Mississippi Studios

Originally formed in 1985 as a Black Flag-influenced hardcore punk band called Virulence, FU MANCHU has since become one of hard rock’s most celebrated names. The band released its first single “Kept Between Trees” in 1990 and in the years following, helped give rise to an iconic style of heavy music born out of the desert and tagged “stoner rock” alongside peers such as Kyuss, Monster Magnet and Sleep.

Since the band’s inception, the quartet has built itself a fanatical army of loyal enthusiasts all drawn to the group’s guitar-driven sound and carefree lyrics centered on “old muscle cars, choppers, vans, skateboarding and science fiction.” Over their career, the band has released 13 albums and has performed to sold out audiences all over the world.

2024 marks another first for the “fuzz rock” pioneers with the release of their 14th album, The Return Of Tomorrow, their first double album of new material. Conceived as vinyl listening experience, the first LP features 7 songs in their iconic heavy fuzz sound including the first single, “Hands Of The Zodiac” and the relentlessly catchy “Loch Ness Wrecking Machine.” The second LP sees the band mellowing out with 6 slower tempo jams including the synth inflected “Solar Baptized” and the title track. Both LPs are 45RPM for the thickest possible sound. Digital listeners need not worry, as the CD, download and streaming versions of the album are mastered specifically for those formats.

In the 6 years since their last album of new material, Scott Hill, Brad Davis, Bob Balch and Scott Reeder released a live album, 6 reissues, 3 new EPs and the soundtrack to Glen E. Friedman’s documentary, A Look Back - Dogtown & Z-Boys, in addition to a rigorous touring schedule. The Kings of The Road aren’t slowing down anytime soon.

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MOSTLY STANDING / LIMITED BALCONY SEATING

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GENERAL ADMISSION & FULLY SEATED

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Rooted in Portland, Oregon, this fearless foursome has boldly paved a lane of their own design. Daring to shift the paradigm, the quartet blends a myriad of styles seamlessly into a forceful singularity of sound, bound to captivate and inspire. Outside of their own magnetic and spirited live performances, greaterkind has shared stages with the likes of MonoNeon, Judith Hill, Ghost-Note, Brian Jackson and The Hamiltones. On the brink of releasing their own debut record this summer, the band continues to humbly trek into fresh musical territories with both spunk and soul. 

This event is made possible in part with the support from the Regional Arts & Culture Council and KMHD.

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MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

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w/ Methods Body

Colin Stetson

It was at university that Stetson first began playing regularly, “searching, reaching, and exploring the instrument” with Transmission (later Transmission Trio), before heading to San Francisco after graduating and, six years later, Brooklyn. Contributions were made to other artists’ recordings, not least Tom Waits’, and he made his own lowkey records too. It wasn’t, though, until 2007 that his breakthrough album, New History Warfare Vol. 1, was released, and this coincided with his drafting by Arcade Fire, with whom he’d play until 2010. That year he moved to Montreal to join his future (but now ex-) wife, the band’s Sarah Neufeld, with whom he recorded 2015’s Never Were The Way She Was, and the following year he released Sorrow, an extraordinary reimagining of Gorecki’s legendary Symphony of Sorrow. In-between he completed the New History Warfare trilogy, a virtuosic illustration of the “world-building”, as he calls it, that’s critical to much of his solo work, while 2017’s All This I Do for Glory consolidated his reputation, earning multiple nominations for critics’ Album of the Year lists. 

Colin Stetson’s recorded output, not to mention studio and live collaborations – with, among others, Lou Reed, LCD Soundsystem, The National, Chemical Brothers, Bon Iver and Bill Laswell – has proven as prolific as it’s praiseworthy. Since the 21st century’s early years, he’s gained a well-deserved reputation as an exceptional musician, his devotion to craft consummate, his commitment to innovation indisputable. Known for assertive, powerhouse performances on the saxophone – chiefly bass and alto, but also soprano, tenor and baritone – for many years he was a wrestler, a sport whose “insane physical extremes” he credits with his style, alongside, among other things, a love for acts like Pixies and Fugazi. He’s similarly at home, though, whatever the musical context, on clarinet, flute, French Horn and cornet. One might even say he operates in a field all his own.

Methods Body

Methods Body (Portland, OR) creates original sound art using custom tuning systems, polyrhythms, and the cadences of language. John Niekrasz (percussion, voice) and Luke Wyland (keys, electronics, voice) employ musical and technological strategies that force them to break old habits and patterns. Extrinsic song forms and standardized meters fall away, leaving subliminal melodies and deep, uncanny grooves. Methods Body treats time as a physical substance that can be sculpted to alter the listener’s emotional experience. Wyland channels his life-long stutter into a music of broken speech. There are lost languages in this music—it is haunted by artifacts the musicians can’t always explain. Methods Body has released two critically-acclaimed records, Methods Body (2020 New Amsterdam Records/Beacon Sound) and Plural Not Possessive (2023 Beacon Sound), demonstrating the duo's hallmark microtonality, cyclical rhythms, world-building intricacy, and unmistakable collaborative chemistry.



