Tell Me Lies showcases the timeless hits of Fleetwood Mac, a band renowned for their exceptional song writing and energetic live performances. The accomplished members of Tell Me Lies have been creating music together in various styles and combinations for many years. It was only natural for them to unite and honor the unmatched legacy of Fleetwood Mac. With an unwavering commitment to authenticity and a deep respect for their craft, Tell Me Lies meticulously recreates the beloved sounds and visuals of one of the world&#39;s most adored best-selling bands.

Talkhouse

Tell Me Lies -The Fleetwood Mac Experience

The Stephen Talkhouse

Chad Smith of Red Hot Chili Peppers &amp; Andrew Watt Grammy winning producer w/ Special Guests.

SOLD OUT NO TICKETS AT DOOR Smith and Watt Steakhouse

<h3>&#34;Okay...The Allmost Brothers Band&#34;</h3>The Allmost Brothers Band is a progressive tribute act honoring the tradition of the legendary Allman Brothers Band. Working within the framework of the incredible and vast song book of the ABB, The Allmost Brothers inject something new, fresh and exciting into the material. In a matter of words: high level musicianship, authentic improvisational interplay, dedication to the high octane performance, and power that established theoriginal ABB back in 1969, and sustained their 45 year carreer.The Allmost Brothers Band are: Sean McGrath, and Dave Filloramo on lead guitars, Joe Wasserman on Vocals &amp; Keys, Dave Losee and Dan Roth on Drums, and Tom Hooker on the Bass.This band of brothers truly thrives on chemistry and improvisation bringing a unique fire every night to the song book of the ABB.Duane Allman had a clear vision all those years ago, to spread the gospel of American Blues, R&amp;B, &amp; Jazz music to the people.  With this gospel the original ABB created a new sound that would fill concert halls, car radios, and smokey bars for decades to come.  The Allmost Brothers share in this same vision, and bring their explosive sound to paying tribute to  the greatest live band in history.  From the Fillmore to the Beacon, The Allmost Brothers stretch from the original Duane Allman &amp; Dickey Betts lineup to the recent Warren Haynes &amp; Derek Trucks lineup and everything in between.At the heart of things The Allmost Brothers Band are more than a tribute act, they are an experience.

The Allmost Brothers Band

Black & Sparrow

La Herencia is a nine-piece Salsa, Cumbia, and Latin Soul powerhouse based in Long Island, NY. Led by pianist and bandleader Nick Corredor, the group is on a mission to revive the golden era of salsa and bring its infectious rhythms back to the mainstream. Rooted in the sound of Alegre Records and Fania Records, La Herencia blends raw percussion, deep brass, and the elegance of woodwinds and strings to create a groove reminiscent of Eddie Palmieri, Ray Barretto, The Lebrón Brothers, and Willie Colón. Corredor, a Colombian American musician with deep ties to the salsa and Latin music scene, brings a modern edge while staying true to the genre’s rich history. With its distinct charangainfluence and relentless swing, La Herencia is breathing new life into the dance floors of New York and beyond. As part of the Elieco Records collective— you can purchase any music by finding them through their name &#34;La Herencia&#34;.

Industry Night w/ La Herencia

&#34;Their name says it all: The Dave Matthews Tribute Band. For nearly 20 years, the band has been performing sold out shows around the world; playing over 1,500 dates in 46 states and 8 countries. Many go to their live shows with reservations, high expectations, and the burning question, &#34;Do these guys sound like the real Dave Matthews Band?&#34; Almost always the answer is &#34;Yes!&#34;Beyond mastering the DMB sound and the relentless touring, what separates The Dave Matthews Tribute Band from other cover bands is their passion, love, and respect for DMB and their music. That is what makes you come out of one of their shows saying, &#34;Yeah, they really do sound like the real Dave Matthews Band.&#34;

Dave Matthews Tribute Band

Karaoke!! w/ JBM

The Soho Sessions Heads to the Hamptons with DAN &#43; SHAY!

The Soho Sessions presents Dan + Shay!

