Mississippi Studios

Portland, OR based singer-songwriter, John Craigie, covers the entire Beatles album 'Rubber Soul' with his unique "Lonely" blend of wit, humor, history and stories told between each beloved song. Five special guests will open the show, each playing one non 'Rubber Soul' Beatles' song. 

Much like community, music nourishes us mentally, emotionally, and spiritually. It also invites us to come together under the same roof and in a shared moment. In similar fashion, John Craigie rallies a closeness around music anchored by his expressive and stirring songcraft, emotionally charged vocals, lively soundscapes, and uncontainable spirit.

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w/ Kimmi Bitter



Since the release of dada’s groundbreaking 1992 debut Puzzle, the trio has created an array of songs boasting progressive rock musicianship, dazzling vocal harmonies and melodic power pop layered with inspired psychedelic and experimental rock impulses. Adding to the trio’s groundbreaking line of attack are the marathon-length shows that deliver on the promise that every performance is the only one of its kind.

Three decades after the Los Angeles outfit embarked on its singular journey, singer-guitarist Michael Gurley, singer-bassist Joie Calio and drummer Phil Leavitt are celebrating dada’s 30th anniversary.

“dada is about digging into our roots, examining and celebrating it.” Says Calio.

Puzzle was released on September 8, 1992, and it didn’t take long for the band’s sonic imprint to find an audience. The album’s first single “Dizz Knee Land” found widespread airplay on alternative and mainstream rock outlets cracking the Top 5 on the Modern Rock Single’s chart and pushing the album’s sales to over 1,000,000 worldwide. The band was soon touring around the globe, opening for the celebrated likes of Crowded House, Depeche Mode and Sting.

“People always ask, ‘Do you still talk to each other after all these years?’ So that’s really why I wanted to commemorate it because no matter the size of the career if you can stick together and still have a desire to play music together you have accomplished something” explains Leavitt.

Dada was founded when Gurley and Calio began writing songs and performing as an acoustic duo in the late ‘80s. But from the beginning, their approach was unique amidst the onslaught of ‘90s bands featuring lead singers and mostly generic backing bands.

“Joie and I were both lead singers. But we really found quickly that harmonies were going to be a big strength for us,” recalled Gurley, noting both he and Calio are fans of Simon & Garfunkel’s pioneering harmonies.

Gurley noted that once they recruited Leavitt, they were able to blend the thunderous power of trios such as Cream with the artful harmony-minded songcraft of Simon & Garfunkel.


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With friends Holy Sons, Isaiah Mitchell, Laith and the Texas Birds and Mattress


Celebrating ten years of friendship, fuzz and foraging. Four records and three cities later, the band is still exploring new sounds. Friends and collaborators from the past and present will join the gang, jamming together and spreading love. Do join us! 




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Jeffrey Martin

On a small corner lot in southeast Portland, Oregon, Jeffrey Martin holed up through the winter recording his quietly potent new album Thank God We Left The Garden. Long nights bled into mornings in the tiny shack he built in the backyard, eight feet by ten feet. What began as demos meant for a later visit to a proper studio became the album itself, spare and intimate and true. Recorded live and alone around two microphones, Jeffrey often held his breath to wait for the low diesel hum of a truck to pass one block over on the busy thoroughfare. During the coldest nights, he timed recording between the clicks of the oil coil heater cycling on and off.

Martin's fourth full length album, Thank God We Left The Garden comes out on Portland's beloved Fluff and Gravy Records Nov __. He produced and engineered it himself, recalling, "There was a magic quality to the sounds I was getting in the shack with these two cheap microphones, some lucky recipe of time and place that allowed my voice and the way I play guitar and the shape of these new songs to come together with the kind of honesty I was craving."

Jeffrey Foucault 

Described as “Contemporary and timeless…” by THE NEW YORK TIMES, and “Quietly brilliant…” by THE IRISH TIMES, Jeffrey Foucault mines the darker seams of American music to create a haunting and visceral collision of rock, country, folk, and blues. In two decades on the road across the United States and Europe he’s released a string of critically acclaimed albums showcasing a tersely elegant brand of songwriting, moving seamlessly between full-throated rock’n’roll and plaintive, intimate solo pieces to inhabit the borderlands of heartbreak and memory.


