Mississippi Studios

w/ Emi Grace



The origins of Winnetka Bowling League started with an existential crisis. While singer and guitarist Matthew Koma’s childhood was spent listening to Elvis Costello andSqueeze and growing up in the East Coast hardcore and punk scenes, most of his adult life found him writing songs for electronic musicians and pop stars. Drawn to the rock music of his youth, in 2018 he started Winnetka Bowling League with his brother Kris Mazzarisi on drums, Sam Beresford on keys, giving him the freedom to explore what hetruly loved about music. The band’s 2018 self-titled debut EP kickstarted a prolific streak of singles and EPs through 2023 that included the viral songs“On the5,” “CVS,”and“Slow Dances.”On each release Winnetka Bowling League display a penchant for masterful melody-making, sardonic lyrical specificity, and a profound sense of rock’n’roll timelessness. Their most recent offering,“Sha La La”is no exception.



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w/ Rachel Baiman







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Ezra Bell was founded by Benjamin Wuamett and friends late in the summer of 2013. It was warm enough to sit on the porch into the evening and learn a couple of songs. A lap drum, a banjo and an out-of-tune guitar. Since then the cast of characters involved have moved around a bit. Having just finished their eighth studio album, they’ll wander around a bit and see if anyone likes it.



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MSHR is an art collective that collaboratively builds and explores sculptural electronic systems.

Their performances and installations integrate electrical signals and human presence, weaving dense networks of causality to form audiovisual environments that babble and flicker with a life-like current.

They explore intuitive and technical gradients between sonic and sculptural forms, using analog circuitry and open-source software to sculpt mutually resonant hyperobjects.



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Magic Sword is an ageless tale of good and evil told through an ever expandinggraphicnovel with each volume accompanied by an original, synth-heavy soundtrack as well asimmersive live performances. With the three mediums intertwined from conception,together they create an epic experience for those bold enough to bear witness andcome away with a deeper understanding of the ultimate hero’s journey. Armed with amusical and visual aesthetic that has its roots unabashedly buried deep in the goldenera of ‘70s and ‘80s fantasy and sci-fi, Magic Sword’s followers are called to anotherplane of existence where the struggle between light and shadow becomes all too real.The multiverse has aligned to bring the people of the land together for the birth of theiralbum Endless, followed by a tour of the realm searching for the greater good.The Immortals are:The Keeper of the Magic Sword – red, keyboardsThe Seer of All Truths – blue, guitarThe Weaver of all Hearts and Souls – yellow, drumsThe Immortals give a direct account of their vision:“In the beginning there was light... and darkness. A creation of perfect balance. As timepassed, evil spread over the land like a plague, slowly consuming everything in its path.In the final moments before light was lost to the shadow for all time, a weapon of infinitepower was created, the Magic Sword. Thus, restoring balance to the universe.The genesis of things are often small. As the single seed grows to a mighty oak, so toodid the path of the Keeper begin as a single choice in an age long past. Once a humbleking, they were manipulated into unknowingly unleashing the Dark One.All of realitywas torn asunder as the Lord of Shadow was released from their ancient prison, havingbeen bound only by the power contained within the Magic Sword.From that day forth,the King was cursed to be the immortal Keeper of this powerful key. He has beenrelentlessly compelled for millennia to find the Chosen One who will one day unleashthe true power of the weapon and cannot rest until the grand design is seen completewith the Darkness bound once again.



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w/ Small Paul


It’s obvious listening to Sarah Shook and the Disarmers’ clear-eyed, biting, and unafraid songs that integrity is the most important thing to the Chapel Hill, North Carolina, country-punk outfit. “A lot of artists are in this industry for fame, recognition, and money but those things don’t mean anything to me,” says bandleader River Shook. “Songwriting is it for me. It’s the only real healthy coping mechanism I've ever had. It’s life-saving. I don't care about any superficial things when I’m making a record.” On their resonant fourth album Revelations, produced by Shook and out March 29 via Thirty Tigers, these raw and resilient tracks come first. Throughout, Shook’s deft storytelling documents regular people getting by and keeping on, all presented without filter or pretension.

In 2022, Shook was remarkably productive. They released two albums: debut solo indie rock record Cruel Liars under the moniker Mightmare (Kill Rock Stars) and a third Disarmers full-length called Nightroamer (Thirty Tigers). Compared to every Disarmers record before that, which captured the in-the-room energy of the band with live recorded songs, the latter LP was instead more of a product of the studio with meticulous tracking sessions and an outside producer. While that effort was well-received, Shook believed the songs on Revelations deserved a more direct approach. “Since the Disarmers started in 2015, our strength has always been in our live performance,” says Shook. “To me, an album should capture the essence of a band. With this new set of songs that are all super special to me, I didn't trust anybody else to capture the songs and decide how to best serve each song.” Shook, who honed their production skills with their Mightmare LP and Izzy Ryder’s debut record, confidently took the reins during a blistering recording session, capturing 10 songs in two days.

