Mississippi Studios

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w/ Benjamin Dakota Rogers

Sometimes it seems like country has forgotten its wild roots – or least outgrown them, changing as it has to reflect an ever-evolving world. Then there’s a guy like Colby Acuff. A fourth generation Idaho native with a rugged spirit true to his mountain home, honest-to-a-fault lyrics and a sound as raw as the remote wilderness, Acuff’s untamed brand of country stands proudly apart in today’s format, pure and untouched by modern gimmicks. Self-taught and largely self-contained, he’s already used it to find success on his own terms. Just don’t expect him to follow the pack. “If you wanna do something right, you’ve gotta do it yourself,” Acuff says, speaking with the hardscrabble charm of an old-soul troubadour. Hailing from Coeur d'Alene, Idaho, a Rocky Mountain oasis near the very top of the continental U.S., that proudly-independent attitude forms the heart of Acuff’s outgoing personality – and a creative drive stretching all the way back. Growing up, Acuff was always busy with three things – fishing, duck hunting and making music – and it was music that captured his imagination. He learned piano at 5, drums at 9 and guitar at 11, took the stage for the first time at 12 and was even writing songs by 15 – and even those early efforts were unique, inspired by bold artistic outliers. Favorites included bluegrass trailblazers like Flatt & Scruggs, who broke away from the great Bill Monroe to go their own way, plus country “outlaws” like Waylon Jennings and Willie Nelson – some of the first to successfully buck the Nashville system. Even modern-day mavericks like Sturgill Simpson and Tyler Childers have his admiration, although Acuff has always followed his own winding path. So winding, in fact, he eventually wondered what else he could do ... and with typical go-your-own-way flair, went and found out.


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w/ Max Marcos 



Dakota Theim

A songwriter with a gift for whimsical melodies, breezy productions, and introspective lyricism, Dakota Theim has been a mainstay on the Portland indie underground for years. His sound is largely inspired by the golden age of FM radio, laden with sunny harmonies and blissed out guitars. With his latest releases, he is exploring new sonic territory while musing on relationships, identity, and aging, resulting in some of the most endearing songs of his career.

Dakota’s auteur-like qualities have earned him favorable comparisons to artists like Tame Impala and Mac DeMarco. He writes and produces all of his own material from his Portland home studio, often times being joined by live band members Ben Bilotti, Alex Werner, Jack Stringer, and Joseph Freeman to round out his recordings. Together, the band has hosted several sold-out shows in their hometown, and toured extensively across the Pacific Northwest.

While his productions are often eccentric and whimsical, Dakota’s devotion to the craft of songwriting is what sets him apart. His songs are meticulously composed, full of left turns and moments of unexpected beauty. With a steady stream of new content expected for this year and beyond, Dakota finds himself on the verge of breaking out of his local scene and reaching a national audience.



Tenants 

Tenants is a four-piece act of non-homeowners building upon the rich textures and eclectic sounds of the 70s and 80s, while firmly rooting their feet in the present. 

 

Their upcoming full length album, ‘Nighttime Sunshine’, is a sea change for the band. At the heart of the record lies a bold fusion of genres - from the infectious rhythms of disco, the emotive melodies of synth-pop, to the smooth sounds of yacht rock, and the raw energy of alt rock. 

Ahead of the album, singles “Only Right” (4/19) and “Anymore” (5/23), which will be released Spring of 2024, offer a glimpse into the band’s evolving sound.

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w/ Shawna Pair



Night Heron

Night Heron is the creation of Cameron Spies, former frontman for Radiation City. After Radiation City broke up Cameron enlisted some of his favorite musicians. The players on this record hail from other projects (currently or formerly) such as: Y La Bamba, Reptaliens, Nicole McCabe, and Aan



The Apricots

The Apricots are an indie-folk-rock band from Portland, OR that thrives on vocal harmony. At their core, they're just a group of best friends that have found purpose in this band. Their songs will make you swoon one minute and groove the next.


Shawna Pair




Cameron Spies, from Radiation City and Night Heron, produced, engineered, and mixed Shawna’s debut album, ACTIVATOR.

From the start, Shawna and Cam got along famously. Something just felt special. Many studio sessions were filled with laughter as well as crying over the wounds life had inflicted.



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w/ Reverse Cowgirl



Unsung heroes of the Seattle rock community, the Young Fresh Fellows were one of the first independent bands from the rainy city to earn a nationwide reputation in the 1980s, gaining an enthusiastic cult following and the approval of critics. Few bands were more admired by their peers than the Fellows, and their skewed but tuneful mix of British Invasion-era pop, garage rock, offbeat humor, and pop culture obsessiveness had a long shelf life, with the band still making joyful noise four decades after they began. 

Originally comprised of vocalist/bassist Scott McCaughey, guitarist Chuck Carroll, and drummer Tad Hutchison, the Young Fresh Fellows were formed in 1983 and debuted in 1984 with The Fabulous Sounds Of The Pacific Northwest, an understated pop nugget featuring whimsical numbers including "Teenage Dogs in Trouble," "Power Mowers Theme," and "Rock and Roll Pest Control,” produced by honorary Fellow Conrad Uno at his basement/garage Egg Studios.

After recruiting bassist Jim Sangster to allow frontman McCaughey to switch over to guitar, the Fellows followed with 1985’s Topsy Turvy (gathering a rave review from Rolling Stone) and their first national tour. 1987's The Men Who Loved Music was their breakthrough release, with the absurd college radio hit “Amy Grant,” solidified the band's cult following.  The Replacements’ Paul Westerberg considered the Fellows kindred spirits, and the two groups often toured in tandem.

After 1988's Totally Lost, Carroll left the group. In the wake of his departure, the remaining three Fellows issued an authorized bootleg arguably-titled Beans And Tolerance, before enlisting Fastbacks kingpin Kurt Bloch for 1989's roaring This One’s For The Ladies (with fan faves “Taco Wagon,” Bloch’s “Lost Track Of Time” and Kinks cover “Picture Book”), followed by a slew of 45s on various U.S. and international labels.

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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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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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Palmas Del Sol

'Palmas Del Sol' is a band consisting of members Tony Ramirez (Orquestra Pacífico Tropical, Eagle Sun King), Ana Belén (Sandy Pylos, EEEKS), Papi Fimbres (Sávila, Dreckig), Ana Rodriguez (Orquestra Pacífico Tropical, Letras) & Vicco Gonzalez (Caicedo). Together these five Brown homies are concocting a brand new sound from the diaspora of their homelands, respectfully. Intertwining Cumbia, Salsa, Tropical & Latin Pop, Palmas Del Sol have birthed a sound that is not quite easy to pinpoint, but is familiar in a distant way, like a song that you loved as a child but can only hear in your dreams. This quintet culls from the depths of their native tierra to add a unique perspective onto these genres that they have all grown up on to bring a brand new interpretation to their music & what that means to them.


Collar de Lunas

Collar de Lunas es un proyecto musical gestado en la ciudad de Portland, Oregon, 2024. La música de Collar de Lunas se pasea por los campos del pop, la psicodelia, la música clásica, el folklore latinoamericano, entre otras musas que se amalgaman en el sonido del proyecto.


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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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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.