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w/ Undeath, Jarhead Fertilizer & Final Gasp


The new wave of American death metal needs a breakout album, and Dark Superstition is it.

Gatecreeper’s third full-length sees the Arizona death metal specialists—vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown—carving out their own path. The band’s first album for Nuclear Blast is more concise, melodic, and memorable than anything they’ve done in the past. “We refined the song structures,” Mason says. “We’re getting better at what we do.”

Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016 and An Unexpected Reality (2021) which was released via Closed Casket Activities. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip.

In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described “stadium death metal.” It landed at number three on Decibel magazine’s revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner.

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w/ LASKA & Shanea


Hanna Glavor

Hannah Glavor is a Portland based artist with a cinematic range of indie rock revelry and raw folk spirit,clutched together by catching pop elements. She has been on the West Coast scene for the past decadesharing the stage and touring with a broad rangeof sound like Joseph, Y La Bamba, and Liz Vice.With her forthcoming album (Spring 2024) she has partnered with Portland producer Cameron Spies(Radiation City, Night Heron, The Shivas, Reptaliens) to co-produce a solidly indie rock anthemicmasterpiece; each song standing confidently on its own.Blending lush soaring vocals over guitar solos, soulful bass runs, and tight drums; she pulls in sonicreferences from 90’s and early aughts legends like the Cranberries, the Strokes, and Radiohead as wellas present day bands like Soccer Mommy, Julia Jacklin and TOPS for an altogether new but familiarcollection of songs.With “So Far, So Long” (2020) Hannah beckoned a new chapter of sound distinct from her former indiefolk and gospel days with her partnership with the analog masters at Mason Jar Music in Brooklyn, NewYork (Feist, Fleet Foxes, Big Thief). Her evocative lyricism, intimate vocal delivery, and enthrallingarrangements conjure a compelling and eclectic blend of comparisons from Faye Webster to Fleet Foxesto Feist to Metric


LASKA 

The songwriters in question are Hannah and Mookie Morton. The work in question? That one takes a little more juice. Sometimes their work presents as harmonies and melodies meticulously placing themselves like the careful legs of a balletic spider in awe of its own symmetry and progress. Sometimes their work arrives as an overdue outpouring. Starting somewhere in the body - ecstatic as the seed of a pure and wordless truth, then erupting as a cathartic yawp. Bonded by blood, forged in psychic battle, sisters Hannah and Mookie channel their lived in experiences into music that glides through genres like a canoe on a quiet lake. Stage tested and bad to the bone. LASKA is the sound you hear when you're inside of an indelible memory. They are currently based in Portland, Oregon and are backed by Steve Harrington on bass and Kai Nealis on drums.







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w/ Red Dons & Puerta Negra


Generacion Suicida started as a side project in a garage circa 2010, but since then has continued to blow the doors open for Latin American punk by continuously writing, recording, and releasing some of the best up-beat punk to date.

G.S. is well versed with both male and female vocals, harmonizing melodic song structures while keeping it short and to the point.

Since their inception in 2010, G.S. has accumulated a fairly vast discography with 16 releases in total. Renowned for their energetic live performances and relentless global touring, Generacion Suicida continues to push forward, existing as 4 friends Tony, Kiwi, Mario, & Elias who together Love punk and pushing the boundaries of what is possible within the DIY music scene.

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w/ Font



Yard Act

What do you do when everything you’ve ever wanted suddenly lands in your lap, but the questions still keep on coming?

Since first steering their golden Rover into swift public acclaim back in 2020, Leeds quartet Yard Act have become one of the great indie success stories of the decade so far. Along the way, they’ve ticked off milestones ranging from a Number Two chart placing and Mercury Prize nomination for debut album ‘The Overload’, to a co-sign from Elton John who joined the band to guest on a string-laden reworking of album closer ‘100% Endurance’. 

Yet, whilst the band’s trajectory continuously shot upwards, vocalist James Smith and his wife had also welcomed in a son. And it’s this duelling sense of responsibility and ambition, guilt, love, drive and everything in between that forms the narrative backbone of brilliantly exploratory second album ‘Where’s My Utopia’. 

