-and-roll “songs of myself” delighting in the multitudes and putting them on display.

Vol. 1 opener “Sea of Clouds” is a dreamy mediation on letting go, featuring stripped down instrumentation that swells into a mini-symphony, all anchored by angelic harmonies and McCauley’s familiar melodic snarl. It’s not the only time McCauley mulls over what it takes to move on. Heart-tugging “Only Love” mixes sadness and hope for a snapshot of impending loss. “I thought, ‘Nobody writes a song about that kind of weird, ominous feeling you get in the final 24 to 48 hours of a relationship,’” McCauley says. “I wanted to capture that mood in a song.”

Sauntering “Card House” is a flamenco-soaked threat with grotesque imagery, while lounge-ready “Cocktail” is a wry, piano-fueled stroll through fond boozy memories. “I guess it’s kind of a song about my strange relationship with alcohol—I’m still learning how to deal with it,” McCauley says. “I’m not a teetotaler. I’ve tried that. It’s not for me. I’m not into the support group thing. I enjoy life with a drink. Trying to keep my life in balance can be hard, but it’s something I’m capable of doing now.”

Tricky relationships with drugs and alcohol are addressed in different ways on both volumes. Hushed Vol. 1 closer “Rejection” pulses with vulnerability. “I wrote it about trying to help somebody in some way,” McCauley says. “What was going through my mind but I didn’t say in the lyrics is just reaching your hand out to somebody who’s going through substance abuse problems.” Vol. 2’s “Jumpstarting”—a favorite track of McCauley’s—offers the same kind of lifeline: he shouts startlingly sweet promises over crunchy guitars.

“Look How Clean I Am” immediately follows. Written and sung by O’Neil, the song doesn’t poke fun at sobriety but offers a droll takedown of how some use it as a means or marketing vehicle to further celebrity. It's one of many genuinely funny moments on the project. Jumping “S.M.F.,” (aka Shitty Music Festival) written and delivered by McCauley, takes hilarious shots at a summer institution. “I thought I’d write that one for any band who’s ever had a bad time at a music festival. It’s one of my attempts at humor on the record, but then it just kind of comes off as anger,” McCauley says with a laugh.

McCauley wrote gorgeous instrumental “Pulse” thinking about the 2016 Orlando nightclub shooting. He lets his piano do the talking. “It’s a Whale” is punk perfection, all screams and growling guitars. “That’s probably the most political I’ll ever get in a song,” McCauley says. “I tried to put myself in the really dark headspace of maybe a men’s rights activist or something like that while trying to poke fun at it.” His chants of “Atta boy! Atta girl!” are the ideal blend of smirk-inducing and scary.

McCauley says he believes “Sea of Clouds” and “It’s a Whale” probably best capture the “extremities” of both records. He’s right, of course: it’s Vol. 1’s quiet vs. Vol. 2’s loud—Deer Tick’s dual personalities, finally channeled onto two distinct and equally brilliant records. “These albums represent a new phase of my life that I haven’t entirely figured out yet,” McCauley says. “I don’t really know what’s going to happen, but that’s part of the excitement for me.”

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The Romantics

The Romantics

Performances

June 23 - 5:30 PM @ Uline Warehouse Stage

The Romantics

The original members of The Romantics—Wally Palmar, Jimmy Marinos, Mike Skill and Rich Cole—formally became a band on Valentine's Day, 1977. Bred on the mean streets of Detroit's east side, they were inspired by the British punk invasion and their hometown rock scene. 

Nearly 30 years later they are still known for having created some of the most in?uential and beloved rock and roll of all time.  The Romantics cut their teeth on the Detroit sound characterized by the MC5, the Stooges, Bob Seger and the Last Heard, Mitch Ryder and the Detroit Wheels, the Rationals, SRC, the Underdogs, and infused it with sincerity, irony, spontaneity and, of course, volume. They favored short hair, short songs and popularized red leather suits. 

Their musical credo, then and now, was a simple, joyful af?rmation, epitomized by the "Hey!...uh-huh!" intro to "What I Like About You," the unforgettable, high energy track that still bridges generations, times and musical genres.

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Homixide Gang

Homixide Gang

Performances

June 24 - 7:00 PM @ Generac Power Stage

Homixide Gang

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A Flock of Seagulls

A Flock of Seagulls

Performances

July 1 - 10:00 PM @ UScellular Connection Stage

A Flock of Seagulls

As well-known for their bizarrely teased haircuts as their hit single "I Ran (So Far Away)," A
Flock of Seagulls were one of the infamous one-hit wonders of the new wave era. Growing out of the synth-heavy and ruthlessly stylish new romantic movement, A Flock of Seagulls were a little too robotic and arrived a little too late to be true new romantics, but their sleek dance-pop was forever indebted to the short-lived movement. The group benefitted considerably from MTV's heavy rotation of the "I Ran" video in the summer of 1982.

Hairdresser Mike Score (lead vocals, keyboards) formed A Flock of Seagulls with his brother Ali (drums) and fellow hairdresser Frank Maudsley (bass) in 1980, adding guitarist Paul Reynolds several months later. The group released its debut EP on Cocteau Records early in 1981, and while the record failed to chart, its lead track, "Telecommunication," became an underground hit in Euro-disco and new wave clubs. The band signed a major-label contract with Jive by the end of the year, and their eponymous debut album appeared in the spring of 1982. "I Ran (So Far Away)" was released as the first single from the album, and MTV quickly picked up on its icily attractive video, which featured long shots of Mike Score and his distinctive, cascading hair. The single climbed into the American Top Ten, taking the album along with it. In the U.K., "I Ran" didn't make the Top 40, but "Wishing (If I Had a Photograph of You)" reached number ten later that year; in America, that single became a Top 40 hit in 1983, after "Space Age Love Song" peaked at number 30. "Wishing" was taken from the group's second album, Listen (1983), which was moderately successful.


The band released 1984's The Story of a Young Heart failed to produce any hit singles but
Reynolds left after the album and was replaced by Gary Steadnin; the band also added
keyboardist Chris Chryssaphis. The new lineup was showcased on 1986's Dream Come True.
Shortly after its release, the band broke up. Mike Score assembled a new lineup of A Flock of Seagulls in 1989, releasing the single "Magic" and touring the U.S.A. The band continued to tour worldwide, although with major changes to its members, and in 1996 released a new album, The Light at the End of the World.

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Debbie Gibson

Debbie Gibson

Performances

June 29 - 4:15 PM @ Miller Lite Oasis Stage
June 29 - 4:15 PM @ Miller Lite Oasis Stage

Debbie Gibson

Debbie Gibson burst onto the music scene at 16 and instantly became the youngest artist in history to write, produce and perform a number one hit, "Foolish Beat." She is still the youngest female and has held the world record for more than three decades. Gibson has sold more than 16 million albums and has starred in 17 musicals in 17 years, from Broadway's Les Miserables to the West End's Grease.

In 2019, Gibson joined NKOTB on The Mixtape Arena Tour. Later that year, she also served as a celebrity judge on Nickelodeon’s “America’s Most Musical Family.” In 2020, her single “Girls Night Out” soared to No. 4 on the U.S. Billboard and U.K. MusicWeek charts.

2021 was a busy year for Gibson. Her guest starring role in the musical episode of “Lucifer” debuted on Netflix. She completed her “Debbie Gibson & Joey McIntyre: Live from Las Vegas” mini residency at The Venetian® Resort Las Vegas. Gibson released a new duet of “Lost in Your Eyes,” featuring Joey McIntyre, as well as the DJ Tracy Young co-penned “One Step Closer,” with an exclusive remix debuting on the Debbie Gibson Peloton Ride. Her first pop album of original material in 20 years, The Body Remembers, came out on her own label Stargirl Records to rave reviews. The new album promptly shot up to No. 2 on the Apple Pop Sales Charts and achieved one million streams in its first month.

In 2022, Stargirl Records released “One Step Closer Remixes” reaching No. 3 on the Swiss dance charts and landed at No. 8 on the Commercial Pop MusicWeek chart in the UK. Gibson became the new brand ambassador for Dr. Kellyanne’s Bone Broth and appeared on CBS Secret Celebrity Renovation. She embarked on a U.S. solo tour of “The Body Remembers” and celebrated the 35th anniversary of her debut album Out of the Blue with three sold out shows in NYC. Gibson’s first full length holiday album Winterlicious was released, and her holiday tour of the same name kicked off with sold out shows and acclaim that ended with a magical performance on “Good Morning America.”

Gibson shows no signs of slowing down. Most recently, she competed on Criss Angel’s Magic With The Stars, opposite Donny Osmond. This spring, she will release a new single and music video, “Love Don’t Care,” off The Body Remembers. “The Body Remembers Encore” U.S. tour kicks off May 25 in Niagara Falls.

From No. 1 hits and platinum albums to starring roles on stage and screen, Debbie Gibson is a true entertainer with timeless talent and charisma. Follow @DebbieGibson on all social media and more info with tour dates at DebbieGibsonOfficial.com.

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Nate Smith

Nate Smith

Performances

June 30 - 6:15 PM @ UScellular Connection Stage

Nate Smith

According to an age-old cliché, getting knocked down ain’t what matters – it’s how you get up, and Sony Music Nashville’s Nate Smith knows firsthand. With a personal journey scarred by disaster, but defined by revival, he could have stayed down multiple times through life, and instead grew into something else entirely: A beacon of country-music hope.

Featuring a mix of gritty backwoods soul, rock ‘n’ roll swagger and velvet-thunder vocals, Smith is a Nashville artist with a unique connection to life’s inner tug of war. And with his first batch of major-label music, he’s aiming to tip the scales once and for all.

