Appearing IN PERSON, DELANEY BAILEY w/very special guests THIS HOUSE IS CREAKING & LAINEY JEAN!!!

**ABOUT DELANEY BAILEY ::**

Though she may not exactly be putting brush to canvas, Delaney Bailey imprints heavy feelings of heartbreak, betrayal, isolation, and uncertainty onto her music with alternately ethereal and expressive vocals. Her dynamic voice feels right at home layered into the fabric of otherworldly beat-craft, expansive sonic vistas, and living and breathing soundscapes.

Amassing hundreds of millions of streams and earning critical acclaim, she paints a portrait of who she is.

Growing up in Indiana, Delaney uncovered her passion for music early on. Given that she was named after Jimmy Buffet’s daughter, it’s perhaps no surprise. She went from listening to Norah Jones and Adele to My Chemical Romance, Pierce The Veil, Nick Drake, Lorde, and Grizzly Bear. Simultaneously, she honed her voice by singing in theater and choir throughout high school. With seven siblings, she had an unpredictable and interesting childhood, to say the least. As such, she developed keen empathy and a heightened sense of understanding.

“Since I grew up around so many different individuals, it became an important skill to learn why others were feeling the way they were and, in turn, why I was feeling how I was,” she goes on. “I knew what mood everybody would be in based on what was going and how to navigate it. I’ve always had an ability to look internally, and I don’t take it for granted. Maybe it contributed to me growing up a little too fast, but it makes for good songwriting.”

LISTEN to Delaney Bailey :: https://open.spotify.com/artist/3Os4q49SgEN0Tv3fxKw3Sp?si=a3IHRX8kRqWQYgXWGy2Gcw

LISTEN to This House Is Creaking :: https://open.spotify.com/artist/6V3iFx6crMPBzxlsvdLwtU?si=aYqfb0GfR6CaZFhWG7lUGQ

LISTEN to Lainey Jean :: https://open.spotify.com/artist/72tN4YRZIRifDyiyko3JnX?si=v9JmqFg1SLexbPAWcNsobw

This is an all ages event

Raccoon Motel 

DELANEY BAILEY w/THIS HOUSE IS CREAKING & LAINEY JEAN

Delaney Bailey

Gigs

Davenport

Appearing IN PERSON, BIRD & BYRON w/very special guests BIRD STREETS!!!

LISTEN to Bird & Byron :: https://open.spotify.com/artist/28VCKRVnl8KvcrvUVxpbLt?si=6Yz0pkXeSBGUzToBoci0wg

LISTEN to Bird Streets :: https://open.spotify.com/artist/4PfuWc7ZP0CqDQ0xbmTqew?si=C5-z9CKsT_ykhLdkxaqKzA

This is a 21+ event

BIRD & BYRON w/BIRD STREETS

**Ragged Records and Void Church present**

**Sponsored by Lopiez and Wake Brewing**

Appearing IN PERSON, BONNIE TRASH w/very special guests BLEACHED CROSS & EVERLASTING LIGHT!!!

**ABOUT BONNIE TRASH ::**

On tour from Ontario Canada. Darkened shoegaze/post-punk drone project of twin sisters Emmalia and Sarafina Bortolon-Vettor. Their new album "Mourning You" is out now on Hand Drawn Dracula Records.

**ABOUT BLEACHED CROSS ::**

Chicago Post Punk Dark Wave. Their self titled album is out on Protagonist Music.

**ABOUT EVERLASTING LIGHT ::**

Quad Cities Black Metal

LISTEN to Bonnie Trash :: https://bonnietrash.bandcamp.com/

LISTEN to Bleached Cross :: https://bleachedcross.bandcamp.com/

LISTEN to Everlasting Light :: https://everlastinglightqc.bandcamp.com/

BONNIE TRASH w/BLEACHED CROSS & EVERLASTING LIGHT

Bonnie Trash

Bleached Cross

LIFE IS BEAUTIFUL :: FUNDRAISER FOR NAMI

Appearing IN PERSON, CAMP REGRET, DYNORIDE, HEET DETH, BLOODEATER, VIOLINIST GWEN LEE, POETRY BY AUBS. & IMPROV BY BUBBLE PIG!!!

LIFE IS BEAUTIFUL

We Should Have a Party

Heet Deth

Appearing IN PERSON, GOLDPINE & THE BURNEY SISTERS!!!

**ABOUT GOLDPINE ::**

From Bristol Rhythm & Roots Reunion and the Kansas City Chiefs’ Arrowhead Stadium to listening rooms throughout the United States, husband-wife duo GOLDPINE has been offering their own brand of bold harmony-driven Americana to audiences large and small. WINNER of the 2022 Rocky Mountain Songwriter Contest, their distinctive harmonies are clearly a channel for their sometimes-raucous, sometimes-reminiscent compositions. With an incredible collection of stories about life, love, and purpose, their live performance is a powerful projection of everything Goldpine is about: striking vocals, bold harmony, and introspection into the human experience.

**ABOUT THE BURNEY SISTERS ::**

The Burney Sisters are a sibling duo redefining indie-folk with soulful harmonies, heartfelt lyrics, and magnetic stage presence. Hailing from the Midwest, Emma and Bella Burney blend Folk, Soul, and Americana into a sound that’s both timeless and fresh. Inspired by artists like Brandi Carlile, The Avett Brothers, Bonnie Raitt, and Lake Street Dive, their music bridges generations.