New York&#39;s newest Tribute to the 90&#39;s. Playing all your favorite songs spanning multiple genres.<div><div>The Max- Ultimate 90&#39;s Party is here! We&#39;re playing all your favorite Rock, Pop, Hip Hop and Dance Hits from the decade.</div></div><div><div>So give us a follow, tell your friends and come to a show, because ain’t NO PARTY like a 90’s PARTY with THE MAX!</div></div>

The Max-Ultimate 90's Party

The Max- Ultimate 90's Party!

<ul><li><div><div><div><div><div>Morrissey Blvd. is a sibling trio from New Bedford, Massachusetts made up of Zan (lead vocals/guitar), Henri (bass/vocals), and Wilson (drums). Their sound blends soulful funk and the raw energy of rock, with influences ranging from Stevie Wonder and Jack Johnson to Mt. Joy and Marcus King. Known for heartfelt lyrics and high-energy live shows, their music dives into themes like heartbreak, growth, and learning to let go.</div></div></div></div></div></li></ul>Tobacco Road:Take your art seriously, not yourself.That’s the motto emerging blues-rock band Tobacco Road lives by - whether they’re on the road, in the studio, or practicing in their East Nashville garage. Playful, energetic, and equal parts modern and soulful, the band’s spirited personality turns a room full of strangers into a group of friends in minutes.With a little central Texas spunk, old-school Louisiana blues, and roots in North Carolina’s Piedmont, the past lives of Tobacco Road’s members blend into a sound that moves seamlessly between beltable diary entries, Southern-rock storytelling, and indie-rock groove. They draw from the nostalgia of Creedence Clearwater Revival, the soul of Susan Tedeschi, and the dynamics of Fleetwood Mac, while taking cues from modern role models like Maggie Rogers and The Marcus King Band.In their first year as a band, Tobacco Road released their six-song debut EP All in Time and shared the stage with rising contemporaries like Marlon Funaki, Winyah, and Liam St. John. Tobacco Road’s quick development stems from a live show that’s both high-energy and disarmingly intimate - despite the sweeping vocals and wailing solos, they make you feel like part of the band, whether it’s your first or fiftieth show.The shifting moods of the band’s sound reflect the uniqueness of its members as five twenty-somethings learning to navigate love, loss, joy, confusion, and identity. Tobacco Road captures the chaos of growing up and the peace that comes with finding your people.

Morrissey Blvd & Tobacco Road

<h2>Grab your friends and your dancing shoes! CANDY SHOP will get you movin’ and groovin’ all night long!</h2>Packaged with energetic stage presence, professional musicians, and colorful outfits, CANDY SHOP delivers an exciting show sure to get you out of your seats. Showcasing a trio of young divas singing alongside an all star band mixing covers and original music from the upbeat, pop, and funk styles of the 70’s to now.<div><div><h2>WE DO IT ALL!!</h2></div></div>

Candy Shop

Despite its title, Ratboys’ new album Singin’ to an Empty Chair is not defined by what’s missing. Rather, it’s the beginning of an important dialogue with a close loved one vocalist Julia Steiner finds herself estranged from. The music on the band’s sixth studio album – its first for New West Records – fills the space that person left behind with 11 songs showcasing Ratboys at the peak of their powers — twangy, effervescent, as confident as they’ve ever been, and perhaps more emotionally interrogative than ever before. The four-piece Chicago band followed up 2023’s highly acclaimed The Window by reconvening with co-producer Chris Walla to begin tracking at a rural Wisconsin cabin before taking the songs to Steve Albini’s famed Electrical Audio studios in Chicago and later to Rosebud Studio in Evanston, Illinois. The results veer from bubbly power-pop on “Anywhere” to irresistible post-country on “Penny in the Lake,” along with heart-piercing ballads like “Just Want You to Know the Truth” and an exhilarating detour into the extraterrestrial on “Light Night Mountains All That,” which Steiner dubs the band’s mammoth “wormhole jam.” Singin’ to an Empty Chair also marks the first Ratboys album written since Steiner began therapy, which the singer/lyricist credits for the clarity found across the album’s unflinching examinations of relationship and self. Fittingly, as the album begins by extending a hand into the void, it concludes with a scene of serenity – all while weaving candid honesty, humor, chaos, and whimsy along the way. “It&#39;s not all doom and gloom,” Steiner says. “The experience of making this record definitely gives me hope for whatever happens next.”/// Words by Patrick Hosken

Ratboys

GA (arrive 30min within showtime to ensure entry

Pink Lightning is an electrifying NYC based rock and roll cover band. Playing classic rock and pop hits from the 60s to now, they keep the energy high and the vibes fun as hell. With dynamic and exciting rhythm, driving bass, wild guitar, and soaring vocals, this 4 piece outfit packs a ton of punch into a small package!