“I just feel lucky that I get to be the messenger for these songs,” says the rising singer-songwriter. “I’m not here to be cool or anything like that. It’s literally just to hit people in the heart.”

A California native and lifelong music lover, Smith approaches that mission with a background as eclectic as it gets. Learning guitar at 13, Garth Brooks, Elvis Presley and Bob Seger were among those informing his powerful, fire-from-within vocals, while Michael Jackson made him crave the spotlight and Nirvana gave his sound a jagged edge.

The young artist combined it all as a gifted worship leader, and first chased his neon dreams to Nashville in his early 20s – but it didn’t stick. The disheartened Smith returned home and thought he was “100-percent done” with his artistic journey … until a crucible of change burned away the past.

In 2018, Smith lost everything he owned in the devastating Camp Fire which tore through Paradise, California, now known as the deadliest and most destructive wildfire in the state’s history. Although his family was safe, he struggled to cope and turned back to music for comfort, using a loaned guitar to co-write a song called “One of These Days.” “It was just to help me process, I guess,” Smith says. “And then hopefully help other people, too.”

Help it did. Caught between bittersweet nostalgia and his rock-solid belief the community would rebuild, the song embodied everything Smith was feeling – and everything he loved about music. Going viral online, it led to local TV appearances, recovery benefit concerts and finally an opening slot at a Sacramento arena show by Pitbull and X Ambassadors, before Smith finally understood what was happening.

“It made me go ‘My gosh, this song is really helping people, I think I want to do more of that,’” he explains. “[The fire] was a horrible thing to happen. But it did move me into a place to start doing what I think I’m supposed to be doing.”

After returning to Nashville, the singer-songwriter is now unveiling a new round of music which puts that inspirational mission front-and-center – and features an edgy-organic sound unlike anything else in the format.

Recorded at the world famous Blackbird Studios with producers Lindsay Rimes and Joel Bruyere, tracks like “Wildfire” and “Under My Skin” started a new chapter, mixing timeless country soul with a touch of ‘70s-rock toughness, a sweet-and-sour sound with deeper implications.

“My songs have a little bit of melancholy to them – but there’s an element of hope mixed in,” Smith admits. “I want to emote that, and the passion behind what I have experienced, and I hope that’s a voice for somebody else. I want people to feel it inside, and that’s why I like country music so much. The heartfelt level of what we can do.”

Tracks like “Raised Up” take the idea a step farther. Co-written by Smith with Trannie Anderson and Johnathan Smith, the emotional tune is a raspy power ballad about overcoming obstacles, built on epic vocal power and the hidden strength within each person.

“The day we wrote it, I had to leave the room because I was tearing up,” Smith says. “The song talks about ‘Any time I lose my way, I turn the way I was raised up,’ and for me, whenever I’m lost or feeling alone, I’ve got God.’ That has really helped me, but it can be whatever somebody needs. It could be thinking about something your grandma said one time you now hold on to, or the phrase you have tattooed on your arm. It’s however you find your way back home. I’m all for that.”

Elsewhere, Smith practices romantic honor with the sexy soul-rocker, “You Shouldn’t Have To,” his voice as craggy as a mountain and ideals just as lofty. That force-of-nature vocal is matched by a hurricane of awestruck attraction in “Name Storms After,” and tunes like “Sleeve” use a Fleetwood Mac-vibe to tribute those like Smith, who wear their hearts on the outside.

In “I Don’t Wanna Go To Heaven,” Smith’s gravelly vocals achieve a contagious vulnerability as he sings about a love that can’t possibly be topped.

“To me this song is about not taking things for granted and appreciating what’s around you.”

The fan reaction to the song certainly is not something the “Nashville powerhouse” (E! News) has taken for granted, as its virality prompted an ethereal new version of the track featuring the Nashville-based Echelon Choir, as well as another version where labelmate and friend Tenille Townes lent her striking vocals.

Smith’s latest single “Whiskey On You,” however, has solidified his place as country music’s next big thing. The song is Platinum-certified and now a multi-week #1 hit, and on top of that, Smith is gearing up to release his debut, self-titled album on April 28.

Tested by wildfire and challenged by inner demons, he refused to stay knocked down, and something else won out. This album is proof of that.

“If I could sum everything up in one word, it’s hope,” he says. “We all go through things, we really do. But I truly believe the world is trying to bend in your best interest. I really believe that with my whole heart.”

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Mat Kearney

Mat Kearney

Performances

June 29 - 8:15 PM @ Miller Lite Oasis Stage

Mat Kearney

“Two kids with wet cement living down in their souls, they say what gets carved when you’re young stays there when you’re old” says Mat Kearney on the title track of his 4th full length album “JUST KIDS.”

“There’s something incredibly vulnerable about middle school for me," says the singer and songwriter. "We’re really impressionable during that period. The cement’s still wet, so to speak, and a lot of things later in life are born during that season.”

“JUST KIDS” is full of nostalgia and youthful energy written almost as a love letter to his northwest upbringing in Eugene, OR. “A lot of my family has moved to Nashville, where I now live, which is awesome for me personally but it severed some the physical roots I had to Oregon. I found myself writing a lot of songs about my hometown and how it shaped me today.”

While on the road promoting 2011’s critically acclaimed Young Love, Mat began to compile ideas for what would eventually become his latest offering. In fact, it was a fan favorite from Young Love, “Ships in the Night”, which kicked off the creative process for his new album. “Ships genre blending style really resonated with me and other people, and it became a touchstone for the new album,” he adds. “All of the songs on ”JUST KIDS” stretched from it.

For the first time, Mat brought a laptop and a portable studio on tour with him. He wrote in between shows, and he recorded everywhere from Los Angeles and Sweden to his home studio in Nashville, personally producing a lot of the songs and also enlisting the production talents of MDL [Maroon 5, Justin Bieber] and longtime collaborator Josh Crosby.

“I set up to explore by myself,” he explains. “I literally made fifty tracks, and I spent hours alone doing things I wouldn’t do if other people were around. To experiment like that and take the reins as a producer was very different for me. I was out in the wilderness, making music full of swagger that I wanted to play in my car for friends.”

That process yielded songs like the single “Heartbeat”, which merge vintage synths, a slap bass, handclaps, hip-hop cadence, and uplifting melodies. It’s instantly irresistible and indicative of Mat’s creative approach.

“I picked up my guitar, and the song basically fell in my lap,” he goes on. “It was so simple. I wanted to bring in some 90’s influences and make it groovier than people would expect from me. I was inspired by Cyndi Lauper’s ‘Time After Time’, and it puts a love song in the context of Nashville where I live.”

Meanwhile, “Billion” bounces with a distinct energy as he paints a vivid picture of true love. "It's really about the idiosyncrasies of the person you love,” says Mat. “You can either be annoyed by them or celebrate the things that make the person you're with unique." Throughout moments like the poetic “Ghosts” and nostalgic “Los Angeles”, he summons a style that’s equally rooted in singer-songwriter storytelling and rap bombast. “I kept asking myself, ‘what would it sound like if Paul Simon and Kanye West were in a room together?” he admits.

Mat confidently slides into his own space, building on a bevy of accolades and achievements. His last album, Young Love debuted at #1 on the Billboard digital chart and #4 on the Billboard Top 200 chart. In addition, Young Love was the first album to oust Adele’s 21 from its resident iTunes #1 spot in 2011. His music has been featured in countless television shows and films ranging from Soul Surfer and Parenthood to The Closer, NCIS, 30 Rock, and Vampire Diaries. His 2006 major label debut Nothing Left to Lose has sold over 450,000 copies, while 2009’s City of Black & White hit #13 on the Billboard Top 200. In between it all, he supported everybody from John Mayer to Keane on the road.

Ultimately though, Just Kids will prove to be his most impactful statement to date. “It’s the most honest record I’ve done,” Mat leaves off. “I tried to bleed each lyric as opposed to just writing songs. I wanted it to be filled with undeniable moments you don’t forget. In that way, it’s like childhood."

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The Georgia Satellites

The Georgia Satellites

Performances

June 29 - 4:00 PM @ Briggs & Stratton Big Backyard

The Georgia Satellites

Double platinum recording artists, The Georgia Satellites, brought us hits like "Keep
Your Hands to Yourself", "The Hippy-Hippy Shake" and "Battleship Chains” which
helped shape the future of Country Rock across the nation.

Founded by Rick Richards, and Dan Baird, The Georgia Satellites were one of the most
ferocious bands of the 1980s. What set them apart from the other 10,000 groups that
cranked their amps to 11, was that their wild riffs and tanked cries came from a quartet
that understood their place in rock tradition and fought hard to solidify it with each
recording. Critically acclaimed albums and mind-bending performances earned the boys
a permanent spot in music history.

After a brief sabbatical following the departure of Baird, The Georgia Satellites
returned with a vengeance in 1993. Led by Richards, Price, and joined by drummer
Todd Johnston. In 2o10 they added Freddy McNeal on guitar and ‘old friend’ Bruce
Smith on bass. They have packed houses around the world with their blistering brand of
Southern rock.

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Cafune

Cafune

Performances

July 7 - 3:30 PM @ Generac Power Stage
July 7 - 2:00 PM @ AmFam House Stage

Cafune

“cafuné” is a Brazilian-Portuguese word that roughly translates to “the act of running your finger’s through a loved one’s hair.” Sedona Schat and Noah Yoo came upon the word while in college in New York, where they met. The two didn't anticipate that Cafuné's debut EP Love Songs for Other People (2015) would connect with a Brazilian fanbase a continent away. Those listeners’ early passion was the spark to continue on. Throughout their debut album Running (2021), Cafuné embrace their blend of alternative pop, soft rock, and shoegaze, anchored by Sedona’s dreamy vocals.