For Shook, it was paramount the recordings match the band’s tangible live ferocity because these songs boast their most immediate lyrics yet. “All of my writing is autobiographical, and I write everything based on my observations and experiences,” says Shook. “But there was something about Revelations that felt more personal to me. I unlocked this level of honesty with myself and an ability to be more objective about the things I struggle with daily.” Take the title track, which finds Shook singing about the precariousness of navigating mental health under capitalism. Over a rollicking, twang-hued arrangement, they sing, “Black cloud followin' me around, little storm in my head / Some days I levitate off the ground, some days I can't get outta bed.” The track doesn’t preach or romanticize. Instead, it’s galvanizing and relatable.

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When Man Man released its last album, “Dream Hunting in the Valley of the In Between," frontman Honus Honus (né Ryan Kattner) was in a state of unrest, oscillating between hope and cynicism. Perhaps fittingly, the album ended up dropping during the pandemic. (We could all relate.) But much like that bizarre turn of global events, the ennui seems so distant now to Man Man’s creative force, whose revived sense of purpose washes through Carrot on Strings (out June 07, Sub Pop), his latest release, which radiates a mix of calm and confidence.

 

Kattner always embodied a wild-man pied-piper vibe: his melodic, art-rock output just unhinged enough that it was at once intriguing and angsty. He was so alluringly creative that you went along with it, even if you were never sure where Man Man would take you. Carrot on Strings is no less inventive, but its ethos is radical in context of the band’s two-decade, idiosyncratic career. “When I was younger, I would feed off of chaos. I would, you know, be upset and get drunk and smash chairs. Physically demonstrative of my emotions,” Kattner explains, “Now those chairs are in my head: It's less of an outward projection, more of an interior monologue.” 

 

The name “Carrot on Strings” came to Kattner while experimenting with the sound of someone munching on the vegetable, which you can hear in the cacophonous, almost similarly named title track. It refers to “the diagnosis of my career,” or how success always seemed to dangle uncertainly before him—life as a series of “almost maybe” opportunities to elevate things to a more sustainable tier. But listen intently, and you’ll hear a more content Kattner, making an uneasy peace with, “Life, as far as I’ve known it, has always been side hustles. Would it be great if I could go into a studio and record for a year without figuring out how to finance it? Yeah, it would be,” he says. “But ultimately, I need to keep making music because art is an extension of my psyche. It’s not about how I define myself or want to be perceived necessarily. It’s how I have learned to translate the palpitations of my heart. Or, simply put, I’d go insane without it.”

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Jah Wobble, born John Joseph Wardle on August 11, 1958, is an English bass guitarist, composer, and music producer. He gained prominence as the original bass player for Public Image Ltd (PiL), a post-punk band formed by former Sex Pistols frontman John Lydon (Johnny Rotten). Jah Wobble's distinctive bass lines and experimental approach to music have made him a notable figure in the world of alternative and world music. He has a vast back catalogue , including three big anthologies .  He still tours extensively with his band The Invaders of the Heart. He also tours performing Metal Box - Rebuilt in Dub.


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Etran de L’Aïr (or “stars of the Aïr region”) welcomes you to Agadez, the capital city of Saharan rock. Playing for over 25 years, Etran has emerged as stars of the local wedding circuit. Beloved for their dynamic repertoire of hypnotic solos and sun schlazed melodies, Etran stakes out a place for Agadez guitar music. Playing a sound that invokes the desert metropolis, “Agadez” celebrates the sounds of all the dynamism of a hometown wedding.

Etran is a family band composed of brothers and cousins, all born and raised in the small neighborhood of Abalane, just in the shadow of the grand mosque. Sons of nomadic families that settled here in the 1970s fleeing the droughts, they all grew up in Agadez. The band was formed in 1995 when current band leader Moussa “Abindi” Ibra was only 9 years old. “We only had one acoustic guitar,” he explains, “and for percussion, we hit a calabash with a sandal.” Over the decades, the band painstakingly pieced together gear to form their band and built an audience by playing everywhere, for everyone. “It was difficult. We would walk to gigs by foot, lugging all our equipment, carrying a small PA and guitars on our backs, 25 kilometers into the bush, to play for free…there’s nowhere in Agadez we haven’t played.”

