Mississippi Studios

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w/ Jessie Thoreson & The Crown Fire


Big Richard

The world-class musicians in Big Richard initially convened in 2021 for a festival date. The quartet showed up to the one-off like it had been together for years and quicklygraduated to club shows and dates. The musicians siphon from bluegrass, old time, classical, country, and pop. Bursting with jaw-dropping virtuosity; playfully irreverent stage banter; stunning four-part harmony; imaginative arrangements;a refreshingly eclectic repertoire; and a healthy dose of lady rage, Big Richard is poised to penetrate the Americana music world and beyond. To date, the quartet has issued 3singles, the Live from Telluride album, and it has new music on the way.

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w/ Myriads



It’s been less than two years sinceHighs in the Minusesbecame Charlotte Cornfield’s break-out—a magnetic mission-statement for the Toronto songwriter described by Rolling Stone as“Canada’s best-kept secret.” Cornfield emerged from pandemic seclusion with new fans, raisedexpectations, and her first major US tour. She could have kept touring forever; she could havefled to the woods with a four-track. She could have done anything. What she did was jump intoan old Subaru, driving seven hours south to the Hudson Valley. The car didn’t have any A/C; shehad onlyrecently earned her license; and she had never met the producer she was drivingdown to meet. But when Cornfield arrived in Hurley, NY, at the red-steepled church that is nowDreamland Recording Studios, she was ready for whatever came next. “There was this lettinggo of some of the strongheaded-ness that I think I used to have,” she says, “and an embracingof the open-endedness of life.”Cornfield had come to Hurley to work with producer Josh Kaufman, thrilled by his sublimerecordings with Cassandra Jenkins, Anais Mitchell and his own band, Bonny Light Horseman.The album they’d now make together,Could Have Done Anything,is a testament to Cornfield’suncommon life and all its possibilities, an acknowledgment that the best musicians can turnfleeting moments into timeless songs. Overnine magnetic tracks, the singer-songwriter beginsyet another chapter: gazing in the rear-view to understand where she’s been; squinting throughthe sunset to see what’s ahead.Calmer than I was,she sings in the album’s final moments.Stronger than I was / older than I was / less angry than I was...—and finally—happier than I was/ happier than I was / happier than I was...Whereas Cornfield’s preceding albums were made in familiar settings, with troupes of friends,her latest long-player reaches into the unknown. Kaufman and Cornfield (who went to schoolfor jazz drums) played every instrument themselves, from ringing guitars to cozy piano,Hammond B3, pedal steel and synthesizers. Together with engineer D. James Goodwin (KevinMorby, Whitney) and assistant engineer Gillian Pelkonen, the pair worked swiftly, impulsively,trying to shrink the gap between having an idea and putting it on tape. The resulting sound is atonce elaborate and unrehearsed; there’s a sense that it’s coming together—and coming alive—at the very moment it’s being made.


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Mike is from New Jersey.


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WAYFARER (Century Media) is the pre-eminent WesternAmerican Metal band. Composed of four black clad players from Denver, Colorado, the band’s sound draws from the deep wells of black metal, gothic country, and a mericana - creating a thunderous and uniquely American genre of metal all to their own.After ten years of existence, the band presents AMERICAN GOTHIC - a defining statement of Western heavy music that explores the dark soul of the nation itself. This time working alongside accomplished producer Arthur Rizk (EternalChampion, Kreator) the band brings an aggressive and expansive vision to life in a new full length LP.Led by powerful riffing, bleak melodic sensibilities, and pointed songwriting, this record serves as a funeral for theAmerican dream. Caked in dust, and buried deep in blood and gunpowder, it paints a brutal and beautiful portrait,and sees WAYFARER elevate their unique and genuine brand of metal to new heights.“What we have now is a world full of oil drillers, and railroad barons. Cattle thieves and company men. This is the new American Gothic.”