Written in snapshots of time between a relentless touring schedule, and produced jointly by the band and Gorillaz’ Remi Kabaka Jr, the quartet’s second act is a giant leap forward into broad and playful new sonic waters. “The main reason that ‘post-punk’ was the vehicle for Album One was because it was really affordable to do, but we always liked so much other music and this time we've had the confidence to embrace it,” James explains. Across the record, influences ranging from Fela Kuti to Ennio Moricone via Spiller’s ‘00s pop smash ‘Groovejet’ make themselves known.

It’s a celebratory palette upon which Smith allowed himself to reach lyrically deeper into himself than ever. Gone, largely, are the outward-facing character studies of yore, replaced with a set of songs that stare fully into the headlights of life, wrangling with the frontman’s own fears and foibles to create a sort of Promethean narrative - but with jokes. “You can commit to the idea that we’re just animals who eat and fuck and then we die, and that’s fine,” he suggests. “But for me, creativity always seems to be the best way of articulating the absolute minefield of what human existence is.”

Font

Font started playing shows in Austin in the spring of 2022. By the time they released “Sentence I” that November, their frenetic, collagist live shows had gained enough notoriety to regularly fill rooms. They draw inspiration from art rock, dance music, post punk, disco, and electronic music. “Font believes that ‘the medium is the message,’” writes Mars Salazar in the Austin Chronicle, “…culminating in this radical act being a favorite among other musicians in the underground scene.” Font is composed of Thom Waddill, Jack Owens, Anthony Laurence, Logan Wagner, and Roman Parnell.


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w/ Another Glory


A man armed only with a banjo and a bass drum can be a formidable force, especially if his name is William Elliott Whitmore.  With his powerful voice and honest approach, Whitmore comes from the land, growing up on a family farm in Lee County, Iowa.  Still living on the same farm today, Whitmore has truly taken the time to discover where his center lies, and from that he will not be moved.

Whitmore has repeatedly carved his own path, honoring the longstanding tradition of folk music throughout his nearly 20 year career, while always allowing his blues, soul and punk rock influences to shine through.  Getting his first break opening for his friend’s hardcore band with just a banjo in hand, he would discover bands like The Jesus Lizard, Bad Brains, Lungfish and Minutemen and soon learn to play his own brand of rural, roots music with that same DIY ethic.

William Elliott Whitmore has been back and forth across the United States and to cities around the world.  He’s toured with such diverse acts as Frank Turner, Trampled By Turtles, Clutch and Chris Cornell to name a few.  He’s appeared on some of the biggest stages around the world including Stagecoach Fest, Byron Bluesfest (Australia) and End of the Road Fest (UK).  His willingness to take his show to any playing field has proved invaluable as he turned strangers to diehards with every performance

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Maggie Winters is a Chicago-fried comedian turned internet personality best known under the moniker @saggiesplinters. With training through both Second City and iO Chicago, Maggie quickly transitioned her talents from the stage to online where she immediately amassed thousands of followers through her unique online characters. In the live space, Maggie is credited with performing with the likes of Colin Jost, Meg Stalter, Hannah Einbinder, Matt Rogers, and Paul F Tompkins. 

 

In 2023, Maggie was named as a Stand-Up New Face at the 2023 Just for Laughs Festival [hollywoodreporter.com], and made her TV debut recurring on Season 3 of THE RIGHTEOUS GEMSTONES (HBO) opposite Adam Devine. She then concluded the year by being included as one of Vulture?s Comedians You Should & Will Know 2023. [vulture.com].

w/ Kroy

Music has always been around Margaux Sauvé, born in Quebec to a family of musicians; she picked up the violin at the tender age of five. Moving on to the Conservatoire in Quebec, she quit due to “missing the fun part of it” but still loved music so started to play violin in local bands. Singing came a bit later as she thought that “to be a singer you had to have a powerful voice and be loud”, something that doesn’t come naturally to her as a quiet, thoughtful person. Alongside this, the pop music on the radio whilst growing up in Quebec wasn’t connecting with her, so it wasn’t until she started to write music whilst studying psychology at University that the creativity and desire to express revealed itself: “it just opened a completely new path for me”. 

Writing music as Ghostly Kisses arrived at a moment where Margaux was in “a living situation I was not able to get out of. A toxic relationship where I had a hard time understanding what was happening.” With this knowledge, it is understandable that most of her early music has a sorrowful but exploratory mood; knowing there were things she needed to express, but not understanding quite how instinctively she was writing until years later it became apparent what she was singing about.
And now, with ‘Heaven, Wait’, her mesmeric debut album ready for release, her songwriting has developed to the point that this is the first time she has written and felt like she was part of the conversation. Able to view herself with an external eye, the album reflects transitions and rebirth - still talking about difficult situations, but with the ability to cast someone else in the lead role, giving the music a deeply personal yet starkly universal appeal. One which Margaux feels has come from “a more mature, adult way of looking at it.”