LISTEN to Goldpine :: https://open.spotify.com/artist/57fG70ONsQZv1X1SvIuc6V?si=D7IgRtVmRrCUZJNF3zMkUg

LISTEN to The Burney Sisters :: https://open.spotify.com/artist/7f0YHd5aLgWGySiOnJaTPE?si=wF-HQbsvSOGJfBGJ2L706w

GOLDPINE & THE BURNEY SISTERS

Goldpine

The Burney Sisters

Appearing IN PERSON, MENSA w/very special guests KLASSKAMP & BLASTER!!!

**ABOUT MENSA ::**

Hailing from Chicago, IL, MENSA have found their niche in the debut EP/Demo/Whatever titled, “CLASSTRAITOR”. Describing them as “alternative hardcore” for lack of a better appropriate encapsulation of their sound, MENSA falls somewhere within the venn diagram of contemporary hardcore, screamo, and mathcore (with of course a twinge of emo, it is the Midwest afterall). Between crowdkill worthy breakdowns, eerie, emotional envelopes, dissonant, headspinning culminations and comedowns, and the samples sprinkled across the twenty-minute document of despair and disillusionment, MENSA reflects a disturbing picture of the contemporary realities of the American dream and its self-contradicting, self-obfuscating framework through the individuals forcibly upholding it.

LISTEN to Blaster :: https://blaster3.bandcamp.com/album/2023-demo

MENSA w/KLASSKAMP & BLASTER

Appearing IN PERSON, THE RETROGRADE w/very special guests LOMBARDY & FREE JOEL!!!

LISTEN to The Retrograde :: https://open.spotify.com/artist/6R2UeI1q0BcAu70RDbrJ6c?si=2w64XjfoRY-18GmfdQMhoA

LISTEN to Lombardy :: https://open.spotify.com/artist/0P0SonGsS5tXo0oLO62djE?si=10Lk2lpcQn-rBrvhTPY8_A

LISTEN to Free Joel :: https://open.spotify.com/artist/3ASOgqQ8AGJGdKo1zleOEP?si=uIXyjVEbTv2JcGoyZ9cgBQ

THE RETROGRADE w/LOMBARDY

A NIGHT CELEBRATING GIRLY POP!!

DANCING AND FUN REQUIRED!!

GIRLY POP NIGHT

Appearing IN PERSON, OLIVER TWISTS w/very special guests SALTYDOG, TAMBOURINE & FELDPUP FIVE!!!

**ABOUT SALTYDOG ::**

Saltydog is a funk jam Improvisational exploration that takes the audience & band on a journey through their playfully crafted folk driven tunes inspired by the likes of everyone from The Talking Heads, The Band, those classic country and jam band staples along with everyone in between.

The band spawned on the banks of Duluth’s ice covered stones by brothers Jacob and Owen Mahon. This midwestern psychedelic cowboy review features Calvin (Calzone) Lund, Lefty Johnson, Gavin St. Clair, and Sam Deters.

The band’s genuine kindness, passion, enthusiasm and joy for their craft is apparent, enchanting & makes for an additive live performance. Their 2nd album Pepper dropped spring 2024 band is set to release their 3rd album in early winter 2025. The band has been known as differently original, very funky, and unpredictable in a delightful, soulful manner. There is something for everyone at a Saltydog show. You are beautiful, you are welcome, you will groove, we will vibe. We are Saltydog.

LISTEN to Saltydog :: https://open.spotify.com/artist/5u7Gz7FFd3fhhN4pk7817j?si=OMSeTjGyTlSQyeqOHKVlgg

OLIVER TWISTS w/TAMBOURINE, FELDPUP FIVE & SALTYDOG

Appearing IN PERSON, GLYDERS w/very special guests DAISY GLUE!!!

**ABOUT GLYDERS ::**

Formed in Chicago by partners Josh Condon and Eliza Weber, Glyders make maximal minimal rock & roll with nocturnal mystery pulsing in the mix, cutting above rigorous roadhouse fare with sounds that twist and grind on their classic inspirations. Joined by Joe Seger on drums, Glyders’ high lonesome way is mellow but nervy, hip-shaking and deep – a multicolored trip to the ongoing beat of American weirdness.

Their second LP, “Forever,” is out November 21st, 2025 on Drag City:

Forever’s spirit is high and tight, its sinews rumbling with communal joy as Glyders’ power-trio formation, in it ‘for life,’ grooves deep into their own thing. Shuffling the deck with road-tested jams, Forever hits with the energy of a first album – which it kinda is, now that founders Josh & Eliza have met their true other, the relentless traps-man Joe Seger. Forever starts now!

LISTEN to Glyders :: https://open.spotify.com/artist/3vgdmH6Q6pCVsQbDanBHoV?si=NREGgufWROigTSlE6Z1p8w

LISTEN to Daisy Glue :: https://open.spotify.com/artist/3KoB5ozRFHGwYJovZLuzPc?si=uCFhlJZtRjukUSwrVSw76Q

GLYDERS w/DAISEY GLUE

Glyders

Appearing IN PERSON, RHETT MILLER w/very special guests!!!