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Hailey Whitters

Hailey Whitters

Performances

July 8 - 4:15 PM @ UScellular Connection Stage

Hailey Whitters

The idea of “home” courses throughout country music. But few songwriters can place you in the center of the town square, on a stool at the corner bar, or in a chair at the kitchen table quite like Hailey Whitters.

On her 2020 breakthrough album The Dream, the singer-songwriter wrote about escaping her hometown of Shueyville, Iowa, to pursue stardom in Nashville. It was a fantasy record at first, full of far-off plans, hopes, and dreams. But it soon became Hailey’s reality — she signed a label deal with Big Loud/Songs & Daughters, went on tour with Luke Combs and Midland, and made her first of many appearances on the Grand Ole Opry.

The Dream and its deluxe reissue Living the Dream earned critical acclaim from The Washington Post, Rolling Stone, Garden & Gun, and Stereogum, and Hailey racked up 75 million global artist streams. She also became a Grammy-nominated songwriter for “A Beautiful Noise,” her collaboration with Brandi Carlile, Alicia Keys, and Brandy Clark.

In the midst of that whirlwind, Hailey found herself reconnecting with her Midwestern roots. Shueyville was always in the back of her mind and the memories she made there — getting her first kiss; partying in the cornfields; gathering for Sunday supper — started to shape her writing. Over the past two years, she channeled those memories into her new album, Raised.

Released via Songs & Daughters and Hailey’s own Pigasus Records, Raised is the sound of Hailey Whitters going home.

“It’s been 14 years since I’ve lived in Iowa, but more and more I’ve been going back there mentally and being pulled to the people and the places that raised me,” she says. “With The Dream, I was starting to turn that corner back home, but this record went straight there. If The Dream were my wings, then Raised is my roots.”

Hailey reunited with producer Jake Gear and engineer Logan Matheny for Raised and also joined Gear as co-producer. The result is an LP that is rich in folksy turns of phrase, sharp yet inventive in its musicianship, and teeming with unvarnished honesty.

“If you're listening to The Dream, I think you hear a girl hanging on. She's had her heart broken, but she's finding a way to persevere and to keep going,” Hailey says. “And when you listen to Raised, you hear what gave her that strength.”

Made up of 17 tracks, Raised is full of expertly crafted country songs and quirky sonic excursions. The orchestral piece “Ad Astra Per Alas Porci” (Latin for “To the stars on the wings of a pig,” Hailey’s motto) bookends the album. There’s also a piano “Interlude” at the record’s midsection and a skit titled “The Grassman” that introduces the song “Our Grass Is Legal,” a salute to a straight-and-narrow family business that was accustomed to shady phone calls.

Family is a recurring theme throughout Raised. She sings about “bunk beds, matchin’ sheets and sharin’ the bathroom sink” in “Big Family” and reminisces about life events in “In a Field Somewhere.” On the surface, she sings about drinking in “Beer Tastes Better,” co-written with Lori McKenna. But it’s really a commentary about outgrowing home and trying in vain to recreate that sense of community.

“It's that bittersweet experience of walking back into your hometown bar,” she says. “It's like everything's changed, but nothing really has.”

Along with standouts like “Ten Year Town” and “Heartland,” The Dream gave Hailey a viral hit with “Janice at the Hotel Bar.” She delivers another superb character study on Raised with “Pretty Boy.” “That song unveils some of the darker sides and shadows of masculinity,” she says. “Where I've grown up, boys are supposed to be tough, aren't supposed to cry. But as I've gotten older, I've realized that a man's ability to show emotion, grief and sadness is a strength.”

Like Hailey herself, Raised is steeped in the culture of the Midwest. Musically, there are hints of early Alan Jackson, the Chicks and the king of heartland rock, John Mellencamp. But you needn’t have spent your formative years on a farm for Raised to speak to you.

Raised is a celebration of the Midwest, but I think it's a common story no matter where you’re from,” Hailey says. “My experience growing up in the middle of the country is very relatable to a lot of people. We’ve all lived in a similar way — the only thing that’s different is the scenery.”

 

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Andy Shauf

Andy Shauf

Performances

July 7 - 5:30 PM @ Generac Power Stage

Andy Shauf

Today, Andy Shauf announces his new album, Norm, out February 10th on ANTI-, and presents its lead single/video, “Wasted On You.” In conjunction, Shauf announces a 2023 Norm Tourincluding some of his biggest shows to-date (tickets are on sale this Friday). Hailed as “a gifted storyteller” (NPR Music) for 2016’s The Party and 2020’s The Neon Skyline, Shauf writes albums that unfold like short fiction, full of colorful characters, fine details and a rich emotional depth. With Norm, however, Shauf has slyly deconstructed and reshaped the style for which he’s been celebrated, elevating his songwriting with intricate layers and perspectives, challenging himself to find a new direction. Under the guise of an intoxicating collection of jazz-inflected romantic ballads, his storytelling has become decidedly more oblique, hinting at ominous situations and dark motivations.

Shauf had planned to be touring around The Neon Skyline but, like many of us in the early days of the pandemic, he spent a lot of time alone instead. He sequestered himself in his garage studio, self-producing and playing every instrument on Norm, a collection of more conventional songs written predominantly on guitar, piano and synths. The latter was essential to creating the more spacious and tactile sounds he sought. Shauf’s goals were uncomplicated: create something melody-driven rather than chord-driven, and make it modern. Shauf recruited Neal Pogue (Tyler, the Creator, Janelle Monae, Outkast), a prodigious shaper of genre-and-time-defying tracks, to mix the album, further building on the gently levitating, synth-laden atmospherics.

During this period, he was captivated by David Lynch’s Mulholland Drive, which seemed to validate Shauf’s instinct to mix perspectives and tinker with shadowy narratives. He even rewrote all of the album’s original lyrics, recreating the story, and enlisting Nicholas Olson as a story editor – it was only after writing the title track that Shauf decided to build a narrative around the character Norm. "The character of Norm is introduced in a really nice way," Shauf says of the pleasant songs that precede the album's centerpiece. "But the closer you pay attention to the record, the more you're going to realize that it's sinister."

“Wasted On You” doubles as Norm’s lead single and opening track, a lilting pop introduction with r&b cadences and dreamy textures. While at first listen, a love song, Shauf grapples with death and the legacies left behind in its wake. “What happens when they die?” Shauf begins the record by asking. The questions continue, and his final query — “Was all my love wasted on you?” — hangs in the air, with subtle percussion, tender guitar, and synths escorting the song out. The accompanying video, directed by V Haddad and written by Shauf, is a playful depiction of God (played by Lauren Servideo) and Jesus, once again presenting the duality in Shauf’s music.

Watch Andy Shauf’s “Wasted On You” Video

After gaining indie notoriety with The Party and a Polaris Music Prize nomination, performances on Jimmy Kimmel Live! and CBS This Morning: Saturday, and praise from the likes of Pitchfork, ESQUIRE, NPR Music, Stereogum, The Atlantic and beyond for The Neon Skyline, Shauf has left the realm of things he’s known on his third album, pivoting away from the semi-autobiographical, and pushing himself to grow as a songwriter in an entirely different way. With Norm, he recreated his idea of a concept album, and also made it about faith and fatalism. But Shauf has realized he doesn't need to moralize. He's assigned that task to us, the listeners. At once narrators and investigators, we fill in the blanks.

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The Mountain Goats

The Mountain Goats

Performances

July 8 - 6:15 PM @ Miller Lite Oasis Stage

The Mountain Goats

Maybe you are just like John Darnielle: In the depths of the pandemic winter at the end of 2020, the Mountain Goats frontman passed the time trapped at home in North Carolina watching pulpy action movies, finding comfort in familiar tropes and sofabound escapism. But you are not really like John Darnielle, unless the action movies you found comfort in included French thrillers like 2008’s Mesrine, vintage Italian poliziotteschi, or the 1974 Donald Pleasence mad-scientist vehicle The Freakmaker. Or unless watching them brought you back to your formative days as an artist, when watching films fueled and soundtracked your songwriting jags and bare-bones home recordings and in turn inspired your 20th album to be a song cycle about the allure—and futility—of vengeance. But there’s no shame in not being like John Darnielle; few people are.

“On earlier tapes you’ll find these sound samples,” Darnielle says. “‘Oh, where’s this sample from?’ It’s from whatever movie I was watching while I was sitting around on the couch with a guitar. I watch a movie, somebody’d say something that I like the sound of and I’ll write that phrase down. And then I would pause the VHS, write the song, record the song on a boombox, and go back to watching my movie. I got into doing that again; I just kept watching action movies and taking notes on what they’re about and on what the governing plots and tropes and styles are. It was very much like an immersion method acting technique.”

The resulting performance is Bleed Out, a cinematic experience unto itself. One song about preparing to exact bloody revenge begat another song about the act of exacting bloody revenge and then more songs about and the causes and the aftermath of being driven to exact bloody revenge, each delivered with the urgency and desperation deserving of their narrators and circumstances.

Just as Getting Into Knives and Dark in Here—recorded in Memphis and Muscle Shoals, respectively, in the first two weeks of March 2020, just before such a thing would become impossible—were heavily informed and influenced by their historic settings, Bleed Out is all pent-up energy and explosion, executed by a bunch of friends who were mainly happy to be in a room together making loud noises. In January 2021, just weeks after Darnielle had started writing, his bandmates Peter Hughes, Matt Douglas, and Jon Wurster joined him at a studio in the woods near his home in Chapel Hill. Everything was finished inside a week.