From the days of the Trans-Saharan caravan in the 14th century to a modern-day stopover for Europe-bound migrants, Agadez is a city that stands at the crossroads, where people and ideas come together. Understandably, it’s here where one of the most ambitious Tuareg guitar has taken hold. Agadez’s style is the fastest, with frenetic electric guitar solos, staccato crash of full drum kits, and flamboyant dancing guitarists. Agadez is the place where artists come to cut their teeth in a lucrative and competitive winner-take-all scene. Guitar bands are an integral part of the social fabric, playing in weddings, baptisms, and political rallies, as well as the occasional concert.

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w/ special guest Robin Holcomb


Reared in Georgia and now settled in North Carolina, Jake Xerxes Fussell has established himself as a devoted listener and contemplative interpreter of a vast array of so-called folk songs, lovingly sourced from a personal store of favorites. On his latest album, When I’m Called—his first LP for Fat Possum, and his first as a parent—Fussell returns to a well of music that holds lifelong sentimental meaning, loosely contemplating the passage of time and the procession of life’s unexpected offerings. 

The album was produced by James Elkington and mixed by Tucker Martine. In addition to Elkington, it features the playing of Ben Whiteley (The Weather Station), Joe Westerlund (Bon Iver, Califone), and others. Blake Mills contributes guitars on several tracks. Joan Shelley and Robin Holcomb provide backing vocals. 

“…Fussell is the rare contemporary to approach folk in its pure form, shunning self-penned compositions about bummer relationships to concentrate on material handed down from bygone, hardened times.” – The New Yorker

“(Fussell) is one of the great magpies of American song, collecting forgotten, tarnished gems with a folklorist’s zeal… his renditions aren’t so much cover versions as composites…” – The Guardian

“…maybe the leading interpreter of American folk music right now.” – Ann Powers, NPR

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Beloved comedians Nori Reed and Brian co-headline an iconic night of comedy.

Nori Reed is an iconic LA based comedian, writer, and actress originally from Christian County, Kentucky. Nori got her start in The Bay Area and was boldly named by SF Weekly as ‘Oakland’s Next Great Comedian’. Most recently, she wrote for seasons five and six of Disney’s Raven’s Home, creating Disney Channel’s first-ever live action trans character, which led to GLAAD award and Emmy award nominations. She was featured in New York Magazine as one of Vulture’s Comedians You Should Know and Will Know In 2021. Her stand-up has been showcased by Showtime, HBO Max, and at many celebrated festivals, including: Netflix Is A Joke Festival, Comedy Central’s Clusterfest, SF Sketchfest, and Outside Lands. Her writing was published in Vogue Magazine, and she wrote for Audible’s scripted series: Hot White Heist.

 

 

 

Brian Bahe is a comedian and writer based in Los Angeles. He was named a “Comedian You Should and Will Know in 2023” by Vulture and he was a New Face at the Just For Laughs Comedy Festival in 2022. He was a writer for the Fox hit series "The Great North" and his comedy pilot “Decolonize” was selected for the 2022 Indigenous List, which is a collaboration between The Blacklist, the Sundance Institute, and IllumiNative. Brian taped a standup set for Comedy Central’s “Stand-Up Featuring,” and he has headlined Caroline’s on Broadway.  His writing has appeared in McSweeney’s and CNN. He hosts the monthly standup show “Star Fuckers: Astrology But Make It Comedy” at the Hollywood Improv Lab. Brian has toured his stand-up solo show titled “Reading From My Phone” in both New York and Los Angeles.

Ragana

Ragana is a duo whose members alternate duties on drums, guitar, and vocals to produce some of the most unique and affecting dark music in metal today. The two-piece came together in 2011 in the DIY punk scene of Olympia, WA and are now based in Olympia and Oakland, CA. In their time together so far, Ragana have self-released 5 albums and teamed up with genre-favourite Thou for a split release in 2018. The following year, Ragana released their heralded We Know That the Heavens Are Empty EP and have quietly been working on new music ever since. The band signed with The Flenser in late 2022 and now announce their forthcoming debut LP for the label, Desolation’s Flower.

On Desolation’s Flower, Ragana draws upon a number of influences from the flora and fauna of their Pacific Northwest origins to the darkly nostalgic folk of Mt. Eerie and, yes, their Olympian forebears Wolves In The Throne Room, synthesizing them into an experimental, highly idiosyncratic take on black metal. Held together by an intense focus on raw emotion and haunting atmospherics, Ragana shifts seamlessly from tender, mesmerizing vocal harmonies to piercing, heart-ripping screams and back again, yielding music that is heavy, beautiful and punishing all at once.