**ABOUT RHETT MILLER ::**

The tenth solo album from Rhett Miller, A lifetime of riding by night is a study in surrender. Days before undergoing potentially damaging surgery on his vocal cords, the Texas-born singer/songwriter headed into the studio with his Old 97’s bandmate Murry Hammond and recorded a batch of songs, then handed them off for Hammond to complete as he recovered. Threaded with his lived-in reflection on mortality and love in all forms, the album contains some of Miller’s most unguarded material yet—an achievement he attributes to revelations gleaned through his recent work in teaching songwriting at The New School in Manhattan, as well as the open-hearted nature of his collaborations with an eclectic lineup of co-writers (e.g., Turnpike Troubadours frontman Evan Felker, singer/songwriters Caitlin Rose and Nicole Atkins, former New Yorker editor Ben Greenman). Rooted in Miller’s soul-baring vocal work, A lifetime of riding by night ultimately proves the immense power in releasing all attempts to control the creative impulse.

Mainly recorded at Dave’s Room in Los Angeles, A lifetime of riding by night marks Miller’s first time enlisting Hammond as a producer since his solo debut album Mythologies (a 1989 LP created when he was 17-years-old). “Murry was a mentor to me when we made that first record all those decades ago, and this album felt like the right time to work with him in that capacity again,” he says. “I gave him carte blanche in a way I never have with any other producer—we went in and recorded 20 songs, and I flew home to New York without even knowing which songs he’d end up using or what the finished versions would sound like. I just let go and trusted Murry completely.”

His first solo effort since 2022’s The Misfit (an extravagant collision of dream-pop and psychedelia), A lifetime of riding by night centers on a gorgeously sparse form of folk/indie-rock that reveals every nuance and idiosyncrasy of Miller’s vocal performance. “There’s a lot of terrifying stories about the type of surgery I received, and I wanted to record the album first because I knew the worst outcomes were on the table,” he says. “I was in a lot of physical pain as I was singing these songs; there are moments when you can hear me really struggling. But as much as I thought about going back and re-recording the vocals once I’d recovered, I knew those imperfections were part of the DNA of the record. To me there’s something very human about a singer trying to sing the best he can despite being compromised.”

While Miller has long embraced a certain candor in his songwriting, A lifetime of riding by night reaches an entirely new level of emotional truth thanks to a deliberate shedding of self-consciousness. “Through my experience in teaching, I’ve watched all these young songwriters feel scared to death about bringing their songs in and sharing them with the class,” says Miller, who also leads songwriting retreats in upstate New York. “It’s reminded me to forgive myself for my own anxieties about the vulnerability that’s required for songwriting, and over time that’s made me less fearful.”

A shining example of the album’s raw sincerity, A lifetime of riding by night’s lead single “Come As You Are” finds Miller joining forces with Felker for a heavy-hearted but quietly triumphant portrait of distance and longing. “That song came together at a time when Evan and I were both wrestling with the difficulty of leaving our loved ones behind to go on tour,” says Miller. “It’s a sweet song but there’s a sadness to it, which feels reflective of the true human condition.” Penned with Jesse Valenzuela of Gin Blossoms, “All For You” emerges as a playfully self-effacing yet emphatic statement of devotion. “When we wrote that song I thought it was for Jesse’s album, so I felt free to speak about love and gratitude with an earnestness I might not usually allow myself,” says Miller. “By the time we were finished I wondered why I’ve placed so many rules and constrictions on my writing in the past, rather than being the most earnest and authentic version of myself.” Another turning point for Miller, “All Over Again” embodies a luminous urgency in its heartfelt message of idealism and hope. “Nicole Atkins and I started that song backstage before a gig, and the idea was to write a ’60s-style song that encourages the audience toward positivity,” he says. “It’s a sentiment I’d probably never feel comfortable expressing without being goaded on by an artist I hugely respect, but it turned into something wonderful.”

Lending another dimension of enchantment to Miller’s tender ruminations on the passing of time, A lifetime of riding by night abounds in songs that unfold in short-story-like vignettes. To that end, the LP’s moody title track inhabits the rugged mystique of a classic Western tale, inspired by an offhand observation made before an Old 97’s gig in Pioneertown, California. “Our dressing room was a cabin and I was watching my bandmates, thinking about all we’ve survived in our 32 years together,” Miller recalls. “I was probably reading an Elmore Leonard book at the time, and started writing this spaghetti-western type of song that imagines us as cowboys out on the prairie.” One of the album’s most heart-shattering moments, “Be Mine” follows a romance from the euphoria of infatuation to the discord and disappointments of deep familiarity, encompassing a lifelong love story in just over three minutes. And on “The Bells of St. Mike’s,” Miller presents a lovely and devastating piece of memoir from early adulthood. “When I was 23 I went to live at my grandmother’s house after she was diagnosed with Alzheimer’s,” he explains. “I was smoking a pack a day and drinking a lot and missing my grandma, but at the same time I was on the precipice of all these exciting things happening with the band—my life was on that knife’s edge of happiness and despair, which in a way feels like a microcosm of this whole record.”