Pink Lightning

There’s a raw, restless fire at the heart of Winyah’s music. It’s in the crackle of their guitars, the growl of Thomas Rowland’s voice, and the way their songs always feel like they’re chasing something – a feeling, a high, a truth you can’t quite name. With southern swagger, indie rock bite, and a live show that hits, the South Carolina five-piece have quickly emerged as one of the most exciting new bands in the country. Their songs are gritty and real – full of friction, soul, and defiance – and their high-energy live shows are like a shot of adrenaline. Winyah is more than a band name; it’s a hometown, a headspace, a heartbeat. Formed in 2023 and named after Winyah Bay – the coastal South Carolina landmark where four out of five members grew up – the group pulls their sound straight from the source: Humid nights, endless highways, and the push-and-pull of small-town life. Lead vocalist and rhythm guitarist Thomas Rowland, bassist Stephen Russell, keyboardist Robert Buffington Jr., lead guitarist Luke Gordon, and drummer Jacob “Jake” Riley all cut their teeth grinding weekends – independently touring far and wide, all the while juggling jobs, college classes, and long drives – each member committing to the vision long before there was a plan. “I view the band musically as a reflection of where we came from and where we grew up,” Luke Gordon says, with Stephen Russell adding, “We wanted to take a bit of home with us. We didn’t know what we wanted to say, but we knew we had home in common.” That shared grounding gave them a foundation, but it’s their chemistry, drive, and guts that have turned Winyah into a sought-after live show. From house parties to festival stages, they’ve been climbing fast – fueled by instinct, sweat, and a chip on their shoulder. Every win becomes a stepping stone: “As soon as we sold out our biggest show this year,” Rowland grins, “we set a new goal for next year.” What started as a last-minute scramble to fill a Bonnaroo slot in 2024 quickly snowballed into something bigger. Winyah had three songs and five weeks to write the rest of their set – so they bunked on a friend’s couch, jammed every night in a borrowed warehouse, and built their debut record from the ground up. The resulting Lot to Learn (Feb 2025 via Cloverdale Records) wasn’t just a first album; it was a proving ground, a sonic coming-of-age born under pressure and pulled off on instinct. “It was a process ofunderstanding where our tastes overlap,” bassist Stephen Russell reflects – a feeling Gordon echoes: “All of these songs are representations of our growing understanding of each other, and really, the early days of the relationship that is five guys in a band.” From the cathartic chaos of “Feel It All Again” to the driving pulse of “Thread” and the title track’s emotional reckoning, Lot to Learn plays like a snapshot of five lives in motion – messy, ambitious, and full of heart. “That song really outlines a lot of the changes that come with growing up,” Rowland says of the album’s title track. “It makes people think about the challenges that come with changes in your life, or growing up, or finding a new person.” That tension – between nostalgia and release, friction and freedom – defines the band’s early work. Whether it’s Luke Gordon’s Santana-inspired riffs on “Mamacita” or the wide-eyed vulnerability on “Lay Me Down,” Winyah’s songs don’t just tell stories; they build worlds. They’re writing about real life, in real time – and letting the sound lead the way. Winyah’s music might come from the gut, but their vision comes from something deeper. Since day one, the band has been chasing more than just a career – they’re focused on impact, connection, and a sense of purpose that transcends any single show or song. Their goals are sky-high, but they’re not starry-eyed; they’re strategic. “We understand this band as creatives, but we also understand this band down to the dollar and the business,” they say. “We pride ourselves on working as hard as we can – and then harder.” That intensity fuels a live show built to be more than just entertainment. It’s release; it’s community. It’s a space for feeling something – joy, grief, nostalgia, freedom – and leaving it all out there. “Our goal is growth,” they add. “We want to build a real community – a place where people can feel something, escape, or just be.” Winyah’s rise has been fast and hard-earned. To date, their music has amassed over 25 million global streams and counting. They’ve played major festivals like Bonnaroo and Lollapalooza and sold out their first headline tour in 2025 – including iconic venues from NYC’s Mercury Lounge to The Senate in Columbia, South Carolina. Each milestone has built on the last – proof that word is getting out, and the world is starting to catch on. Now, Winyah are channeling that momentum into what comes next. Deep in the writing and recording process for their second album, they’re pushing themselves harder than ever – refining their sound without losing the edge that got them here. If Lot to Learn was about exploration, this one’s about intention. “We’re looking to have a more defined vision in what we’re doing and what our message is,” they explain. The sound is still real, still rough around the edges – but the vision is sharper, and the stakes are higher.Winyah aren’t slowing down; they’re doubling down. “The goal is growth,” they say. “To keep writing songs people connect with, to keep giving that release every time we play them live.” Still restless. Still hungry. Still convinced the best is yet to come. At its heart, Winyah is about finding meaning in motion: Making music that reflects the chaos and clarity of growing up, screwing up, and pushing forward. “We want our songs to inspire,” Rowland says. “To be a place where people can let go, or look inward, or just take a deep breath and enjoy.” They call themselves a “live band first,” and it shows – not just in the sweat, swagger, and unfiltered honesty of their sets, but in the way every decision they make flows from that fiery spirit. They’re dreamers, yes – but the kind who turn dreams into deadlines. Headlining 1,000-cap rooms. Playing Glastonbury. Becoming a face of the new rock-and-roll revival. Their hopes are ambitious by design: Bigger rooms, bigger stages, deeper connection. “Delusional in the best way,” as they put it – and determined to make every step count.