Agriculture
 
For something to be “ecstatic,” the feelings and emotions it evokes must transcend what we tend to experience most regularly in our lives. Ecstatic joy isn’t just happiness; it’s a feeling of jubilation which impacts us emotionally and in a metaphysical, arguably spiritual sense too. Although it has long been associated with connotations of the dark and macabre, extreme music has the ability to be a powerful mode of expression for these feelings of absolute bliss, overwhelming love, and awe-inspiring sublimity. Extreme emotions no less and those which black metal quartet Agriculture evokes with its ecstatic subversion of the subgenre’s tropes.

What was initially a meeting and subsequent series of jam sessions between Kern Haug and Daniel Meyer, two musicians in the Los Angeles underground noise scene, would eventually manifest as a shared vision to portray the sublimity of the human experience through the vehicle of heavy music. Following the additions of veteran guitarist Richard Chowenhill and bassist/vocalist Leah Levinson to the band’s lineup, this idea would crystalize into the “ecstatic black metal” backbone of Agriculture’s music, first heard on the band’s 2022 debut EP, The Circle Chant.

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Comedian, Paul Virzi, headlines comedy clubs across North America and hosts three weekly podcasts, “The Virzi Effect,” “Anything Better” and "A Bone To Pick". Paul has performed throughout Europe and in this country's most iconic venues including, Madison Square Garden, The Chicago Theatre and Carnegie Hall. Paul’s debut hour-long comedy special, “I’ll Say This,” premiered on Comedy Central in November 2018 and is available to stream on CC.com. A clip from the special was featured on Comedy Central’s TikTok stand-up page on May 4, 2020 and currently has over 5 million views and 1.3 million likes. Paul’s Second special “Nocturnal Admissions” was released last summer on Netflix. The special was globally trending on Netflix and received rave reviews. His 2015 debut comedy album, “Paul Virzi: Night At The Stand,” was #1 on iTunes and reached #4 on Billboard’s Top 100. Paul has appeared on TruTV's “Comedy Knockout,” AXS TV's “Gotham Comedy Live,” The NFL Network’s “Good Morning Football,” and he has written for ESPN’s “ESPY Awards.” Paul is a regular at the prestigious Just For Laughs Comedy Festival in Montreal and performed at the SXSW Festival in Austin, TX. Paul grew up in the suburbs, outside of New York City. He loves his family, cigars and having pointless sports arguments with his friends.

Gyedu Blay Ambolley is a musical luminary hailing from Ghana, West Africa, with a staggering 29 albums under his belt. Known affectionately as the "Simigwa Do Man,” Ambolley’s musical journey began in the vibrant port city of Sekondi-Takoradi, in the Western Region of Ghana. His early fascination with music blossomed into a lifelong passion. From mastering his father’s flute at the tender age of eight, to honing his guitar skills under the mentorship of “Uncle Bonku”, Sammy Lartey and Ebo Taylor, Ambolley’s musical odyssey has been nothing short of extraordinary.  This all led to Ambolley becoming a musical life force and exploding on the scene in 1973 with a jazzy highlife sound called 'SIMIGWA-DO'.  His name has become synonymous with Simigwa music and dance.

 

Coming of age amidst the zenith of Ghana’s highlife era, Ambolley emerged as a pivotal figure in its evolution, lending his talents to esteemed bands such as Houghas Extraordinaires, Meridians Of Tema and Ghana Broadcasting Band. It was during this time that he caught the attention of his compatriot and friend, Ebo Taylor, who recruited Ambolley to be a member of the Uhuru Dance Band. This all lead to a transformative journey to Nigeria in 1973, where they shared the stage with the legendary Fela Kuti at his renowned Shrine venue. 

 

1975 Debut Album Simigwa: 

Gyedu Blay Ambolley’s groundbreaking debut solo album, released in 1975, stands as a cornerstone of Ghanaian music history - with one of the most iconic album covers! Simigwa stands as Ambolley’s magnum opus, a masterpiece fusing together the rich tapestry of highlife, afrobeat, folk and funk. The album is a true testament to Ambolley’s unparalleled artistry written and produced in collaboration with the legend Ebo Taylor.

 

Ambolley not only embraces his musical roots but also pioneers the fusion of Ghanaian highlife with soul and funk influences from across the Atlantic. With Simigwa, Ambolley seized the opportunity to showcase his own musical prowess and embark on a journey of experimentation. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.

 

Performance: 

For the first time in the US, Gyedu Blay Ambolley will be performing his 1975 debut album in its entirety! Bringing his 8 piece band from Ghana, they will perform the pioneering masterpiece Simigwa.