After recovering from surgery, Miller headed out on tour with Old 97’s and finally experienced his first listen of A lifetime of riding by night in its completed form. “We were on the West Coast and I sat on a bench looking out onto the ocean, put my headphones on and played the album from start to finish,” he remembers. “It was very moving, partly because I could really feel that the songs were emotional in a way that I might not usually have the bravery to go through with.” For Miller, that moment also brought a heightened awareness of the rarity and magic of lasting creative connection. “It’s very much a love relationship when people work together the way that Murry and I have since I was a teenager recording my first demos,” he says. “So many people who were once our contemporaries are gone now or haven’t survived this business, but we’re somehow still here and able to create something that feels new and vital and unexpected. I think that’s an incredibly beautiful and special thing.”

LISTEN to Rhett Miller : https://open.spotify.com/artist/0wNZd1CMOsFZ0TiBhlqjD5?si=YNIeFh1pQSmjFCN4W61XPQ

RHETT MILLER

Rhett Miller

Appearing IN PERSON, PULLSTRING w/very special guests COMPANY DIMES & DISPLAY CASE!!!

LISTEN to Pullstring :: https://open.spotify.com/artist/0uA2f698l3NrxZJ39qnC0r?si=a_Tpa7vIQXKWtjJ8wrUXrg

LISTEN to Company Dimes :: https://open.spotify.com/artist/3rgiUh1AOuO5Au5edb4FX4?si=SYJNebpkTfyJDqFwC0v7Qw

LISTEN to Display Case :: https://open.spotify.com/artist/6h6CmO7QBSAN7XjLU6aA8l?si=TuAaitZoToy7Zm_25wlvvA

PULLSTRING w/COMPANY DIMES & DISPLAY CASE

Pullstring

Display Case

Appearing IN PERSON, ADVANCE BASE w/very special guests KRISTIN DAELYN & LIV CARROW!!!

**ABOUT ADVANCE BASE ::**

Advance Base is the melancholic soft rock recording project of Chicago, IL singer/songwriter Owen Ashworth (formerly of Casiotone for the Painfully Alone). Using a two-handed arsenal of electric piano, Omnichord, samplers, effect pedals & drum machines, Ashworth builds minimalist, heavy-hearted, & nostalgia-obsessed ballads around his conversational baritone. The warm, electronic sound of Advance Base has been described as "lo-fi," "depressed" & "weirdly uplifting."

Animal Companionship, the third & most recent "studio" album by Advance Base, was released September 21, 2018 by Run For Cover Records / Orindal Records. GoldFlakePaint & Various Small Flames both listed Animal Companionship among their favorite albums of 2018. Since then, Advance Base has released Wall of Tears & Other-Songs I Didn't Write, a home-recorded collection of (mostly) country/Americana covers arranged for electronic instruments & Live at Home, a collection of mid-quarantine livestream concert performances & the closest representation of an Advance Base live set commercially available. A new single titled ”Little Sable Point Lighthouse” was released on March 31, 2022.

“It’s with no exaggeration we describe Owen Ashworth as one of the most consistent and important songwriters in contemporary indie music. From the earliest Casiotone For the Painfully Alone demos to most recent Advance Base single ‘Little Sable Point Lighthouse‘, Owen has crafted a catalogue of characters and circumstances with few rivals in the modern era. His is an ever evolving body of work which stands out in its deftness and humility and empathy and care, bringing to life individuals from across the spectrum of human experience while remaining unerringly attuned to the tender, fallible heart at the centre of each.” - Various Small Flames

"A Raymond Carver short story collection set to music by a Joan of Arc-era OMD" - MOJO Magazine

LISTEN to Advance Base :: https://open.spotify.com/artist/4YIMPSc3zZLRwe4Ujaxjce?si=7w6vzV6AQNa4Qd2IJyMW3A

LISTEN to Kristin Daelyn :: https://open.spotify.com/artist/5kD5xTojULF3Xv4MTXdSSD?si=_-PzlAHSQQubR-hbE7Jfzg

ADVANCE BASE w/KRISTIN DAELYN & LIV CARROW

Summon Satan

Advance Base - Summer Music

Advance Base

Kristin Daelyn

Appearing IN PERSON, CHICAGO STREET ORCHESTRA w/very special guests FORMA ELEGANTE & CJ PARKER!!!

**ABOUT CHICAGO STREET ORCHESTRA ::**

Chicago Street Orchestra got their beginnings performing on street corners in downtown Chicago almost a decade ago. Since then, they've become one of Chicago's most prolific Latin jazz ensembles. Combining versatility & musicality in a way not often seen in jazz, CSO brings a unique approach to improvised music.

LISTEN to Chicago Street Orchestra :: https://open.spotify.com/artist/5CGWB7tl4lP0teePr910eH?si=XPXcSAT8QKaaaS8YxK54yQ

CHICAGO STREET ORCHESTRA w/FORMA ELEGANTE & CJ PARKER

Appearing IN PERSON, ELECTRIC CARS (The Cars Tribute) w/very special guests TRAGIC BLONDE VACATION (No Doubt/Blondie and The Go-Gos Tribute)!!!

ELECTRIC CARS w/TRAGIC BLONDE VACATION (TRIBUTES to THE CARS, NO DOUBT, BLONDIE & THE GO-GOS) 

The Cars

No Doubt

Blondie

The Go‐Go’s

Appearing IN PERSON, TEENAGE BOTTLEROCKET w/very special guests FEA and RODEO BOYS!!!