Identifying key themes of the album, Margaux frames the album artwork within the context of the songs as being “from water towards the air, there’s a lot of dark around me and I’m just going through to the light.”  And that feels like the crux of the album, that nothing is perfect - there are always difficult situations, but it is about trusting the process and working hard towards something positive.

All the songs on ‘Heaven, Wait’ talk at some point about a transition or a relationship she had to work on, not wanting to be stuck in a situation forever. Whilst the story of the album is an intensely personal journey, it’s the first time we find Margaux writing about excitement and desire. We also hear her develop as an artist with liberating songs that can be danced to amongst the darker, more melodramatic songs she has built her name on.



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w/ Ilyas Ahmed

WithTime is Glass,Six Organs of Admittance is captured once again in the intricate tangle oft he fretboards, soaring in open skies above. Like lens flare cutting through the speakers; spider-webs cracking the windshield that holds back all the onrushing reality. Blowing the dust away,cutting a new path for cognition. As is always endeavored....After 20 years of living on the road in different places,Six Organs of Admittance had returned home to Humboldt County—a far country, to some, but still part of the world through which creatures of all kinds are moving through and con-tributing to. And some of them are human. Alone together—forming connection and exchange ou tof thought and expression—no different from the people on the other side of the Redwood Cur-tain. It was there, whereSix Organs had long ago emerged, in the name of everything cycling,of circles that spiral concentrically and remain unbroken, the new music was conceived.In moments, it was as if the future had some-how wrapped around 360 degrees; elsewhere,t he systems and patterns inside the writing andrecording only became evident later—like a rec-ognition that cumulus and nimbus clouds which passed through the sky the day before contained familiar shapes. Informing the songs accordingly as he went, Ben picked up on modes both musi-cal and lyrical, threading backward through the time ofSix Organs of Admittance. Almost mar-inating in it as a way of life. Working on the music and the vocals, then spending some time with them while stepping away from them. Walking thedog and coming back to them.Time is Glass is made of that kind of time. Alone time



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w/ Whisper Hiss


J. Graves
J. Graves is passionate dance-punk. Tense relationship rock, sanguine lyricism, guitar music, chord changes that sound like secret longing, a rhythm section that thuds, skitters, and melts over the determined voice of Jessa Graves. The heat of the cataclysm gives off a vapor known to galvanize meatspace into writhing, dancing heaps, creating rabid, loyal fans. Joined by Kelly Cifton, perhaps the best bassist (and certainly the most exciting to watch), and the unassuming Aaron MacDonald, who would be a watchmaker --for his distinct timing and style, were he not a drummer, J. Graves is back with a timely, haunting and reimagined single, LEAP YEAR II a strong return following their crushing new LP Fortress of Fun, a first of its kind, choose your own adventure record.


The Cabin Project
A group of all women and non-binary Portland-based musicians - is a musical hybrid of orchestral folk, rock, and indie. The band’s sound stems from haunting choruses, harmonies, and orchestral elements. American Songwriter calls the band’s sound "...reminiscent of the kind of intimate space created by artists like Bon Iver. The group uses traditional orchestral and choral methods to create a track that is inexplicably modern, heavy, and pop at the same time."  Sonically expansive, but heartfelt and intimate, The Cabin Project has used the last 14 years of writing and performing together to hone a sound all their own. This show will be a special Queer Joy addition to PDX Pride month! TCP will be sharing new artwork, some queer tribute video, and new songs.


Whisper Hiss
Whisper Hiss is a four-piece queer post-punk band from Portland, Oregon. Their sound is an irresistible mix of mood and dance beats, with songs that drip with glitter and emotion, voicing both feelings of urgency and the reverberance of stepping into your own personal power. 