Winyah

Reggae Night w/ Winston Irie

With her new album Trespasser, Grace Potter introduces a beautifully unruly cast of characters who step into forbidden spaces with absolute abandon. As the spiritual sequel to 2023’s Mother Road, the four-time Grammy nominee’s seventh studio LP continues the kaleidoscopic storyline drawn from bi-coasal life between Topanga Canyon, CA and the her family farm in her native Vermont (a road-trip journey she’s made eight times in the last five years, usually on her own). But while Mother Road was born from a desperate need for solace in the midst of emotional freefall, Trespasser reveals an artist firmly anchored in her singular vision. The latest chapter in a career marked by endless transformation and elite recognition—including sharing stages with rock &amp; roll icons like the Rolling Stones &amp; Robert Plant and earning praise from legends like Bob Dylan and Bonnie Raitt—Trespasser ultimately lights the way toward a more unbound and expansive means of moving through the world. “I believe we need to challenge the way we’ve been told to navigate our lives, because so many of the boundaries we’ve set up aren’t working; we’re not living authentically,” says Potter. “I respect boundaries when they’re clear and meaningful, but when they feel arbitrary or put in place without question, I think we need to push against them. So many of those fences exist in our own minds—but when you step beyond them, it completely shifts your perspective. It can open everything up, like suddenly seeing the world in Technicolor.” Arriving on the heels of 2025’s Medicine (a long-shelved album made with T Bone Burnett back in 2008), Trespasser emerged from an untethered process that Potter likens to piecing together an elaborate mosaic, beginning with two weeks of kinetic sessions after a 2025 tour with country superstar Chris Stapleton. “It was a strange vision quest for me because I’ve never worked this way before,” she says. “I typically prefer everything to be recorded quick and dirty–ensuring a cohesive sound—but this time, we broke the mold.” Produced by her husband and frequent collaborator Eric Valentine (Queens of the Stone Age, Weezer, Slash) and recorded in a cross-country journey beginning at her home in Topanga with Benmont Tench (Tom Petty &amp; the Heartbreakers), continuing in Nashville with Mother Road session players Nick Bockrath (Cage the Elephant), Tim Deaux (Kings of Leon), and Matt Musty (Train), and completed in Vermont with members of her longtime live band (guitarists Indya Bratton and Ricky Dover Jr, bassist Kurtis Keber, drummer Jordan West), the album echoes its origins with a wayward sound that spans from stripped-bare soul to cosmic country to hellraising rock &amp; roll—all while orbiting Potter’s force-of-nature voice and lavishly imagined storytelling. “So many of these lyrics came to life because of the tumultuous times we’re living through,” notes Potter, who plays Hammond B-3 Organ, guitar, piano, percussion, flute, Wurlitzer, and more on the album. “But as much as the world is destabilized, with this record I really felt myself honing in on my purpose and sense of worth, including my ability to convey human emotion in a very specific way.” In a prime example of Trespasser’s unfettered humanity, the album’s hypnotic and sprawling title track finds Potter inhabiting the mindset of a man who wandered into her home one night in 2020. “We were sitting on the couch when someone in the middle of a mental health crisis walked into our house, thinking it was his,” she recalls. “He said that his wife had called him to dinner and how we must be the locusts that ate her—he was in a reign of terror in his mind, which was even scarier when we found out later that he had a knife on him. Of course it was really disconcerting, but instead of panicking we leaned in and tried to meet him where he was. It’s not that I have a blind faith in people, but I do think humanity breaks down when you choose fear over curiosity.” Opening on the primal drumbeats and sultry guitar work of “Main Street U.S.A.” (a full-throated plea for the chaos and magic of true communal space), Trespasser instantly locks into an elemental momentum and soon builds to the magnificently shapeshifting “Love Me Not”: an acutely personal reflection on the damage done by a culture of all-too-convenient disconnection. “That song came from my heart getting broken by someone close to me who completely cut me