**ABOUT FEA ::**

San Antonio-based band Fea embody one of the most vital tenets of punk: total and unapologetic freedom, fearlessly expressed with both fury and joy. Produced by Chicana punk legend Alice Bag, their sophomore album No Novelties finds Fea following their instincts into entirely unexpected directions (e.g., covering an early-’90s pop anthem from Mexican superstar Gloria Trevi, trash-talking en Français on a yé-yé-inspired track called “Merde”). But even in its most playful moments, No Novelties channels a classic-punk ferocity, endlessly backing Fea’s sticky melodies with breakneck rhythms, blistering guitar riffs, and boldly nuanced vocal work.

The follow-up to their self-titled debut –a 2016 release that prompted Iggy Pop to praise Fea in the pages of Rolling Stone, with the Village Voice ranking “No Hablo Espanol” among the year’s best protest songs—No Novelties takes its title from the album-closing “Girl Band.” “It’s referring to that stereotype of how female bands are some kind of novelty with no real talent,” says Lopez. “But that’s not us at all: we know how to play our instruments, we know how to write great songs. So ‘Girl Band’ is basically a middle finger to anyone who underestimates us.”

Recording at Sonic Ranch (a studio in the Texas border town of Tornillo), Fea brought both raw intensity and greater complexity to the making of No Novelties, composing more intricately layered arrangements and pushing into heavier emotional terrain than ever before. On lead single “Let Me Down,” the band offsets their frenetic energy with graceful three-part harmonies, their lyrics speaking to social media’s constant enabling of self-absorption. “Social media is a great platform that could potentially be used in a lot of positive ways, but it’s become this weird thing where everyone just puts themselves on display because they’re so obsessed with getting attention,” says Martinez of the song’s inspiration.

With No Novelties driven by Fea’s naturalistic use of bilingual lyrics, “Ya Se” injects Spanish-sung gang vocals into a cathartic middle-class anthem. “It’s about living paycheck-to-paycheck, and getting caught in that cycle where you don’t make enough money but you spend too much on things you don’t need, just to get some relief from reality,” says Martinez. “It also came from thinking about how a lot of people in our generation are in a worse financial place than our parents, and how sometimes that makes us feel like failures—even though I don’t think it’s necessarily true that we’ve failed.” Elsewhere on the album, Fea turn confessional on songs like “ICU” (a darkly charged portrait of a toxic relationship) and take on a celebratory mood on such tracks as “Itch” (a surf-punk-leaning look at the scuzzy glory of touring). “We don’t glamorize touring in ‘Itch,’ because for us it’s never glamorous,” Martinez points out. “It’s dirty and smelly and uncomfortable and we love it—we always embrace the dirty.”

Born from the ashes of Diaz and Alva’s beloved former band Girl in a Coma, Fea got together in 2015 and soon carved out a kinetic sound shaped by the eclecticism of their homeland. “We all listen to punk and post-punk and riot grrrl music, and we grew up on oldies and Latin music stars and so many other things—so there’s this whole melting-pot effect that definitely comes out in the songs we write,” says Diaz. After putting out their self-titled debut—an album co-produced by Alice Bag, Against Me!’s Laura Jane Grace, and Babes in Toyland’s Lori Barbero—Fea earned acclaim from such outlets as NPR (who hailed the band as “Latina punk at its finest”), and soon began taking their rambunctious live show to venues across the country.

Over the past few years, Fea have toured with both Against Me! and Babes in Toyland, as well as with punk icons Agent Orange. And as their audience continues to expand, the band aims to instill every show with the same sense of solidarity, purpose, and irrepressible fun found in their albums. “We’re serious girls, but there’s a lot of humor involved in everything we do,” says Alva. “We try to put on a really rowdy show; we’re always moving around a lot and always smiling at each other. I think everyone in the crowd can tell we’re having a blast, and hopefully that vibe and energy gets transferred onto them. Our favorite shows are the ones where we can really feel that community between us and the audience.”

**ABOUT RODEO BOYS ::**

On their Don Giovanni debut, Home Movies, Rodeo Boys are upping the ante. Their music owes as much to the twang of country as it does to the fuzz of grunge, and it’s a winning combination.

Lead single “Sugar” sits somewhere between Bully and SPICE, a gritty slice of feedback-drenched rock ‘n’ roll that immediately makes it clear where Rodeo Boys’ passions lie–in loud, crunchy, catchy alt rock. “Dog Leg” plays out like a supersized take on classic rock, all roaring solos and guttural hooks, and epic closer “Tomboy Radio” is a proggy masterclass in dynamics.

Home Movies hardly lets up all through its 40 minutes, the space folk of “Hail Mary” allowing a couple minutes to breathe, but it all seems to zip by. Vocalist Tiff Hannay says Rodeo Boys’ goal as a queer blue-collar band is “to give a voice to young queer people in small towns,” and what a powerful voice it is.