“We often make a record and then bring in some guests who flesh out the textures,” Darnielle says. “And for this one, it was very much like a pack mentality. That sort of seemed to proceed from the songs.” One new face was that of Bully’s Alicia Bognanno, recommended to Darnielle by his manager as a producer who could help nurture the rougher-edged sound these songs requested. “We met up and hit it off. She’s a great guitarist. It was kind of just a lark, to see what would happen, and it was totally great.”

That abandon is on full display from the opening track, “Training Montage,” which lovingly documents the getting-ready-for-battle scene in any action movie regardless of provenance and loudly declares its intentions: “I’m doing this for revenge.” This and the next song, “Mark on You,” were the first two Darnielle wrote, and they set the tone for everything that follows on Bleed Out.

Running narrative themes are not new to Mountain Goats projects, especially in recent years, be it the pro wrestlers of 2015’s Beat the Champ or the goths of 2017’s Goths. Darnielle was drawn to the antiheroes of the hard-boiled action flicks he was bingeing, particularly the ways in which their quests for justice were almost all inevitably doomed.

“In these movies and elsewhere, it’s such a dearly held trope, when in fact, I don’t think anybody really exacts much revenge in this life at all,” he says. “Because we all know that revenge is bullshit, right? The Greeks knew this. It’s never a zero-sum game. And yet the idea is so delicious, you can’t get enough of it. It’s more of a grail—because you can’t have it, it starts to seem really appealing. That’s why you want to get revenge, because you know you’re never going to get revenge.”

Bleed Out could be all one movie, from the opening training montage to the demise in the elegiac closing title track. Songs like “Make You Suffer,” “First Blood,” “Hostages,” and “Need More Bandages” do what they say on the tin, telling typically vivid, deliberately recognizable vignettes of desperate characters in no-win situations who plan on taking as many people down with them as they have to. But Darnielle sees these as unconnected stories that feel universal in their desire for justice, if not in their wanton bloodshed. Anthems don’t get more straightforward or anthem-y than “Wage Wars Get Rich Die Handsome,” tapping into an anger that’s easy to reach in 2022, even if the solutions aren’t.

Few people think as much, or as well, about violence and its portrayal as John Darnielle. His recent bestselling novel Devil House (his third) is all about the relationship between tragedy and entertainment, though he is careful to downplay any parallels to Bleed Out beyond a natural attraction to terrible things as a coping mechanism.

“That’s what catharsis is,” he says. “When you are able to experience something that is frightening to you but you don’t have to be harmed by it—that experience is really valuable. I think we’re reflecting on the nature of what we consume and of what it says about us.”

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Saliva

Saliva

Performances

July 8 - 4:00 PM @ Briggs & Stratton Big Backyard

Saliva

After acquiring front man Bobby Amaru in 2011, Saliva became infused with new blood, energy, and spirit. The same energy launched Saliva’s career in 2001 with the release, Every Six Seconds – a certified Double Platinum-selling album, containing the hits, “Click Click Boom” and 2002 Grammy nominated, “Your Disease.” Saliva’s in-your-face, anthemic writing style continued with a certified Gold-selling album Back in to Your System with hits: “Always,” “Raise Up,” and the Nikki Sixx co-written, “Rest In Pieces.”

Saliva has toured the USA and world with bands including (but not limited to), Sevendust, Aerosmith, and KISS. They’ve also appeared on the main stage at countless fairs, festivals and bike rallies – Sturgis, Rockin The Rivers, Daytona Bike Week, Rock on the Range, Welcome to Rockville to name a few.

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The Gufs

The Gufs

Performances

July 6 - 8:15 PM @ UScellular Connection Stage

The Gufs

Started on the gritty but thriving Milwaukee music scene in 1988, Morgan Dawley (guitar), Dejan Kralj (bass), Goran Kralj (vocals, piano, guitar), and Scott Schwebel (drums) - later joined by Brian Pettit (percussion) - all the original members today - The Gufs, were born from a college dorm room.

Years spent filling clubs around the Midwest, in combination with recording a handful of indie albums that made waves on college radio, eventually led The Gufs to a major label recording contract with Atlantic Records in the mid 90s. After two albums (“The Gufs” 1995, “Holiday from You” 1999),  radio hits “Smile,” "Crash Into Me,” singles “Lost Along the Way,”  and “Stuck,”  coupled with extensive national touring the band decided to part ways with Atlantic and went into relative musical seclusion.

The Gufs have reunited only selectively since the early 2000s. In 2006 they released a full length studio album “A Different Sea” on their imprint Red Submarine Records, followed by a series of outdoor shows with the Milwaukee Symphony Orchestra (2007), a 20th retrospective performance (2008), an induction appearance into the Wisconsin Music Hall of Fame (2012), THIRTY, two sold-out anniversary shows at The Pabst Theater in December of 2018 and an encore performance in 2019. During the pandemic of 2020 the band found innovative ways to stay creative and connected to each other and music - still after three-plus decades - writing, recording, and releasing a series of singles without ever being in the same room, studio, or state.

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Frank Ray

Frank Ray

Performances

July 7 - 8:15 PM @ UScellular Connection Stage

Frank Ray

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Sam Feldt

Sam Feldt

Performances

June 23 - 8:30 PM @ Miller Lite Oasis Stage

Sam Feldt

Having taken to massive (main)stages worldwide, including at Ultra Music Festival, Coachella, Tomorrowland, EDC, and many more, the Dutch DJ, producer, entrepreneur, and sustainability pioneer is now moving into an exciting new phase of his already stellar career, with a new deal with Sony Music freshly inked and driven by the ambition to elevate his career to even greater heights.

First up for 2023 is his new single, "Enough to Drink", which was released on Friday, 13 January. "Enough to Drink" provides an intoxicating snapshot of Feldt's current sound. Expansive, uplifting, and melodic, the song features a famous TikTok sound by Cate Downey and is the first of a series of singles coming over the next few months.

 Since 2014, when his remake of Robin S's "Show Me Love" demonstrated his widescreen sonic vision for appreciative electronic music fans globally, the Dutch artist has been steadily, and with genuine care, building the Sam Feldt brand. In 2023, the platinum-selling DJ and producer has an enviable ecosystem that includes Heartfeldt Records, Heartfeldt Publishing, Heartfeldt Radio, and Heartfeldt Events - and, along the way, he established (and then recently sold) Fangage, a platform built to enable creators to connect with their fans better.

Sam scored a massive hit with 2019's "Post Malone" (feat. RANI, with over 530 million streams on Spotify and counting). In addition, a raft of other great singles have tracked not only his considerable musical evolution but his rising star amongst the heavy hitters in the mainstream pop world who now seek him out for collaboration, like Kesha ("Stronger" in 2021) and Rita Ora ("Follow Me" in 2021). A prolific 2022 also saw the release of several singles, including "Better" with Gavin James and "How Many Tears" with Kygo and Emily Warren, along with a host of remixes, most recently of "Never Not Gonna Dance Again" by P!NK and "Don't Cry For Me" by Whitney Houston.

For Feldt, making melodic house music that takes in multiple radio hits a year and tracks that get the dancefloor heaving is what drives him. Also, consistently innovating and evolving. And chasing the summer - always chasing the summer.

"Since I began this musical journey, I have been chasing the summer. You can hear it in my music - nine out of 10 Sam Feldt projects have a summery vibe - and it is so amazing that I can now literally chase the summer by playing in one sunny place after another. South Africa, Brazil, Los Angeles. I have found a way to have an endless summer."

"Endless Summer", Feldt's collaborative project with British producer, Jonas Blue, captures the summer feeling he loves - through a single "Till The End" and live performances, including at ADE, EDC, and Ultra Music Festival. This and a host of projects - including a Flo Rida collab - are coming up in 2023, along with exciting new things from the different Heartfeldt entities.

But, says Feldt, "it all starts with me as an artist". "Everything flows from that and into the other areas of the Sam Feldt brand". The latter includes his Heartfeldt Foundation, a non-profit organization that promotes a conscious lifestyle and supports local sustainability initiatives globally, based on a Give, Do, Inspire & Empower framework.   

It's a busy world that Feldt inhabits but in choosing how he spends his professional time, the artist is clear: "The good thing about having created an ecosystem is that when I spend time on something, it is because it benefits something else in that system - the radio show or the label or me as an artist or the foundation."  

In the end, says Feldt, "I like to make people happy". "Seeing happy faces and spreading happiness with my music, well, there is no better job in the world."

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Lost Kings

Lost Kings

Performances

June 22 - 8:30 PM @ Miller Lite Oasis Stage

Lost Kings

Two weeks after Robert Gainley and Nick Shanholtz met at an LA party in 2014, Rob attended Coachella and saw his future. “I was watching the dance music stage with my friends, and they knew that Nick and I had just started working together,” he recalls. “I told them there was something special about the feeling we had and I said, ‘Yo, we’re going to play Coachella.’ And they all looked at me like I’m crazy.”

Turns out, he wasn’t crazy at all. Rob and Nick -- now known as DJ/producer duo Lost Kings -- were part of the 2020 Coachella lineup. Though that dream was put on hold due to the coronavirus pandemic, Lost Kings have used their unexpected free time to create, resulting in their best music to date. Fans get the first taste of the new material with an X-song EP titled It’s Not You, which chronicles the highs and lows of relationships -- a relatable theme that’s become even more relevant in uncertain times. “It feels like more so now than ever people are breaking up,” Rob says. “It’s Not You is our spin on where relationships are right now. It’s our commentary on a relationship from beginning to end.”