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MOSTLY STANDING / LIMITED BALCONY SEATING

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w/  The Mistons & Black Shelton and The American Dream 



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MOSTLY STANDING / LIMITED BALCONY SEATING

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The Last Revel is a four-piece folk group from Minneapolis, Minnesota. Utilizing their multi-instrumental abilities, members Lee Henke, Ryan Acker, Vincenzio Donatelle and Lauren Anderson (they / them) bring a full spectrum of modern Americana to life with lush arrangements of four-part vocal harmonies, acoustic guitar, upright bass, fiddle, and 5-string banjo to consistently support impassioned performances of their honest and heartfelt songwriting. Drawing influence from their salt of the earth Midwest ethos the band’s songs so naturally blend the genres of Folk, Old Time String-Band and Indie Rock to create a sound that echoes the current heartbeat of America. 

Their latest release, Dovetail, highlights each member's strength as songwriters and collaborators, and further solidifies their musical foundation after a hiatus beginning in 2019. Self-produced and released under the bands own label, Sheep Sheep Records, Dovetail is the band's fifth studio album. 

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MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

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John Jagos began his musical journey in 2009 by experimenting with his own electronic productions in his college dorm room. After uploading a few of his early creations to MySpace, he quickly attracted prominent music blog attention from outlets like Pitchfork and No Pain in Pop and found himself amidst the style of electronic pop sometimes referred to as chillwave. "The music I was already making was fitting into that vibe," he recalls. Eleven years into his career, Jagos has refined his productions and evolved the Brothertiger sound into a blend of hi-fi electronic-indie, new wave and nostalgic synth-pop. 

Jagos released two albums—2012's Golden Years and Future Splendors in 2013—on electronic label Mush, which counts Bibio and Daedelus in its stable; in 2015, Jagos went full-on independent by self-releasing his third album, Out of Touch, which features the stand out “High Tide.” Since then, he's busied himself with touring and releasing a Tears for Fears cover album (of which Tears for Fears said, “His ‘Mothers Talk’ is better than ours”), 2019's A Chain of Islands EP, four instrumental albums (Fundamentals Vol. I-IV) compiled from his bi-monthly livestreams, as well as 2020's Paradise Lost, his first studio full-length in five years. 

2021 was a prolific year for Jagos. New singles “Heaven,” “New Life,” and "Dancer On The Water" showcase a poppier musical direction in contrast to the darker, more self-reflective temperaments of Paradise Lost. A cover of the overlooked ‘80s gem “Torn Open” by Sophie and Peter Johnston arrived in early 2022 with guest vocals from guitar virtuoso Yvette Young. Now with new remixes in by a handful of the most exciting names in electronic and experimental music (CFCF, Fire-Toolz, and Ecovillage), Jagos is teasing at more exciting news on the horizon and proving that he has plenty of unique and tantalizing territories yet to explore.



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MOSTLY STANDING / LIMITED BALCONY SEATING

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For nearly three decades, WHY? have thrived in subverting expectations. Across seven unpredictable and adventurous studio albums, the band led by Cincinnati songwriter Yoni Wolf has stretched the fringes of psychedelic pop, hip-hop, and electronic music. No matter the genre experiments and thematic departures, their discography is remarkably consistent, anchored by Wolf’s disarming lyrical transparency. His writing is provocative, self-lacerating, and always considered, coming from a place of blunt emotional openness. The Well I Fell Into, the eighth full-length from WHY?, is Wolf at his most cohesive and poignant. An autopsy of heartbreak, the album charts the ups and downs of a devastating breakup while trading bitterness for healing. Self-released on Waterlines, Wolf's new label that follows in the footsteps of Anticon, the trailblazing artist-run collective he co-founded, its 14 tracks stand as the band’s prettiest and most immediate work yet.

“Making a WHY? album is an opportunity for me to button up a period of my life,” Wolf explains. “I’m bad at realizing how I feel or how something is affecting me in the moment. Things just sit inside me, but writing is a way to really take stock.” Though the dissolution of a years-long relationship inspired Wolf to start writing, he considers The Well I Fell Into autofiction, a chance to interrogate his grief and his journey to acceptance rather than to air out the real-life details of a painful loss or pick at emotional scabs. “This is not a bitter kiss off,” he says. “While the songwriting was cathartic, I can see my life beyond some story or mythology I’ve cornered myself into artistically. I’m not getting stuck in sentiment like I might have in my 20s.”

The songs on The Well I Fell Into often feel like vignettes, jumping around time and offering glimpses into the turbulent emotions that come from personal upheaval. Songs like “Brand New” find Wolf navigating indecision over delicately plucked acoustic guitars as he sings, “Is it me / do I fight or flee? I do /  But I need to be brand new.” Elsewhere, tracks like “When We Do The Dance” capture the bittersweet nostalgia of remembering better times, while the ruminating “Marigold”—which kicks off the record after the intro—ruefully embraces finality. Though most of the material was written between late 2021 and early 2023, the musical origins of grimly loping “Jump” date back at least seven years. Buoyed by a mournful piano arrangement, Wolf sings, “My nowness has waned / It takes valor to change / out of a pattern of shame / extract the air from the flame.” This is an album concerned with losing your sense of self and your attempts to recapture it.