LISTEN to Teenage Bottlerocket :: https://open.spotify.com/artist/0mGyXXKzoR5KAAh4Mkef2W?si=OP6CJXHXQr21rEew6fni4w

LISTEN to Rodeo Boys :: https://open.spotify.com/artist/4zawN6PuzzIybbu2kKhI0r?si=l47yqjfsQaSrGv_vGBcFzA

TEENAGE BOTTLEROCKET w/FEA & RODEO BOYS

Skate or Die

Teenage Bottlerocket

The Rodeo Boys

Appearing IN PERSON, CURSIVE w/very special guests AJJ (duo)!!!

**ABOUT CURSIVE ::**

Very few bands manage to last decades, and for the ones that do, it’s often easy to settle down and get a little too comfortable. But there’s nothing comfortable about Devourer, the explosive new album from Cursive. The iconic Omaha group is known for their intensity, ambition, and execution, and has spent 30 years creating a bold discography that’s defined as much by its cathartic sound as its weighty, challenging lyrical themes. And Devourer is as daring as ever. Full of intense and incisive songs, the album proves exactly why Cursive have been so influential and enduring–and why they remain so vital today.

In the years since their 1995 formation, Cursive developed into one of the most important groups to emerge from the late-’90s/early ‘00s moment when the lines between indie rock and post-hardcore began blurring into something altogether new. Albums like Domestica (2000) and The Ugly Organ (2003) became essential touchstones whose echoes can still be heard in new bands today. The pull of nostalgia can be strong over time, but Cursive’s work has often felt like a rejection of those comfort zones; the band has continually pushed themselves, with frontman Tim Kasher’s artistic restlessness steering them ahead. In fact, for Kasher, whose pointed observations always begin with looking inward first, it was an interrogation of this voracious creativity that planted the seeds of Devourer.

“I am obsessive about consuming the arts,” he explains. “Music, film, literature. I’ve come to recognize that I devour all of these art forms then, in turn, create my own versions of these things and spew them out onto the world. It’s positive; you’re part of an ecosystem. But I quickly recognized that the term, ‘Devourer,’ may also embody something gnarly, sinister.” Devourer delves into that darker space. The characters populating the album have bottomless capacities for consumption, whether its resources, material goods, art, or even each other. Then they are consumed by larger forces, whether it’s humanity, Earth, dreams, time, or life itself. “Maybe a better word for it is imperialism,” Kasher says. “But it’s in many different forms. It’s not just the political. It’s personal imperialism and the imperialism of relationships, the way we imperialize one another, even ourselves.”

Fans have come to expect such heady topics from Cursive, but Devourer sets a new standard. The glibness of the First World toward the problems of others. The eternal struggle to stay on the straight and narrow. The eager acolytes exploited by their leaders. How anxiety can compound with age. How self-expression can warp into self-indulgence. Beginning with “Botch Job,” a propulsive banger shaking with anxiety and regret, the album seldom relents. Songs like “The Avalanche of Our Demise,” “What The Fuck,” “Bloodbather,” “Consumers,” and “The Age of Impotence” hit hard, hooking listeners with the unique blend of deep melody and discordant sounds Cursive does so well. Even as songs like “Up and Away,” “Imposturing,” and “Dead End Days” lean more into a poppier sound–or “Dark Star” and “The Loss” tone down the intensity–the album’s underlying disquiet remains. But as always, Cursive is here to wail, not wallow. As Kasher sings in “Bloodbather,” “Life’s an abscess or apple pie / So shut those demons up / And devour your slice.”

Devourer being filled to the brim thematically and musically is unsurprising considering Kasher wrote an astounding 69 compositions after songwriting began in the fall of 2020. About 20 made it to the practice space, with a curated 13 ending up on the final album. Wrangling it all at Omaha’s ARC Studios was Marc Jacob Hudson, who co-produced the album with the band after running live sound on Cursive’s recent tours. Hudson’s lengthy discography includes working with Against Me!, Thursday, and Fireworks, among others, but the musical touchstones he shares with Cursive sealed the deal. “We just got along well and had this kind of shared music history that I found so comforting,” Kasher says. “We were introduced to music in similar ways and, being the same age, share a musical knowledge. It was just so fun and refreshing.”

Now seven members strong (“We seem to be collecting band members over the years,” Kasher jokes), Cursive had a large musical toolbox to use on Devourer. Beyond the core trio of singer/guitarist Kasher, bassist Matt Maginn, and guitarist/vocalist Ted Stevens, there’s keyboardist and multi-instrumentalist Patrick Newbery, cellist Megan Siebe, recording/touring drummer Pat Oakes, and founding drummer Clint Schnase (the two trade drumming duties across Devourer, but join forces for a two-pronged percussive force in “Rookie”).

Cursive had self-released their two previous albums on their label, 15 Passenger, and initially planned to release Devourer the same way–but ultimately decided to put out some feelers as well. “We got interest and it made it all feel like, ‘Yeah, we should do this,’” Kasher recalls. The group arrived on Run for Cover Records, who were excited to work with a band who has such a deep discography and storied history; it’s a fitting home for Cursive, with new labelmates like Fiddlehead, Citizen, Teen Suicide, and Self Defense Family that share a same DNA of emotionally and sonically biting music. “It really is the first time that we’ve gone off to another label since we started in 1995, when we signed to Crank! Records,” Kasher says. “So there’s a certain excitement to that. It’s no longer the excitement of, ‘We just got signed! I wonder what’s going to happen with this record?!’ It’s more like we’re doing something different–nothing feels rote.” Maginn adds, “More than most bands, our labels have been part of our history. We did it ourselves for years with 15 Passenger, so it’s a big deal to us to take on and trust new partners.”