off,” says Potter. “It was like a switch flipped and they became a totally different person, and all their fear and vitriol were aimed at me. It made me realize that in this reality-defiant world we’re living in, it’s so easy to lose touch with the ones we once knew intimately. That distance then creates chasms, and we form chambers of judgment—which are then reinforced by ChatGPT or whatever rabbit holes we fall into.” After beginning in a bruised but baiting, slow-burning fragility, “Love Me Not” morphs into a high-energy free-for-all after the first chorus, dancing through the emotional wreckage with a euphoric rush of radiant piano melodies and fantastically rowdy gang vocals. “I wanted to start from the point of view of someone who’s broken and hurting, to the point where the best thing they can think to say is ‘When I’m dead, I hope you’re sorry,’” Potter explains. “But then that simmering self-indulgence gives way and the real me comes out, trying to understand why I was let go.” Illuminating Potter’s rare gift for alchemizing everyday experience into something cinematic and extraordinary, Trespasser later launches into the larger-than-life but deeply felt drama of “Run Baby Run.” With its fast-revving riffs and high-octane rhythms, the gutsy and glorious track hits like an adrenalized anthem of self-preservation. “That song came from a moment where I had to have a serious conversation, and my instinct was to run,” says Potter. “I was asking myself, ‘Why do I always want to run away when things get heavy?’, and it turned into a love song about a woman escaping an abusive relationship. At first the sound was full ’80s, like if Tina Turner had ZZ Top as her backing band, but we pulled it back until it landed in that sweet spot where it felt honest.” On the album-closing “Belong,” Trespasser embodies a soul-baring intimacy, offering up an existential road song that trades in quiet revelation rather than resolution. With its softly glowing Wurlitzer melodies, wistful pedal-steel tones, and resplendent gospel harmonies, the aching but determined track unfolds as a meditation on forward motion. “It’s a song that’s been with me for a long time,” says Potter. “When I first wrote it, I imagined I’d eventually reach a place of belonging, but in actuality I’m still on the journey. At a certain point, it felt more authentic to share the middle of the road trip instead of waiting to arrive—because if I waited, no one would ever hear it.” Although each song on Trespasser opens a window onto her inner landscape, Potter conceptualized the album as a dimension-hopping road saga, weaving together what she refers to as “these fables and storylines that have been whooshing around my soul for a very long time.” Part myth, part fever dream, the LP’s rotating cast of drifters circles around Topeka: a wild-hearted nomad who drives off a bridge in the breathless and scorching “Ride Or Die,” only to be resurrected within the spectral reverie of “Gasoline.” With its ensemble of misfits also including the lascivious ghost of a café delivery boy and the jealousy-crazed diner owner who killed him, Trespasser turns epic on “War On The Mountain”—a mythic psychodrama in which wholeness comes from making peace with all the selves you were told to exile. “From a young age, I made up characters to take me places I didn’t feel I had permission to go on my own,” Potter points out. “I invented all these otherworldly stories because it was easier than saying, ‘This is who I want to be and what I want to do.’ But now I realize I’m the permission slip I was always looking for.” In the making of Trespasser, Potter found a defining touchstone in a seldom-sung verse from Woody Guthrie’s timeless folk hymn “This Land Is Your Land”: “There was a big high wall / That tried to stop me / The sign was painted / Said ‘Private Property’ / But on the backside / It didn’t say nothing / That side was made for you and me.” “Over the years I’ve gotten into so many arguments about what that verse means, but I’ve always believed it means that the side that says nothing is the side we’re supposed to go to,” she says. “We’ve always been taught that the trespassers are the bad guys, but to me it’s not about reckless rebellion—it’s about exploring, physically and mentally and emotionally, and being willing to step outside the narratives we’ve accepted. Because in my experience, the places we’re told not to go are exactly the ones that show us who we really are.”