 

 

In 2014, Melissa Moore birthed the idea for the Gothic Rock Heavy Metalband Sonja while having an existential meltdown on a strung out flight home from Melbourne to Philadelphia. After calling drummer Grzesiek Czapla upon landing and later inviting bassist Ben Brand, the power trio plunged deep into secret places where fear and pain were transformed into obsessive pophook-laced metal. The years that followed were filled with ruinous sexuality,gender apocalypse, casual encounters, generosity, discretion, danger, desire,paranoia, passion, and endless rock n roll."Loud Arriver" is the band’s 2022 debut full length that was released on CruzDel Sur Music (mixed by Arthur Rizk). Featuring the Zev Deans directed music video for "Nylon Nights", Sonja began the perpetual cycle of touring the US and Europe. Festival and tour appearances continue as the bandwrites their follow up album and are pulled deeper into submission to their goddess, Heavy Metal.

 

 

Aerial Ruin, based in Portland, Oregon is the mostly acoustic solo project of Erik Moggridge whose current and former bands include Stygian Bough and Old Grandad. Erik has also collaborated with Bell Witch, Panopticon and Osi and the Jupiter amongst others. 

Aerial Ruin has released multiple albums and splits and engaged in extensive DIY touring in North America and Europe.

 

 

 

 

 

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w/ Diego Gaeta



Coco

Coco—the project of Maia Friedman, Oliver Hill, and Dan Molad—began as an experiment of sorts; three friends writing songs for nothing other than the ritual of doing so. “There’s a mutual admiration and trust among us,” the band shares. “It allows a ‘first thought best thought’ mentality.” Their vast and varied individual creative histories—notably with Dirty Projectors, Lucius, and Pavo Pavo—inform an illustrious, collective sensibility for songcraft. Coco’s self-titled debut gathered fervent acclaim from tastemakers at NPR, BBC, SiriusXM, and Spotify among others. The trio headlined packed rooms in New York City, Los Angeles, and London, made their festival debut at End of the Road, and supported Kevin Morby on a national tour. 

Since, life has flown wildly forward for the members of Coco—Oliver getting married, Dan getting engaged, Maia giving birth to her first child. Their highly anticipated sophomore release—starkly titled ‘2’—honors these transformations. On opener “Any Other Way” Coco meditates on change from a widescreen perspective: The leaf and the body, each in their time, turns on a schedule, turns on a dime. Maia lays a lush bed of shoegaze guitars; Dan's builds ecstasy from downtempo drums; Oliver stirs a current of hypnotically looping basslines. The song is a stunning microcosm of this band's specific genius: carving space for each musical personality to shine, without the shadows of excess or distraction. 

“Though it's only been a few years, the band has seen us through fundamental transformations in each of our lives, which we are fortunate enough to process together.” Self-produced, with collaboration from Adrian Olsen (Lucy Dacus, Fruit Bats, Bedouine), the album is sensuous and spellike, its sonics varying from lush, shoegaze guitars, to dusky electronica, to jangly 60’s pop. Maia, Oliver, and Dan continue their sacred practice—arriving to each other empty-handed and open-hearted, finding power in three equal parts. 

Diego Gaeta

Diego Gaeta is a keyboardist and producer born and raised in Los Angeles whose work blends and connects a sonic futurist approach that is informed by world folk music traditions of sacred improvisation. He recently released his debut album as a leader, titled "Fearlessly Accessing the Divine Spirit of Freedom From Here On Out" on Preference Records. Other releases include: "In Float" (with Lionmilk) on Leaving Records, "Una Luz Naranja" (with Carlos Niño) on Anandamide, and "This Could Be Our Every Day" which was self-released. He also recently appeared on two tracks from the Andre 3000 release "New Blue Sun". 



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w/ Bart Budwig



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w/ Quattlebaum

AJ Lee and Blue Summit made their first appearance in Santa Cruz in 2015. Led by singer, songwriter, and mandolinist, AJ Lee, the bluegrass band has performed all over the world, but finds home in California’s Bay Area. In 2019, they released their debut album, Like I Used To. Their second full length project, I’ll Come Back, came out August 2021 - with national touring in support of the record ongoing.