While Cursive’s music hasn’t gotten any more comfortable, perhaps its being released into a world that’s at least a little more shaped in their image. Devourer sounds urgent and fresh, the work of a band still experimenting, still hungering to find new creative heights. On album highlight “Consumers,” the protagonist bemoans, “I saw our future and I want to go back.” But Cursive are only moving forward.

**ABOUT AJJ ::**

Ever since Sean Bonnette and Ben Gallaty formed AJJ back in 2004, it’s felt like the world has been playing catch-up. That’s because the band—completed these days by guitarist/keyboard player Preston Bryant, cellist Mark Glick and (relatively) new drummer Kevin Higuchi—has always woven apocalyptic themes and imagery into many of its songs and lyrics. They even self-released a record called Good Luck Everybody in January 2020, as if they knew what was coming. Now though, in 2023, with their eighth studio record and debut on Hopeless Records, Disposable Everything, it feels like the world is finally aligned with AJJ’s doom-laden prophecies – albeit one that still shimmers with hope.

For singer Sean Bonnette, the record is less a prophesizing mirror held to a burning world than one inspired by personal grief. In fact, for him, this record is about what happens after the collapse—on both an intimately personal level and a much broader scale. “A large part of Disposable Everything is the terrible thing I’ve been imagining finally happened,” he explains. “A big theme is my mom’s death, which is something I think everyone lives in terror of. But once it happens and you’re still alive, you figure out how to move on. It is, in some weird way, our happiest record.”

Anybody familiar with the band knows that juxtaposition—between apocalyptic despair and the warm comfort of an electric blanket—is nothing new for AJJ, but these 14 tracks are the most firm example of that to date. Recorded with David Jerkovich over the first half of 2022 in various studios across the Southwest, Disposable Everything truly captures the simultaneous terror and wonder of being alive. Throughout the nearly 20 years since the band’s inception, AJJ’s music has always found its way to the irreverent, optimistic pessimists of the world. For example, 2020’s “Body Terror Song” became a viral hit on TikTok, an app that no one in the band was even on at the time.

Their unparalleled live show has always been the bedrock of AJJ, with memorable tours with Joyce Manor, Against Me!, ROAR, Jeff Rosenstock, Kimya Dawson, and huge indie punk festivals, like The Fest. And it’s that live energy and sense of community and collaboration that made its mark on the recording of Disposable Everything. For the first time recording as a full five-piece, the goal was to have fun, open up a free exchange of ideas, and just be together. That overriding sense of solidarity pervades this album, exaggerated by the way the band look at it more like a mixtape than a record in the traditional sense–fully indulging AJJ’s wide musical range and their tendency to play with genre, while also defying expectations as to what songs about certain subjects should sound like. Indeed, this feels more like a band record than AJJ have ever made before. Probably because it is.

It kicks off with “Strawberry (Probably)”, an uproarious blast of fast, glorious, carefree quasi-punk that descends into a warped blur of dissonance. That that leads into a song called “Dissonance” was, Bonnette says, unintentional, but nevertheless highlights the synergy that flows through these songs. Then take “Death Machine”, for instance – the song distills the current environmental and political crises propelled by a capitalist society into one minute 53 seconds of jittery, feel-good, punk rock urgency, in only the way that AJJ can do. “The Baby Panda” – despite spitting a horrific truth about what humankind has done to the planet, is an enjoyable singalong anthem. And the title track “Disposable Everything” spells out the damaging impact of late capitalism while still shimmering with hope. There are moments of pure levity, too—in the humor of “White Ghosts”, the self-aware wordplay of “Schadenfreude” and the offbeat romanticism of “Candles of Love”. Combined, it all offers a quintessentially AJJ-esque vision of the world, which Bonnette, both jokingly and seriously, refers to as like “The Beatles on bath salts.” As the lilting “In The Valley” brings the record to an end, it defies—save for one ominous moment—the reality of the present moment, transforming its chasm of nothingness into something resplendent. It’s a powerful final statement that renders Disposable Everything anything but. Rather, it’s a vital, important and beautiful album that’ll make you feel better about everything while telling you just how terrible everything is.

Bonnette has a simple explanation for that paradox. “And maybe where some sort of hope can be is within love, because no matter how fucked the world can get, people can love each other still.” That AJJ are still able to offer up their unique brand of humor and irreverence as a solution to the world’s ills almost two decades into their career isn’t lost on them, either. “I didn’t ever expect AJJ to be what it’s become,” says Gallaty, “but I’m really happy with it. Some of my favorite people play in the band, and the whole larger community we get to be part of just blows my mind. It’s honestly hard to imagine a life without it.”

LISTEN to Cursive :: https://open.spotify.com/artist/1sylmUjlKYsLA49YtkNHW3?si=Whk_va_TSUy0saRF_f4MVQ

LISTEN to AJJ :: https://open.spotify.com/artist/4IDpDJIDfK96HMLD4Tphyl?si=LF_aQJ50RaaUkux3KGAGjw

CURSIVE w/AJJ (duo)

The Recluse

Cursive

BACK TO THE SCENE :: EMO/POP PUNK NIGHT!!!