 

 

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Although its nine songs revolve entirely around a single unifying idea, of life and personality forged from the revelatory moments of lived experience, to describe Los Angeles band Lo Moon’s third outing, I Wish You Way More Than Luck, as a concept album wouldn’t be entirely correct. Sonically bold and ambitious, fiercely literate and imagistic, the songs dance around their theme, not so much playing from track to track, as flowing through peaks and troughs of fervent emotion. It’s the singular work of a group of musicians whose confidence and abilities have not only scaled the heights of their ambitions but outstripped them. Luck has little to do with it. 

From childhood and adolescence, all the way into adulthood, we fall headfirst into existence, as if there’s any other way, swept up in the currents of life with little time for reflection. Rarely contemplating the tapestry of events that prove formative, yet guided by them, constantly pushing onward, until fate or circumstance intervene.

In the winter of 2020, at the height of the pandemic, that’s what happened to Lo Moon’s Matt Lowell. The four-piece—bassist Crisanta Baker, guitarist Sam Stewart, drummer Sterling Laws, and Lowell, the group’s singer and chief songwriter—were putting the finishing touches to A Modern Life, their second album, and their first to be released independently, after a spell on Columbia Records. The idea for their next album struck Lowell swiftly on the heels of the last.

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Brijean is the duo of percussionist and singer-songwriter Brijean Murphy and multi-instrumentalist and producer Doug Stuart, and together they make dance music for the mind, body and soul, evoking 70s disco, 90s house and sly pop sensibilities.

Their debut album Feelings arrived via Ghostly International in February 2021, a golden-hued dream pop tropicalia of dazzling beats and honeyed vocals; remixes from Buscabulla, Sam Gendel, DRAMA and Rick Wade followed.

In August of 2022 they released Angelo — an EP, named after Murphy's recently purchased 1981 Toyota Celica, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds them processing the impossible the only way they know how: through rhythm and movement. The months surrounding Feelings, which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy's father and both of Stuart's parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo's sessions presented Murphy and Stuart a chance to record at their most intimate, "to get us out of our grief and into our bodies," says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal — a resourceful, collective answer to "what happens now?"

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Spanning more than two decades, Mike Kinsella's widely influential songwriting has steadily sharpened and evolved with each new chapter. In his solo vehicle as Owen (in addition to his roles along the way with American Football, Cap'n Jazz, the more recent LIES, and other collaborative ventures), Kinsella’s ability to seamlessly stitch jagged emotional currents into crushingly beautiful songs has remained at the forefront of his art. This contrast has become more distinct as Owen expanded from unassuming acoustic beginnings into more ornate production, reaching new levels of complexity and clarity by the release of 2020’s The Avalanche. The Falls of Sioux, Kinsella’s newest Owen full-length, levels up even further. As much as these nine songs represent a type of reinvention, they also feel like the natural next step in Kinsella’s growth, both artistic and personal. The album perforates an established sound to explore unlikely musical ideas, while the songs document a time of moving through life-altering turmoil into brighter days. Heavy themes are turned over with a gentle hand, and Kinsella inhabits the deeper perspectives that come with hard-earned life experience. The Avalanche was an unbuffered exposition of some of Kinsella’s darkest days, laying bare the emotional fallout of his divorce along with several other gradients of grief and loss. Those days aren’t forgotten, but the pieces have been picked up on The Falls of Sioux. Solidly on the other side of a painful chasm, moments of intensity now come across as confident and exploratory rather than tormented. The songs detail interpersonal situations that might have instilled panic and self-loathing in younger days, but now Kinsella meets them with a relaxed smirk. It’s there in the way gliding synths and warm vocal harmonies juxtapose brutal lyrics of doomed love on “Virtue Misspent,” one of the album’s most upbeat songs. It’s also there in the jaunty, nearly classic-rock bounce of “Mount Cleverest,” a lively banger that feels like the highpoint of a sunny summer day but boils down to exhausted, “fuck all y’all” sentiments.




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w/ JD Pinkus

King Buzzo, the iconic founder and lead vocalist/guitar player for the Melvins, and Mr. Bungle bass player Trevor Dunn, join forces this Summer, teaming up for the “King Dunn Tour.”

“I’ve been waiting a LONG time to do an acoustic tour with Trevor,” Buzz Osborne shares. “He’s a fantastic player, and has the ability to make his bass sound like an oil tanker crashing into a coral reef.”

Osborne and Dunn have collaborated several times over the years, including Dunn’s participation in King Buzzo’s 2020 album, Gift of Sacrifice, as well as both being members of Fantômas, and Dunn’s work as a part of Melvins Lite. On the “King Dunn Tour,” Dunn will will play a stand-up concert bass, while Osborne will sing and play acoustic guitar.

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.