Kicking off the project is “Hurt,” a pulsing bass-driven tune about moving on from a painful breakup featuring chilling vocals from dark-pop darling DeathbyRomy. The hard-hitting song is an introduction to a new, more minimal era of Lost Kings that Rob declares brings “a cleaner, more adult version of what Lost Kings have been.” With “Hurt” specifically, Nick says, “I wanted to flip everybody on their head and make something completely different than stuff we’ve made in the past.”

Since Lost Kings’ unofficial remix of Disclosure’s “Latch” gained traction on SiriusXM’s BPM channel in 2014, the pair has been recruited to remix songs for superstars like Rihanna and Drake, Katy Perry, Imagine Dragons and Halsey. But one of Lost Kings’ most special collaborations came with the It’s Not You track “Oops,” which features GASHI and Ty Dolla $ign -- the latter of whom has been atop Lost Kings’ wish list since they started. “The way Ty cut his part, I could tell he really wanted to do this song,” Nick says. “When I heard it I was like, ‘We got one with this one.’”

Rob and Nick strive to work with artists they’re fans of themselves, a tactic that has served them well in their six years as a duo. Lost Kings has teamed up with Wiz Khalifa, Sabrina Carpenter, Emily Warren, Tinashe and more on their own tracks, helping the duo garner over 450 million total streams worldwide and landing them sets at Ultra Music Festival, Electric Zoo and Made in America, among others.

It’s Not You also includes vocals from lo-fi singer-songwriter MASN (“Mountains”) and genre-bending artist Jutes (“First Time”). All four tracks showcase Lost Kings’ versatile craftsmanship, with each incorporating different combinations of guitars and 808s to create an affecting sonic journey. “That’s always been a goal, to be unpredictable musically and trip people up a bit,” Nick suggests. “We want to reshape dance music.”

As they begin their next chapter, Lost Kings also has their sights set on getting back to performing once it’s safe to do so. “That’s the biggest reward for us, getting to see people sing lyrics to songs we make,” Rob says. With power-packing new songs and the confidence to boot, Rob and Nick are eager to see how their latest music reacts. “We really feel like we’ve hit a stride in terms of how the songs are sounding and the artists we’re working with,” Rob says. “If a couple of these songs hit, our Coachella set time next year may change in the right direction.”

While they await their Coachella debut, Lost Kings plan to continue releasing music, staying focused on the goal that’s driven them from the start. “The biggest reason why we’ve made music is to help people escape any situation they’re going through,” Nick says. “Especially now more than ever, everybody’s going through a really rough time. For us, it’s about making people feel good, letting them know they’re not alone and lifting them up.”

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Nick Lowe & Los Straitjackets

Nick Lowe & Los Straitjackets

Performances

June 24 - 7:30 PM @ BMO Pavilion

Nick Lowe & Los Straitjackets

Nick Lowe has made his mark as a producer (Elvis Costello-Graham Parker-Pretenders-The Damned), songwriter of at least three songs you know by heart, short-lived career as a pop star, and a lengthy term as a musicians’ musician. But in his current ‘second act’ as a silver-haired, tender-hearted but sharp-tongued singer-songwriter, he has no equal.

Starting with 1995′s ‘The Impossible Bird’ through to 2011′s ‘The Old Magic,’ Nick has turned out a fantastic string of albums, each one devised in his West London home, and recorded with a core of musicians who possess the same veteran savvy. Lowe brings wit and understated excellence to every performance, leading Ben Ratliff of the New York Times to describe his live show as “elegant and nearly devastating.”

Los Straitjackets are the leading practitioners of the lost art of the guitar instrumental. Using the music of the Ventures, The Shadows, and with Link Wray and Dick Dale as a jumping off point, the band has taken their unique, high energy brand of original rock & roll around the world. Clad in their trademark Lucha Libre Mexican wrestling masks, the “Jackets” have delivered their trademark guitar licks to 16 albums, thousands of concerts and dozens of films and TV shows.

Together Nick & The Straitjackets have toured extensively around Europe and the United States, and are releasing an EP of new songs in June 2017.

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The Wailers

The Wailers

Performances

June 22 - 10:00 PM @ Briggs & Stratton Big Backyard

The Wailers

Not many bands can claim genuine legend status. The Wailers comfortably claim their place in essential music history. Their music was, and is, culture-defining: rebel hearts with brave souls embodying the spirit of 70s era-defining reggae.

The band play a special set featuring incredible cuts from Bob Marley’s formidable back catalogue along with a string of their greatest, classic hits. The Wailers are giving you a chance to be part of the legacy. Aston Barrett Jr, himself reggae royalty as son of the irrepressible ‘Familyman’, carries the flame for The Wailers in a show that is simply not to be missed.

In late 2020, The Wailers released their first single off the album, “One World, One Prayer”, a powerful piece focused on unity, love and inclusion beyond cultural differences. Produced and written by Emilio Estefan, “One World, One Prayer“, mixes Jamaican reggae with the sounds of the urban Latin genre. The track features international titan Farruko, Jamaican superstar Shaggy, and continues the legacy of Bob Marley alongside the great man’s daughter, Cedella Marley, and her son Skip Marley.

One World, the album that marks the Wailers’ return to the recording studios and the band’s first album for 25 years, was nominated for a 2021 Grammy® Award in the Best Reggae Album category.

The essence of 70s rebellion, the true spirit of reggae performed by the people who helped forge the era-defining sound and by those raised under their tutelage. Living Legends, Reggae Royalty carrying the flame – now you can be a part of the legacy. When The Wailers come calling, you listen.

About Aston Barrett Jr.

In 2017, Aston Barrett Jr. received a Grammy certificate as co-producer with Damian Marley for the track The Struggle Discontinues, featured in the Album “Stony Hill” which won the Grammy Award for Best Reggae Album.

Aston Barrett Jr. is a co-owner of BAD Lions Productions, LLC. who operates a studio in Pompano Beach, Florida. He can be heard playing guitar, drums, bass, and organ for Stephen Marley, Junior Reed, Julian Marley, Kwame Bediaco, Aka Beka, Jessee Royale, Reggae Force, and many more. His sponsors include Rupert Neve (whose pro audio gear is heard on every album he has played on and every live Wailers show), as well as Fender, Mannabasso, Black Lion Audio, and Pigtronics.

About Emilio Estefan

A multiple Grammy Award winner, Emilio Estefan is a musician, songwriter, record and television producer, best-selling author, filmmaker, and cultural ambassador. He has shaped and directed the careers of many musical talents, including Shakira, Ricky Martin, Marc Anthony, Jon Secada, Jennifer López, and many others. He is one of the founding leaders of the Latin Grammy Awards. Estefan was honored with the Presidential Medal of Freedom, a star on the Hollywood Walk of Fame and the Songwriters Hall of Fame presented him with a lifetime achievement award. He was selected as the second vice chair to the Commission for the National Museum of the American Latino by President Barack Obama, and President George W. Bush appointed him as a member of the President’s Committee of the Arts and Humanities. He is an entrepreneur owning and operating seven (7) restaurants, two (2) hotels, and an internationally recognized publishing company. In 2019, along with his wife Gloria, received the coveted Gershwin Prize by the Library of Congress for excellence in songwriting.

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The Moss

The Moss

Performances

June 22 - 7:30 PM @ Generac Power Stage

The Moss

In a musical landscape with fewer boundaries than ever before, THE MOSS’s exuberant brand of alternative rock spans genres, eras, and even oceans.

The Utah-via-Hawaii group was born on the shores of Oahu in 2015, as teenage buddies Tyke James (vocals/guitar) and Addison Sharp (guitar) picked up a gig serenading diners at local taco trucks in between surf sessions. Naturally, their songs took shape in the spirit of the island, imbued with the joyfulness and breeziness of reggae culture yet cut with the introspection and communal spirit of mainland indie acts like Pinegrove and Cage the Elephant.

By 2018, the duo had grown, enlisting Willie Fowler on drums and Addison’s brother Brierton on bass, and traded in beaches for the Great Salt Lake. They hit the stage at spots like local cornerstone Kilby Court, live-testing their modern-indie-meets-’60s-blues with a wide-eyed exuberance that translated effortlessly into their 2019 self-released debut, Bryology.

Colored by the sound of Stratocasters jamming through reverb-cranked Fender amps, all backed by bouncy rhythms, Bryology marked a big step for the still-young quartet – but, true to The Moss’s nature, was still hard-coded with a DIY ethos. “We basically had no budget,” James remembers fondly. “We bought some nice mics and an interface and I ended up learning how to mix while we were recording.”

The follow-up, 2021’s Kentucky Derby, brought a more aspirational, blue-sky tilt to the foundation they’d laid on Bryology, expanding the group’s sonic arsenal while keeping the relatable lyrical style and sun-soaked sentiment at the forefront. “I’m really proud of how we’ve evolved as a band over time,” Addison Sharp says. “It feels like we’ve taken every different influence and mashed them all together to create something that feels really special.”

Bryology seemed like a collection of separate songs we put together to make an album, whereas Kentucky Derby is a similar thought and story coming together to collectively make a more cohesive album,” adds Brierton Sharp says, noting the album’s tracks are sneakily arranged in pairs of two that seamlessly flow into one another. “Each song could be listened to on its own, or you could listen to them all and get a broader sense of our intention.”