**ABOUT BACK TO THE SCENE ::**

An emo throwback party!

Live out your main character moment like it’s 2006 all over again.

Sing, scream, and dance to the sounds of My Chem, Paramore, Fall Out Boy & more.

This is the scene revival you’ve been waiting for.

BACK TO THE SCENE :: EMO/POP PUNK NIGHT

Appearing IN PERSON, XOLEX w/very special guest LIV MCNAIR!!!

**ABOUT XOLEX ::**

XOLEX is a rising singer-songwriter from Iowa, blending heartfelt storytelling with a bold, modern country pop edge. Known for her expressive vocals and honest lyrics, XOLEX crafts songs that explore love, resilience, and self-discovery. Drawing inspiration from her Midwestern roots, she fuses organic melodies with cinematic production, creating a sound that feels both intimate and empowering. With her authentic voice and fearless creativity, XOLEX is quickly emerging as one of the most exciting new artists to watch.

LISTEN to XOLEX :: https://open.spotify.com/artist/0KY3tpbVniKEJHmU2jHLhx?si=q4Z0C2tOSsas7u1mobJpMA

LISTEN to Liv McNair :: https://open.spotify.com/artist/6rN6kAEiwwLnG8rlm5MjOH?si=gGOeCWkVSEahKJpr0BUGNw

XOLEX w/LIV MCNAIR

XOLEX

Appearing IN PERSON, THE JACK WHARFF BAND w/very special guests!!!

LISTEN to The Jack Wharff Band :: https://open.spotify.com/artist/7Hw6prEoT6M58ChR8A1Rlz?si=B_wfWPF7SZeZvcvruVZQ9g

THE JACK WHARFF BAND

Appearing IN PERSON, SUN CENTAURI w/very special guests JACK LION!!!

**ABOUT SUN CENTAURI ::**

Sun Centauri is a pop/R&B collaboration featuring soulful vocals from Alyx Rush and wavy production from Jim Swim. Whether conjuring summer bops or midnight laments, the duo prioritizes emotion through experimental sound design, harmony stacks, and live instrumentation. Their songs are moody, expansive, and memorable, evolving dynamically from section to section with dramatic transitions and pay-off moments that can evoke the ache of soon-to-be-lost love or the thrill of a new infatuation with equal potency.

The duo released two collaborative EPs under their individual names (Fruit to the Knife and After the Last Time), and their debut Sun Centauri project, FLUX4D is out now.

**ABOUT JACK LION ::**

Jack Lion’s members unearth the early ’00s interest in connections between jazz and electronic music and refashion it for this current era. Striking a balance between jazz composition, down-tempo break-beats, and hazy atmospherics they have made their mark as one of Iowa City’s headiest and most adventurous bands.

LISTEN to Sun Centauri :: https://open.spotify.com/artist/2xyrlz10X2j0hEezjLakeR?si=8ERU8StjSbK3DmDr7-enuQ

LISTEN to Jack Lion :: https://open.spotify.com/artist/1qIY86DubgqRXkXHD2laEX?si=u3wIHOhKQjuVG6rqD6HogQ

SUN CENTAURI w/JACK LION

Appearing IN PERSON, LAID BACK COUNTRY PICKER w/very special guests!!!

**ABOUT LAID BACK COUNTRY PICKER ::**

Laid Back Country Picker plays good music and treats everybody right. He has played and recorded with Grammy winners. He has performed at the fabled Ryman Auditorium, Bonnaroo and Red Rocks. His show combines 70s guitar rock, honky-tonk and punk, all with hillbilly sensibility. His band features the powerhouse drumming of his silent partner “Honey”. In her curlers and moo-moo, Honey has no time for foolishness. LB attracts fans from many genres, including rockabilly, punk and metal, as well as more traditional country and rock and roll purists. He has toured the nation and can be heard regularly on Sirius Outlaw Country. Rejecting the modern for the surreal, Laid Back and Honey deliver a unique musical experience.

Johnny Knoxville called Laid Back his favorite new band!

LISTEN to Laid Back Country Picker ::

LAID BACK COUNTRY PICKER

Laid Back Country Picker

Appearing IN PERSON, ADAM WEINER aka LOW CUT CONNIE (SOLO) w/very special guests!!!

**ABOUT ADAM WEINER ::**

The best live rock n roll band in America" - this is how NPR recently described Low Cut Connie. Since 2010, Philadelphia-based frontman / songwriter Adam Weiner has released 7 highly-acclaimed studio albums under that name and earned a devoted fanbase that includes President Barack Obama, Sir Elton John & Bruce Springsteen. In 2024, he released the award-winning documentary film ART DEALERS. He has received acclaim from The New Yorker (“Pandemic Person of the Year”), Rolling Stone, NPR's Fresh Air and appeared on Late Night with Seth Meyers, The Late Show with Stephen Colbert and PBS Newshour. His writing has been published in SPIN, Billboard, and Talkhouse. In 2026, he is touring venues across the US, playing his "Livin in the USA" show solo at the piano.

LISTEN to Low Cut Connie :: https://open.spotify.com/artist/4taNHtYxfIWIHu07FBw7ih?si=qIKweVeKTJKXs7t03WH6Ag

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