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MOSTLY STANDING / LIMITED BALCONY SEATING

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The Holdup is the musical project of Michael Garmany. Coming from San Jose, CA, he has built

a cult following writing and producing his own brand of groovy, melody driven, pop music,

borrowing influences from R&B, reggae, and hip-hop. Often mistaken for a group, The Holdup

has been a one-man labor in the studio, with Garmany writing, producing, performing and

engineering everything you hear on his albums. His catchy hooks and unapologetic lyrics have

helped him sell out mainstay venues, such as The Roxy & El Rey Theatre, across the U.S. as

well as clock in over 150+ million worldwide streams and counting…

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MOSTLY STANDING / LIMITED BALCONY SEATING

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Reid Genauer is a revered singer-songwriter known for his work with Assembly of Dust and Strangefolk. With a professional music career spanning over two decades, Genauer has established himself as a prominent figure in the folk rock scene, captivating audiences with heartfelt songcraft and soulful performances. Assembly of Dust, formed in the early 2000s, has garnered widespread acclaim for their dynamic live shows and intricate musical stylings, cementing their status as one of the most admired bands in the genre. From acoustic gun slingers to electrifying live performers, Genauer and Assembly of Dust inspire audiences with timeless music and unwavering dedication to their craft.

Assembly of Dust 2024

• Reid Genauer (Vocals/Guitar)
• Scott Law (Guita)
• John Leccese (Bass)
• Dave Diamond (Drums)

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MOSTLY STANDING / LIMITED BALCONY SEATING

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Please note, when selecting the Print at Home or Mobile Delivery method, you will not have access to view your tickets until 14 days prior to the performance.


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MOSTLY STANDING / LIMITED BALCONY SEATING

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w/ Art School Girlfriend



Marika Hackman

Songwriter and multi-instrumentalist known for her emotionally honest and personal lyrics, Marika Hackman first made a name for herself with a spare, acoustic-oriented approach. Receiving acclaim for her musical talent, lyrical depth, and unique style, Marika has been recognized through interviews, reviews, and profiles in publications like The Independent, The Guardian, Pitchfork, Dazed, The New York Times, KEXP and Stereogum. 

Art School Girlfriend

Hailing from Wrexham, North Wales and currently residing in East London, Polly Mackey has been making music as Art School Girlfriend since her debut EP in 2017. Combining organic instrumental textures with blue-hour tinged electronics, the producer/multi-instrumentalist has released two acclaimed albums. With 2021’s Is It Light Where You Are, Mackey captured a long-term breakup in vast sonic landscapes, skittering beats and diaristic lyrics. She followed this with 2023’s Soft Landing – a gauzy, liminal take on finding joy and contentment, described by Pitchfork as an “intimate and adventurous second album… guitars are processed to sound like synths, synths function like lead guitars, and drums flip between electronic and acoustic”. Mackey spent the last year touring and building her own studio, which has become a creative hub for both her own music making and working with other artists and bands; her third and upcoming record will be a product of her new space, with fresh music expected in Autumn 2024.

Please note, when selecting the Print at Home or Mobile Delivery method, you will not have access to view your tickets until 14 days prior to the performance.


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MOSTLY STANDING / LIMITED BALCONY SEATING

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w/ Daffo & Maddie Ross

After years of uncertainty including label disputes, unpaid royalties and a surprise (and successful) album drop,And she is ready to make some noise.  Her new album Let Me Do One More is three years in the making and Tudzin’s most defiant and accomplished record to date. Let Me Do One More is out now via Snack Shack Tracks (in partnership with Hopeless Records.)

After the success of her debut album, Kiss Yr Frenemies, and coining the term “tenderpunk,” illuminati hotties were on their way to recording and releasing a highly-anticipated sophomore album. However, things at the label started to fall apart, and illuminati hotties found themselves stuck in a contract with a label who didn’t have the infrastructure to put out the album the band had been crafting for months. “It felt like any momentum came to a screeching halt. It felt painful to pick up a guitar, to write, to record any loose ends that needed to happen to wrap up the album,” Sarah recalls. 

With the emotional turmoil and uncertainty building over the label situation, Tudzin turned her focus to a new batch of songs that would become FREE I.H. Funneling all the raw feelings and letting go of any inhibitions, illuminati hotties released the collection of songs, carefully not defined as the “new album.” The critically-acclaimed, fan favorite, release closed the chapter on the label drama, and opened up the band musically to a whole world of possibilities.   




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MOSTLY STANDING / LIMITED BALCONY SEATING

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Please note, when selecting the Print at Home or Mobile Delivery method, you will not have access to view your tickets until 14 days prior to the performance.


ALL SALES ARE FINAL. PLEASE, DOUBLE CHECK YOUR ORDER BEFORE PURCHASING. NO REFUNDS.

MOSTLY STANDING / LIMITED BALCONY SEATING

THIS EVENT IS 21+

VALID US OR CANADA ID REQUIRED FOR ENTRY. GUESTS TRAVELING FROM OUTSIDE US/CA MUST PRESENT A VALID PASSPORT.