Grace Potter

<div>Welcome to BOWIE STATION, where you can make your connection to the past and the future through the timeless music of David Bowie!</div><div>Drawing from his classic albums from the 1970s, Bowie Station recreates the energy, excitement and theatricality of David Bowie&#39;s songs without the use of wigs, costumes or fake accents adopted by so many tribute bands today.</div><div>Bowie Station is Real Rock &amp; Roll !!</div><div><div>The Band is:</div><div>ED RYAN, lead vocal (Trans-Siberian Orchestra, Petty Rumours, Wide Awake)</div><div>RICHIE NASO, lead guitar (Desert Highway)</div><div>KEVIN McCANN, gtr/keys/vox (Wonderous Stories)</div><div>RICH COYLE, keyboards (Four Way Street, Badlands)</div><div>PAT FALCO, bass (Falco Brothers)</div><div>JEFF SCHUMACHER, drums (Various)</div></div>

Bowie Station

Audawind is a three-piece coastal country rock band made up of identical twin brothers, Ben and Sam Dufton and sister, Shelby. They are from the North Fork of Long Island, an agro-tourism summer community across from the Hamptons. Blending Country Rock with Hip Hop, this trio has been putting a fresh twist on Traditional Country for the last 10 years. This country rock band has sand in their boots but has called Nashville home for the last three years. As the songwriters and producers, Audawind weaves Skynyrd-esc guitar solos and rolling banjo through diva vocals and infectious drumbeats into a sound crowds can’t help but dance to. The sound of music, that’s what Audawind means and what this band is all about.

Industry Night w/ Audawind

Jimmy Buffett often spoke of “traveling the songlines,” a phrase borrowed from the Aboriginal tradition of mapping the land through music and story—paths that connect people, places, and moments across time. Jammy Buffet picks up that journey, where Buffett’s coastal storytelling meets the improvisational spirit of the jam band world. Led by singer-songwriter Bob Barrick, with key contributions from Brendan Mayer (son of longtime Coral Reefer Peter Mayer), bassist Andrew Cooney, drummer Tyler Gwynn, this Colorado–Tennessee outfit breathes new life into Buffett’s timeless “Gulf &amp; Western” sound. Their live shows offer something for everyone: greatest-hit singalongs for casual fans, deep cuts for the diehard Parrotheads, and cosmic, exploratory jams for those along for the ride. Expect sun-soaked grooves, surprise segues, and barefoot boogie energy from start to finish. With collaborations featuring original Coral Reefers Peter Mayer and Jim Mayer, Jammy Buffet is quickly making waves in the Gulf &amp; Western world, bringing fresh musicianship and modern jam sensibilities to Buffett’s storied catalog.