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Boundary-shattering breakout star, BRELAND is pushing the possibilities of Country music on a global scale. Since the arrival of his PLATINUM-certified debut single “My Truck,” the New Jersey-bred singer/songwriter/producer has amassed over 1.1 BILLION career streams, brought his crowd-thrilling live show to an international headline tour, and gained acclaim from many of the world’s leading music publications (with Rolling Stone hailing him as “a symbol of Country music’s ongoing evolution” and Billboard calling him a “keen, visionary solo artist”). On his critically acclaimed 2022 debut album CROSS COUNTRY, the Bad Realm Records/Atlantic Records/Warner Music Nashville artist introduced a high-energy sound that blurs the barriers between Country, Pop, Hip-Hop, Soul, and Southern Gospel, offering up smash hits like the GOLD-certified “Praise The Lord (feat. Thomas Rhett).” A blockbuster year for BRELAND, 2023 included such triumphs as teaming up with superstar Keith Urban to open the 16th annual Academy of Country Music Honors by performing their GOLD-certified collaboration “Throw It Back” and — immediately following the performance — receiving the ACM Lift Every Voice Award, recognizing his role in “elevating underrepresented voices throughout the Country music genre, transcending demographics and geography.” Released in September, CROSS COUNTRY: THE EXTRA MILE delivered a star-packed bonus version of his full-length debut, with the expanded album’s six fresh tracks including a brand-new feature with Brittney Spencer as well as longtime live favorite “Cowboy Don’t.

VIP - Cross Country Experience
Includes:








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There is a question at the heart of “Faith Crisis Pt 1”, the third album from Sydney’s emotive indie trio Middle Kids. Over 13 propulsive, ecstatic and gorgeous tracks, songwriter and vocalist Hannah Joy attempts to tease out the question of belief; the breaking of it, and how it is rebuilt.

Co-produced by Tim Fitz and Jonathan Gilmore (The 1975, Beabadoobee), Joy and bandmates Fitz and Harry Day masterfully express the sensation of being overwhelmed, swept up and dragged down in songs that exalt and lift you higher.

“Faith Crisis Pt 1” is brimming with yearning, angst, pop brightness, belief in love and reassurance that even from the bottom, it’s possible to believe in beautiful things.

Middle Kids’ last album Today We’re The Greatest won Best Rock Album at the 2021 ARIA Awards. Released at the height of the pandemic, the album garnered the band several US TV show performances including Jimmy Kimmel Live, The Late Show with Stephen Colbert, and The Late, Late Show with James Cordon.

Middle Kids first gained attention in 2017 with their debut single, Edge Of Town and their debut album, Lost Friends, which won Triple J’s Best Australian Album Award in 2018. The success of their albums has also earned the band an international touring profile which has included supporting shows with the likes of Bloc Party, Kings of Leon, War on Drugs and Cold War Kids and festivals such as The Governors Ball, Lollapalooza, Osheaga Festival and many more.

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Okkervil River

Over the course of his career, Will Sheff has released ten albums that have given the front man of esteemed indie rock band Okkervil River a reputation as one of the greatest working songwriters in the country. As Sheff and his shifting lineup of players have traveled the world many times over, they’ve made fans ranging from Lou Reed to Barack Obama. Praised as “One of indie rock’s most ambitious thinkers” (Pitchfork), Sheff released his debut solo album ‘Nothing Special’ in 2022 to critical acclaim from The New Yorker, NPR, Uncut, Pitchfork and more…with The New York Times saying it “Harnesses both the glow of poetry and the gravity of hymns.”

The Antlers

The Antlers is both a band and the longtime musical moniker of Peter Silberman. 

In 2021 The Antlers released their first album in seven years Green to Gold, a bucolic record which Pitchfork described as “a post-rock orchestra playing around a campfire... the sound of hard-won peace of mind, rendered in the lightest brush strokes.” 

The release was followed by the Losing Light EP, a reimagining of four tracks from Green to Gold. Silberman also co-produced Wild Pink’s 2022 album ILYSM, marking his first foray into producing a record for another artist outside of the context of The Antlers or his solo work.

Over the course of 2023, The Antlers released a series of stand-alone singles “Need Nothing,” “Tide,” “Rains,” and “I Was Not There.” Along with a reworking of “Ahimsa” from Silberman’s 2017 solo album Impermanence. 

Silberman’s most recent project Cowboy Sadness - a collaboration between David Moore (Bing & Ruth) and Nicholas Principe (Port St Willow) - released their debut album Selected Jambient Works, Vol. 1 in January of 2024.

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