Unlike their first record, which featured experimentation with session musicians and electric instruments, the new project is a pure reflection of the live sound of the group, hearkening back to their acoustic roots. Each band member performs at their peak, and the variety of songs on the record caters to their broad fanbase. Certain tracks (“Put Your Head Down,” and “Faithful,”) fall more in the classic bluegrass realm of songwriting, while others (“Lemons and Tangerines,” and “I’ll Come Back,”) fall into that hard-to-define realm of acoustic Americana that blends mesmerizing lyricism and acoustic mastery.

Although falling loosely under the bluegrass label, AJLBS generally plays sans banjo, with Sullivan Tuttle and Scott Gates on steel stringed acoustic guitars, AJ on mandolin, Jan Purat on fiddle, and Chad Bowen on upright bass - a configuration effectively used to create unique space and texture in the arrangements not as commonly found in the music of their peers.  Drawing from influences such as country, soul, swing, rock, and jam music, the band uses the lens of bluegrass as a vessel through which to express and explore the thread that binds and unifies all great music.

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MOVED FROM POLARIS HALL TO MISSISSIPPI STUDIOS. TICKETS PURCHASED FOR POLARIS HALL WILL BE HONORED AT MISSISSIPPI STUDIOS.




w/ Era Bleak & Girl Drink Drunks




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w/ Kaleah Lee



Kara Jackson is an award-winning poet, singer-songwriter, and producer from Oak Park, Illinois (Chicago). She is the 2019 National Youth Poet Laureate, and Youth Poet Laureate of Chicago (2018). Kara released her debut album Why Does the Earth Give Us People to Love? in April 2023. Kara is also the author of the poetry book Bloodstone Cowboy. Kara's music and writing are inspired by the American South and her experiences growing up in Chicago. Kara's album has garnered support from the likes of Pitchfork, NPR, CRACK Magazine, Rolling Stone, The Needle Drop, Pigeons & Planes and more.


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w/ William Surly & the Barroom Gospel Band


Growing up in the shadow of the Santa Cruz mountains, Mac spent her days strolling through the redwoods and tracing her footsteps on the grounds of her grandfather's cattle ranch in the North Bay. Such a setting that would provide her with an undying appreciation and respect for all things old in age and of the earth. Mac discovered her love for music digging through her parents' record collection, emerging and adorning herself with not just the tunes, but the entire look and aesthetic of the music Mecca, Laurel Canyon. Drawing inspiration from Joan Baez, Gram Parsons, Jackson Browne and Buffalo Springfield, she began forging her own songs and style from her bouts with love, loss, tragedy and tranquillity. 




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w/ Joe Abbott

Cat Clyde is a singer/songwriter based out of rural Ontario, Canada. A combination of driven, soulful blues and sweet, folk-tinged, dulcet tones that carry a particular sense of familiarity provide the structure on which she creates her unique sound. 

Cat Clyde’s 3rd album Down Rounder is a wonder of deeply felt songwriting, a record that finds the Canadian singer-songwriter marveling at what’s around her while considering her own place within it all. She joined producer Tony Berg in Los Angeles’ famed Sound City studios to lay down the entirety of Down Rounder in six days flat. The record sounds both lively and lived-in, with Clyde’s malleable singing voice—spanning an appealing twang to a lovely, plaintive croon and anywhere in between—espousing an essential connection between our spiritual center and the natural world that surrounds us.

"The album is an exploration and expression of self, patterns in the natural and unnatural world, connecting to nature, the turning wheel of life, shedding old selves, embracing new selves, and the ever changing, expanding and contracting nature of love and life,” Cat explains.

After racking up millions of streams across multiple platforms with previous releases, Down Rounder sounds like the work of someone who’s found themselves artistically and holistically, while extending a hand to any listener who wants to follow Clyde on her singular and thrilling path. 