No matter how listeners choose to interact with The Moss’s music, the band just hopes they feel something. It’s that kinetic relationship between band and audience that makes their live performances – including a pitch-perfect recent set for Audiotree – so compelling. “No matter what we do, we want to make sure the songs are fun to play live,” says Fowler. “We pride ourselves on being a band people want to see live.”

“There’s something special that happens when you get an immediate reaction to a song,” says James. “Whether it’s during a live show or even just a songwriting session, if there’s a reaction from people in the room, you know you’re on the right track.” XX

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John Cafferty & The Beaver Brown Band

John Cafferty & The Beaver Brown Band

Performances

June 29 - 3:30 PM @ Generac Power Stage

John Cafferty & The Beaver Brown Band

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Thaikkudam Bridge

Thaikkudam Bridge

Performances

June 30 - 4:00 PM @ Uline Warehouse Stage

Thaikkudam Bridge

Kochi, India

Thaikkudam Bridge arrived in 2013, as their first studio jam-show Music Mojo became insanely popular. The band has not looked back ever since, clocking 300+ gigs to date. The band is loved by millions of fans around the world and has been the biggest breakout band to emerge from India. 

The band is an amalgamation of numerous musical genres due to the mere fact that the artists hail from different parts of the country with myriad musical backgrounds. From Indian Classical to Folk to Hard Rock, the band has a rich repertoire of humongously popular tracks.

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Shinyribs

Shinyribs

Performances

June 29 - 5:30 PM @ Uline Warehouse Stage

Shinyribs

Shinyribs defies genres as a sonic melting pot of Texas Blues, New Orleans R&B funk, horn driven Memphis Soul, country twang, border music, big band swing, and roots-rock. The Austin based nine-piece (sometimes 10-piece) supergroup is led by Kevin Russell, the charismatic frontman with colorful suits and extravagant shoes who continuously swaps out an electric guitar for a ukulele and never falls short of creating a cinematic experience with on-stage antics that often include him donning a light-up cloak or leading a conga line through the crowd.

Shinyribs' new record - Transit Damage (July 2023 on Blue Elan / Hardcharger Records) is,
in Russell’s words, “the record I’ve been trying to make for most of my career. This is a
collection of songs that relate to each other in a myriad of ways: musically, lyrically, emotionally. It’s a real throwback to the era of complete albums, and draws from songs I’ve written throughout my life. I hope listeners can take the time to fully immerse themselves in the whole thing.”

To help him flesh this collection out, Russell picked producer and longtime friend Steve Berlin (from Los Lobos) to help him arrange and record Transit Damage. Together they chose to work at another auspicious location, The Finishing School studios in Austin. The Finishing School is housed in the former home of Austin legend George Reiff (The Chicks, Bruce Robison, Ray Wylie Hubbard) who engineered and produced Shinyribs’ debut Well After Awhile back in 2010. Reiff, a close personal friend of Russell’s, tragically passed away from. cancer in 2017, yet his legacy lives on. His home studio was refurbished by Band of Heathens’ Gordy Quist, and reopened a couple years ago with acclaimed engineer Jim Vollentine.

Berlin helped source a number of auxiliary players around town to help expand the Shinyribs sound, and realize Russell’s bigger vision. Shinyribs’ bassist Mason Hankamer also lent some producing skills, helping arrange many of the songs. 

Shinyribs was named Best Austin Band at the Austin Chronicle’s Austin Music Awards (2017, 2018), awarded Album of the Year for I Got Your Medicine (2017), and Best 2020 Themed Song for "Stay Home" (2020). Russell’s Shinyribs have recorded six albums: 2010’s Well After Awhile; Gulf Coast Museum (2013); Okra Candy (2015); 2017’s award-winning I Got
Your Medicine; a compilation of holiday standards and new compositions The Kringle Tingle
(2018); and the group’s latest soulful release, Fog & Bling (2019). Shinyribs latest project, Late Night TV Gold, released in August 2021. 

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Lucius Arthur

Lucius Arthur

Performances

June 30 - 6:00 PM @ Briggs & Stratton Big Backyard

Lucius Arthur

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The Regrettes

The Regrettes

Performances

July 6 - 7:30 PM @ Generac Power Stage

The Regrettes

“There’s so much pressure to constantly better yourself,” Lydia Night, lead singer and songwriter of The Regrettes, says. “We’re obsessed with social media, which makes it easy to obsess over self-growth and unhealthy amounts of productivity. That phrase, ‘further joy,’ summarized what it meant to be on the hamster wheel of constantly chasing happiness, but in turn, that’s what makes you unhappy,” she adds, acknowledging the shared inner turmoil she, guitarist Genessa Gariano, bassist Brooke Dickson, and drummer Drew Thomsen were dealing with at the start of last year. “I was stuck in a loop of wanting to be better, wanting to be good, and therefore I couldn’t be here. I couldn’t be present.” The desire to break free of that cycle is what the band’s third album, Further Joy, is all about.

As the pandemic set in and Los Angeles shut down, The Regrettes were having a full-blown identity crisis. Lydia had been touring since she was 12-years-old, meeting guitarist Genessa when they were just teens in music school. As a band, they’d been on stage long before their 2017 debut, Feel Your Feelings Fool!. And, by the time they released their critically acclaimed LP How Do You Love? in 2019, they’d formed a cohesive lineup with Brooke and Drew, setting themselves on a steady upward trajectory. They’d spent the past two years headlining sold-out shows across North America and Europe, performing at mainstay festivals like Coachella and Reading and Leeds and playing their hit singles on Good Morning AmericaConan, and Jimmy Kimmel Live!. As NME said of their sophomore album, The Regrettes were “truly unstoppable” until they weren’t.

“So much of our identity is tied to music and performing,” Brooke says, adding that without the distraction of playing live, they were forced to answer the question: “Who am I when I’m not performing?” That shared inner inquiry can be heard in the band’s most actualized, collaborative, and vulnerable album to date, a self-aware soundtrack for those interested in what Lydia refers to as “dancing the pain away.”

In January of 2021, after more than a year apart, The Regrettes reconvened for a 10-day writing retreat in Joshua Tree. They went on hikes, stargazed, transformed their living room into a disco, and had candid conversations, some of which made their way into songs. They left the desert with a vision for the record and demos in hand, slowly bringing it to life through zoom writing sessions, and working separately with producers Jacknife Lee and Tim Pagnotta. They experimented with their sound, pushed their creative limits, and Lydia, who was once skilled in the art of “writing a song in 30 minutes and then not touching it” recalls writing then editing her deepest truths. Although the subject matter is anything but light, she still calls it the “poppiest, and danciest” album they’ve ever made.

You can hear that levity in “Monday,” an upbeat track Lydia wrote at the peak of her anxiety disorder. “Once you accept what’s going on with your mental health, sometimes it gets worse before it gets better,” Lydia says. “Accepting I had anxiety and depression was extremely scary because then it became real. This song comes from the validation of those feelings.” The song’s music video introduces the character “Joy” – a pink representation of the unattainable yet ideal self the album pushes against.

In “Out of Time” Lydia sings “all of these anxieties come over me/ just let me breathe” at a panicked pace, sonically capturing the feeling of running out of time. In “Barely On My Mind” Lydia replays scenes from “a really gnarly, abusive relationship,” she processed during the lockdown. On the song, Genessa turns up distortion, Brooke experiments with palm muting, creating a tight poppy sound, and Drew lives his ‘80s R&B pop dream thanks to the percussion overlaying his drum track. “We’ve all had terrible experiences with abusive men,” Brooke says of the track. “There’s no sweet way to put it, that one’s an angsty banger.” In, “Subtleties (Never Giving Up On You)” Lydia discusses her path to self-acceptance. “‘Subtleties’ in particular feels super pretty, and beautiful, but is one of the darkest songs of the album lyrically,” Lydia says. “I’ve struggled with eating disorders for a large portion of my life starting when I was 15, which eventually turned into body dysmorphia. Me singing ‘Never giving up on you’ is me singing to myself.” In “Homesick” Lydia taps into feelings of longing. “I’d been going through this whole pandemic process with my boyfriend and I hate feeling codependent but I felt so codependent when he left. I had gotten so used to, without even realizing it, having that person around and relying on that person.” Though it’s a love song, “Homesick” still captures the dangers of yearning too much. “There are moments and lyrics that still give you a glimpse into that dark place I was in, like the one-line ‘fetishizing the thought of you lying’ I love that lyric because I feel like that’s my anxiety to a T.”

For Brooke writing “You’re So Fucking Pretty” together was transformative. “That was a new experience for us, both sonically and emotionally,” she says. “We hadn’t explored that space together. That was a big moment for us and it’s a really special moment on the album. Lydia recalls the relief of being open with her bandmates without feeling embarrassed or scared. “It’s the first time I’ve ever written directly about a girl I had a crush on and it took me a while for me to even allow my brain to accept the fact that I’m bisexual,” Lydia shares. “Writing this was important for me because it just validated my own sexuality.” For Genessa, “You’re So Fucking Pretty” was an opportunity to write a song they wish they had when they were younger. “As a queer person growing up it definitely felt like there weren’t many songs I could relate to, and I feel like this song would have been something I would have held really close to my heart as a kid. I hope that happens with other people. I don’t think it necessarily has to be this queer anthem but I think someone else could listen to it and feel the same way, or a  girl could feel that way about a boy she likes. Boys can be pretty too.”