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w/ Shadowgraphs & Dustbunny






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w/ Bijoux Cone 



Forty Feet Tall

Forty Feet Tall has cemented their place in the PNW scene as one of Portland’s most exciting acts. With their latest two EPs, recorded by polymath Cameron Spies (Blackwater Holylight, Spoon Benders, The Shivas), they showcase a wide range of post-punk sounds that are both volatile and intimate. But the biggest buzz around Forty Feet Tall is their live shows. With plenty of touring under their belt and opening slots for groups like Shame and Frankie and the Witch Fingers, their gigs routinely climax with incendiary showstoppers that find the lead singer screaming, tangled up in mic cords or diving into the crowd. Their music is loud and confrontational, but the outrage is anchored in optimism and the community they’ve built around it resonates with positivity. Forty Feet Tall plans to record new material in Spring, 2024.


Nonbinary Girlfriend

Bijoux Cone (Formerly Bryson Cone) is a musician, producer and visual artist based out of Portland OR. Her music explores themes of love, loss and identity paired with lush melodramatic synth pop and disco synth grooves.

As a transgender woman, her music celebrates and defends queer and transgender perspective.
 
Bijoux Cone performs and tours actively as both solo artist, as well as with a full backing band.
 
Bijoux Cone's debut album "Magnetism" was released in February 2020 on LA based label Cleopatra Records.

Her forthcoming sophomore album "Love Is Trash" is pending release this fall via Literal Gold Records.

Bijoux's live band includes/has included members of Reptaliens, Chromatics, The Gossip, Kyle Craft and Gary Wilson & The Blind Dates. 

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Since 2015, Salo Panto has been exploring and bending every corner of the rock genre. Rooted in psychedelia with a stage presence that will blow your hair back, commonly being described as “a sight to behold”. Their technical skill and original hooks play homage to the legends of rock while transforming the genre into something new entirely. These chameleons can be found anywhere from the alternative radio waves to a doom show lineup, specially curating their sound for every performance, creating an atmosphere that is infectious and inclusive, all for the love of music.

 

Salo Panto has frequented many premier venues in Portland such as Mississippi Studios, Rontoms, Doug Fir and Dante’s. In 2023 they’ve added notable notches to their belt by performing four dates at the Rose Festival, Lose Yr Mind Fest and releasing their debut full- length album, “Parallel Narratives” on Literal Gold Records. To cap off the year, the group released “No Learner”. The title track, accompanied by songs "People Gonna People" and "Nouns and Verbs", showcases the heavier side of Salo Panto. Recorded with Cameron Spies of

 

 

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w/ Sweet Baboo



Teenage Fanclub

The first sound you hear is a sustained feedback note that hangs in the air with the grace of a dragonfly before an acoustic riff spirals out of it, soaring upwards. It’s blissful and sun-soaked, like a late summer haze blurring out all the details on the horizon. When voices join the music, they arrive perfectly locked together, honed in on a single melody: “It’s time to move along/and leave the past behind me...” The message is simple. Don’t look back, only forward.

“Foreign Land” is the opening track on Teenage Fanclub’s eleventh full studio album, Nothing Lasts Forever. That track— and the rest of this beautifully rich and melodic album—is the sound of a season’s end, of the last warm days of the year while nights begin to draw in and thoughts become reflective and more than a little melancholy.

That reflection is everywhere on the record, whether on the autumnal folk rock of “Tired of Being Alone” that repositions Laurel Canyon to somewhere deep in the heart of the Wye Valley, the William Blake–quoting “Self-Sedation,” or on the song that preceded Nothing Lasts Forever’s completion, last year’s “I Left a Light On,” where a spark of hope is kept alight at the end of a relationship.

One of the recurring themes on Nothing Lasts Forever is light, as both a metaphor for hope and as an ultimate destination further down the road. Although the band’s songwriters Norman Blake and Raymond McGinley found themselves touching on similar themes, it was pure coincidence.








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