The band wrote, “La Di Da” to capture what Lydia calls “the action a kid would have, of putting your hands over your ears and saying ‘la la la’ to block out everything.” The call to action was inspired by their impromptu desert dance party. “I have a playlist of 2000s songs and when we were in Joshua Tree, we had a dance party with these colored lights with gels,” Genessa says. “It may have been the Black Eyed Peas, some song telling us to put our hands up. You don’t have to think, you have no choice but to dance because it’s telling you what to do. That’s such a freeing feeling.” Drew remembers the song, being a “total departure” from the band’s typical path in the studio. “I was playing an organelle, this really cool synth with wooden buttons,” he shares. “That first thing that comes in on the song, that little synth part I was playing, Lydia heard that and loved it, so I kept playing and she started singing. It was one of those songs that came out very quickly.” Writing those songs together gave the band a newfound sense of ownership. “There’s a passion behind the actual music itself now that hasn’t been at that level before,” Drew shares, adding, “It’s the first album that feels like our album.”

The song “Nowhere” draws inspiration from an Alan Watts quote, “You can’t live it all unless you can live fully now.” The line left a lasting impression on Lydia. “What Further Joy means, that chase for happiness, that quote sums it up,” she says. “You’re never going to experience real life if you’re chasing something.” It’s the lesson that allowed The Regrettes to pause, go inward separately, and still land in the same place together, becoming a tighter unit than they’ve ever been. “So fucking much has changed on a personal level which translates into my lyricism and the way we are with each other, how close we are with each other,” Lydia recognizes. “We’ve bonded so much.” It’s also the lesson Lydia hopes listeners walk away with. “We all deserve happiness and to be present, and we’ll never get there if we feel so much shame and guilt for not being there already,” she adds. “Don’t get caught in the hamster wheel of chasing joy.”

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Buckcherry

Buckcherry

Performances

July 8 - 6:00 PM @ Briggs & Stratton Big Backyard

Buckcherry

Buckcherry is unique, complex, simple, passionate, explosive, original, and always a good time. BC has been my love, my pain, my passion and I'm so proud of what we have accomplished. I never knew when I started this that dedicating myself to music would be taking on so much responsibility. For a guy who never thought he was going to live past 30 this has been an incredible journey. Our ninth record HELLBOUND marks 22 years since our debut self-titled release and what an amazing roller coaster we have been on. From hit songs to platinum and gold records and millions of fans worldwide - all during a time period when traditional sounding hard rock bands didn't exist - except for Buckcherry. We beat the odds and built our reputation on the live shows, and our "one of a kind" approach to every opportunity.

When the pandemic hit, we had to shift gears like everyone else and it was anything but comfortable. The good news is when this band is backed up against the wall, we produce our best music. HELLBOUND reflects just that. Teaming up with Marti Fredrickson again was so inspiring. He really brings out the best of us and becomes the sixth band member when we are together. There is this mutual respect and passion going on that makes it effortless and fun.

There was so much going on in the world that it was easy to find subject matter for song writing. Songs like BARRICADE and JUNK reflect that, but I also was reminiscing about the moment when I "sold my soul to rock n' roll". I will never forget it. It was the very first performance at a house party in Orange County, CA. I knew in that moment that there was no looking back, and no "plan B". It was only victory or death. The title track HELLBOUND reflects that very moment and is one of my favorite tracks. Part of what I loved about rock records growing up was the dynamics from song to song, you had mid-tempo songs, ballads, and rockers and HELLBOUND is a great reflection of that. Songs like NO MORE LIES, AIN'T WASTING NO MORE TIME, and THE WAY really capture the depth and emotion of not only the world situation but also the personal struggle. Then you must have those quintessential Buckcherry tracks like SO HOT, 5-4-3-2-1, HERE I COME and GUN that I can see our long time fans really appreciating.

Through adversity Buckcherry has had its greatest moments and we are having one right now with HELLBOUND I hope u enjoy it, and we will see you at the rock show!!

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Joey Valence & Brae

Joey Valence & Brae

Performances

July 6 - 5:30 PM @ Generac Power Stage

Joey Valence & Brae

Multi-genre producer, vocalist, and writer, Joey Valence is blending elements of classic
breakbeat Hip-Hop, boom bap, hardcore punk, and other alternative genres in a strikingly
refreshing way.

Combined with the additional lyrical talent of vocalist, Brae, the two have explosively
launched into the Alternative and Hip-Hop scenes with their high-energy antics, easily
identifiable style and masterful use of social media.

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Soul Asylum

Soul Asylum

Performances

July 7 - 7:30 PM @ Uline Warehouse Stage

Soul Asylum

"A friend asked me what kind of records I want to make, and my answer was that I always want to make a record that I want to hear that's not already in my record collection," says Dave Pirner.  "I think we got that on this one."

Pirner is referring to Change of Fortune, Soul Asylum's eleventh studio album, and its first for Entertainment One Music (eOne Music).  The dozen-song set embodies the band's trademark balance of rocking abandon, infectious melodic craft and raw-nerved emotional depth, boasting a compelling set of new Pirner compositions while showcasing the strength and versatility of Soul Asylum's current lineup, which teams founding singer/guitarist Pirner with guitarist Justin Sharbono, bassist Winston Roye and drummer Michael Bland.

Three and half decades down the road from the band's indie-punk origins, Change of Fortune — co-produced by the band and longtime studio collaborator John Fields — is classic Soul Asylum, with such musically and lyrically pointed new tunes as first single "Supersonic," "Can't Help It," "Doomsday," "Make It Real," and the title track packing a familiar sonic and emotional punch, while carrying a hard-won sense of survival and perseverance that honors Soul Asylum's storied history while pointing towards the future.

"It's more honest than any record I've made in a very long time, just because there was no one looking over my shoulder and editing me, which was very liberating for me," says Pirner.  "It sounds like the vision that I had in mind a really long time ago.  When I listen to it, I think, 'That sounds like Soul Asylum,' and that's as good as it gets for me."

Change of Fortune — which features an appropriately arresting cover image by world-renowned wildlife photographer TK — marks the recording debut of the current Soul Asylum lineup, which has racked up a considerable amount of roadwork and honed its combustible musical chemistry since Sharbono and Roye joined in 2012.  Drummer and multi-talented right-hand man Bland joined Soul Asylum in 2005 with an extensive resume that includes work with fellow Minneapolitans Prince and Paul Westerberg.

"I would say, without reservation, that my band is probably the best band on the planet," Pirner asserts, adding, "That always gets me in trouble, but it's not because of me; it's because of Michael and Winston and Justin.  It's incomprehensible to me that the elements have fallen into place the way they have, but it's driving me nuts how much I love this band."

Soul Asylum has been inspiring that level of passion since 1981, when the band, initially known as Loud Fast Rules, formed in Minneapolis.  The band's raucous live sets and early releases on the hometown indie label Twin/Tone — including the albums Say What You Will, Made to Be Broken and While You Were Out — earned it a loyal fan base and widespread critical acclaim.

Soul Asylum's indie success led to the band entering the major-label mainstream with 1988's Hang Time and its 1990 follow-up And the Horse They Rode In On, and achieving a platinum-level commercial breakthrough with 1992's Grave Dancers Union and 1995's Let Your Dim Light Shine.  Grave Dancers Union featured the international hits "Runaway Train," which won a 1994 Grammy as Best Rock Song, and "Black Gold," while Let Your Dim Light Shine spawned the hit "Misery."  The band went on hiatus after 1998's Candy from a Stranger, during which time Pirner released his first solo effort, Faces & Names.  Soul Asylum returned to action in 2006 with The Silver Lining and released Delayed Reaction six years later.

"When I was a kid, I wanted to be in a band, and I decided that's what I was gonna do, and that hasn't changed," Pirner notes.  "This whole thing is an act of faith, and the worse the music business gets, the more of an act of faith it becomes.  But I don't give a f---, I'm gonna keep doing this until the day I die.  We're always struggling to figure out how we're gonna make this work, but I'm not going to waver.

"People who feel disenfranchised tend to identify with Soul Asylum," Pirner observes.  "I'll look out at the crowd and see people singing along with my songs of frustration and insecurity, and the irony is not lost on me.  There's a part of me that's never gonna fit in, but I love being around people who love music, and I'm very loyal to the idea of whatever Soul Asylum is.  The future is bright, everything is good, and if there's something in this record that can make people feel like things are gonna be OK, then it's mission accomplished."

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Here Come The Mummies

Here Come The Mummies

Performances

July 7 - 4:15 PM @ Miller Lite Oasis Stage

Here Come The Mummies

Here Come the Mummies is an eight-piece funk-rock band of 5000 year-old Egyptian Mummies with a one-track mind. Their "Terrifying Funk from Beyond the Grave" is sure to get you into them (and possibly vice versa).

 

Since their discovery HCTM has been direct support for P-Funk, Al Green, Mavis Staples, KC and the Sunshine Band, and Cheap Trick; rocked Super Bowl Village; become a regular on The Bob and Tom Show; played massive festivals like Summer Camp, Common Ground, Voodoo Fest, Musikfest, Suwannee Hulaween, and Riverbend; and sold tickets by the thousands across large swaths of North America.

Maybe that’s why the ladies (and some dudes) can’t stop losing their minds over these mayhem-inducing mavens of mirth.

 

Some say they were cursed after deflowering a great Pharaoh’s daughter. Others claim they are reincarnated Grammy-Winning studio musicians. Regardless, HCTM’s mysterious personas, cunning song-craft, and unrelenting live show will bend your brain, and melt your face. Get ready, for Here Come The Mummies.

 

  • HCTM “‘KILLED’ it… Not only did they pack their stage - they were the hit of the night when they jumped on stage with moe. in front of 20,000.” - Jay Goldberg, Summer Camp Music Festival
  • “Here Come The Mummies are one bad-ass band, a hybrid of Idris Muhammad, George Clinton, Ohio Players, and Earth, Wind & Fire.” -Blurt Magazine
  • “A band unlike any other.” -examiner.com
  • “That’s the most fun I've had in 20 years.” -Bob Kevoian, The Bob & Tom Show
  • “Cock wobbling brilliant.” -Joe Elliott of Def Leppard
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Mindi Abair

Mindi Abair

Performances

June 22 - 7:30 PM @ Uline Warehouse Stage

Mindi Abair

She'll Move You - Keb' Mo'

Forget You, Who's Your Sax Player? - Steven Tyler on American Idol

21st Century Sophistication, A Gritty, Raucous Spirit, And Exceptional Creative Imagination - Allmusic.Com One of the most recognized and sought-after saxophonists, two-time GRAMMY nominee Mindi Abair has been electrifying audiences with her dynamic live performances and sax prowess since her debut album in 1999. No one since Junior Walker has brought saxophone and vocals in one package to the forefront of modern music. In 2014, Mindi received her first GRAMMY nomination in the Best Pop Instrumental Album category, followed by a 2015 GRAMMY nomination for Best Contemporary Instrumental Album for her solo LP Wild Heart featuring the late Gregg Allman, Joe Perry, Trombone Shorty, Booker T. Jones, Keb' Mo' and Max Weinberg.

You might know her as the featured saxophonist on American Idol, sitting in with Paul Shaffer on The Late Show with David Letterman and The Roots on The Tonight Show Starring Jimmy Fallon, or as the first solo saxophonist touring with Aerosmith since 1973. She has garnered twelve #1 radio hits in the jazz and blues world, two #1 spots on the Billboard Contemporary Jazz Album Chart and two #3 spots on the Billboard Blues Album Chart. In 2018, Mindi Abair and The Boneshakers won 8 Independent Blues Awards including Artist of the Year and Best Blues Song fan award for the Independent Music Awards for “Pretty Good For A Girl” featuring Joe Bonamassa.  In 2019, Mindi was nominated by the Blues Music Awards as the Best Instrumentalist: Horn and won the LA Critics Award for Best Holiday Album for All I Got For Christmas Is The Blues.

As creator, designer and owner, Mindi successfully launched Reserve Tastings Wine Company in 2019 as a lifestyle concept that brings together the worlds of wine + music through members-only exclusive wines paired with personally curated music playlists, label art and branded wine + music festivals. www.reservetastings.com

Mindi wrote the book “How To Play Madison Square Garden – A Guide To Stage Performance,” created the website http://www.prettygoodforagirl.net to celebrate women, and has served almost 10 years as an LA Chapter Governor, President and National Trustee for The Recording Academy. Mindi has toured and/or recorded with: Aerosmith, Joe Bonamassa, Smokey Robinson, Joe Perry, Trombone Shorty, Booker T. Jones, Gregg Allman, Kenny Wayne Shepherd, Fantastic Negrito, Waddy Wachtel, Bobby Rush, Keb’ Mo’, Teena Marie, Lee Ritenour, Adam Sandler, Duran Duran, Bill Champlin, Richard Elliott, Jimmy Webb, Max Weinberg, Dave Koz, Peter White, Gerald Albright, Mandy Moore, Lalah Hathaway and the Backstreet Boys.

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Vixen

Vixen

Performances

June 23 - 6:15 PM @ UScellular Connection Stage

Vixen

THERE'S ONLY ONE ALL-FEMALE HARD ROCK BAND FROM THE 80'S WHO:

• Sold over a million albums.
• Had six #1 videos on MTV.
• Had four songs in Billboard's Top 100.

Vixen was founded in St. Paul, MN by high-schooler guitarist Jan Kuehnemund. The desire to achieve the rock star dreams like so many before her, Jan took her group to Hollywood but soon retooled the line-up, which included; vocalist Janet Gardner, drummer Roxy Petrucci and bassist Share Ross (Pedersen).

In 1987 a pair of big brass balls at EMI Records decided to roll the dice with Vixen, despite all the stereotypes regarding bands fronted by chicks was then initiated into the male dominated club of hard rock. EMI released their self-named debut album "Vixen" featuring the groups’ first hit "Edge of a Broken Heart" penned by Richard Marx and Fee Waybill (The Tubes). MTV became Vixen’s playground and so coupled with exhaustive touring Vixen embarked on their ride.

Piling on more hits the band charted Billboard at #22 with ballad, "Cryin'“ and "Love Made Me" at #36. The road continued to call opening for Ozzy Osbourne, Scorpions, Eddie Money and many others. Vixens had firmly distinguished themselves as a premiere rock act to be taken seriously.

With the pistons still popping, Vixen released their second album; "Rev It Up" was a success with "How Much Love" as the prized single performed live on The Arsenio Hall Show. The group Vixen-ize their fans on worldwide tours with heavyweights KISS and Scorpions, which fueled the International frenzy. The ballad, "Love Is A Killer" rose on the charts along with the rocker "Not A Minute Too Soon" once again establishing Vixen as not just performers but hit songwriters.

It was Nirvana’s sound out of Seattle that helped fuel the winds of change and underscored the decision to disband Vixen in 1992. Separately band members dabbled in various side projects but it was 1997 when Gardner and Petrucci released “Tangerine" teaming up with live-wire guitarist Gina Stile under the Vixen moniker. In 2002 Kuehnemund once again regrouped Vixen fronted by Jenna Sanz-Agero (vocals), Lynn Louise Lowry (bass) and Kat Kraft(drums). This line-up then went on to tour and release “Live and Learn” and “Extended Versions” from a live performance in Sweden.

The bond they shared could never be broken but who would have imagined their joy would be short-lived when in 2012 Kuehnemund reached out to Gardner, Pertrucci & Ross for long awaited reunion. Sadly, only days before officially announcing the news, Kuehnemund was diagnosed with cancer and the reunion was put on hold. Jan Kuehnemund, the founding member and lead guitar player for Vixen passed away October 10th of 2013.

Veni, Vidi, Vici

(I came, I saw, I conquered) by Julius Caesar

Realizing that a band belongs to its fans, Gardner, Petrucci and Ross have carried on the Vixen legacy since 2013. Rocking theaters, casinos and major festivals including M3, The Moondance Jam, Monsters of Rock Cruise, FireFest, Hard Rock Hell, The Halfway Jam, Rockin’ the Rivers, Iowa State Fair, every nook and cranny of the USA, Canada and Spain, Vixen is revvin’ the engines once again.

In 2017, guitarist Britt Lightning (Alejandro Sanz, Rachel Platten) signed on to round out this extraordinary line up. Vixen consistently delivers high energy top notch performances that leave fans breathless and wanting more at every show.

In 2019 a new chapter begins with the addition of Lorraine Lewis (Femme Fatale) stepping into lead vocals and Janet Gardner pursuing other ventures. Lewis rounds out the finely tuned lineup bringing notable Femme Fatale MTV video hits “Waiting for the Big One” and “In and Out of Love” to Vixen's catalogue of crowd pleasers.

Onward and upward the Vixen legacy shows no signs of slowing down anytime soon!

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Wishbone Ash

Wishbone Ash

Performances

June 24 - 5:30 PM @ Uline Warehouse Stage

Wishbone Ash

Formed in 1969 in England, Wishbone Ash are one of the most influential guitar bands in rock history. Equally inspired by British folk, American jazz and R&B, the band did their part to help form the emerging rock ’n’ roll scene in the U.S. and the U.K. Through dedication to the craft of guitar harmony and melody, along with relentless touring, Wishbone Ash garnered a vast audience through public approval, critical praise and worldwide distribution of their extensive recording catalog.

In 2023 the band, led by founding member Andy Powell (guitarist, lead vocals), will mark the 50th anniversary of their biggest selling, multi-platinum album, “Live Dates,” with tours of Europe, North America and the United Kingdom. In the U.S., February and March will see the band traveling through the Northeast and Midwest, with an autumn tour through the South and West. 

As first live album released by the band, “Live Dates” features selections from Wishbone Ash’s first four albums performed in concert during the summer of 1973. Reviewers have consistently listed it among the finest live rock albums of all time.

“Live Dates” includes the cream of the early Wishbone Ash crop: King Will Come, Warrior, Throw Down the Sword, Rock ’N’ Roll Widow, Ballad of the Beacon, Baby What You Want Me to Do, Pilgrim, Blowin’ Free, Jailbait, Lady Whiskey and Phoenix.

To celebrate the 50th Anniversary, “Live Dates” was re-recorded in its entirety at Daryl Hall’s venue, Daryl’s House Club, in Pawling, New York on July 22, 2022.

Andy Powell trades licks with Yorkshire’s Mark Abrahams, who has been playing Wishbone Ash tunes since his youth. Longtime bassist Bob Skeat keeps the low-end rocking, working the grooves with newest band member, Mike Truscott on drums. Like his band mate Mark Abrahams, Mike also hails from Yorkshire, England.

As true warriors of the road, the band regularly covers around 30,000 miles a year, which is roughly equivalent to circumnavigating the world. The Ash is an undeniable force on today’s touring scene, performing on five continents and continuing to be discovered by new generations of music fans.

Over the years the band has embraced diverse musical genres, from folk, blues and jazz to pedal-to-the-metal rock and electronica. Regardless of the style, Wishbone Ash’s groundbreaking interplay of two lead guitars influenced bands such as Thin Lizzy, Lynyrd Skynyrd, Iron Maiden, Umphree McGee and Opeth, among many others.

Wishbone Ash’s latest studio album (their 26th), “Coat of Arms,” was released in early 2020.