Jammy Buffet

Bombargo is a Canadian based international touring band that drops a vibrant splash of soulover their distinctive ‘vintage-pop’ sound. Well known for bringing unrivaled energy to the stagewith sing-along anthems, double-brother harmonies, and a powerful message that combinedmake for one of the most captivating live shows ever! Frontman Nathan Thoen&#39;s passionateconviction and ‘Jagger-like’ dance moves even impressed billionaire and music industry icon SirRichard Branson, quoting “I haven’t seen this type of energy since The Rolling Stones!” - and hewould know, having personally signed The Rolling Stones to Virgin Records.The band began with lead singer Nathan Thoen and guitarist Spencer Chilliak after the twospontaneously met and drove 16 hours to attend Sasquatch Music Festival where they becameinspired to start a band. The duo wrote their debut single “Let It Grow” during their very firstwriting session and as part of Bombargo’s debut EP Back on Main which would go on to beincluded in “The Top 10 Best Saskatchewan Albums of 2015” by SaskMusic. This furtherinspired them to continue writing, touring, and release their first full-length album titled We AreBombargo. The group has since evolved into a 7-piece touring band adding Nathan’s brotherAnthony Thoen on guitar, additional brothers Matt and Sammy Folkersen on keys and bassrespectively, Connor Newton on saxophone, and Niall Cubbon on drums.Bombargo went on to receive massive acclaim when pop star icon Taylor Swift added their2018 single “Mr. No Good” to her Spotify Playlist titled “Songs Taylor Loves” alongside megaartists including Ed Sheeran, Camilla Cabello, and Kendrick Lamar. Being the only unsignedband on this star-studded playlist saw Bombargo featured on CBC’s the Q, NME, Exclaim,Fashion, Noisey, People, and Billboard. This success was followed up by the release of theirmost successful single to date - “Oxygen” which pushed Bombargo into the Canadian Hot ACTop 40 Charts for the first time in the fall of 2019. The band also made its US touring debut inlate 2019 with their 33 date “North American Dream Tour” which kicked off with Bombargoplaying the sold-out Roughriders Labour Day Classic Half-Time Show to over 33,000 people.The band’s highly anticipated US debut at Hotel Cafe in Hollywood, CA gained heavy presscoverage including a raving article in Billboard Magazine.Bombargo has opened for legendary acts including John Butler Trio, Michael Franti &amp;Spearhead, Joel Plaskett and most recently performed on the Okeechobee festival main stagein Florida with over 40,000 in attendance. They have surpassed 4.5 million streams on Spotify,received over 715,000 views on YouTube, and were nominated for the Saskatchewan MusicAwards “Pop/Rock Artists of the Year&#39;&#39; in both 2018 and 2019. In August of 2020 the bandlanded a ‘most excellent’ cameo in the hollywood blockbuster “Bill &amp; Ted 3: Face The Music”.There’s no doubt Bombargo will continue spreading The Goodtime GuaranteeTM long into thefuture with the release of their new album ‘nubula.’ (released in May of 2022), and upcoming“Goodtime Guarantee Tour” this coming fall.

Bombargo

Faces For Radio is a high-energy party band that plays the greatest songs ever recorded. If you&#39;re not having fun at a Faces For Radio show, you&#39;re doing something wrong. Founded in 2019, FFR has grown from small bar gigs to performing at some of the biggest venues, events, and weddings on the east coast. Known for turning any room into a full-blown party, FFR’s setlist includes current hits, throwback anthems, and unexpected crowd-pleasers. Catch Faces For Radio at Stephen Talkhouse or anywhere you love to see live music.

Faces For Radio

With the arrival of their debut EP Life and Life Only, The Heavy Heavy immediately filled a longtime void in the musical landscape, delivering a soulful breed of rock &amp; roll untouched by modern artifice. As audiences across the globe grew enchanted with their era-bending sound, the UK-based band began selling out headline shows in major cities like New York and Chicago, opening for the likes of Black Pumas and Band of Horses, and earning critical comparisons to Jefferson Airplane, The Band, The Mamas &amp; The Papas, and more—all with only a handful of songs to their name, including the AAA radio top five singles “Miles and Miles” and “Go Down River.” After spending the past two years on the road and in the studio, The Heavy Heavy now draw listeners even deeper into their dreamworld with their long-awaited debut album One Of A Kind.Written entirely by co-founders Georgie Fuller and William Turner and mostly recorded at Turner’s studio in Brighton, One Of A Kind maintains the self-contained approach of Life and Life Only—a seven-song project acclaimed by outlets like NME (who named them an essential emerging artist for 2023) and The Guardian (who noted that The Heavy Heavy “write and play music with that lick of madness that makes early Fleetwood Mac and peak Stones so thrilling”). To that end, Turner produced, engineered, and mixed every track and handled most of the LP’s lavish instrumentation (including guitar, bass, piano, organ, Mellotron, and more), with The Heavy Heavy’s live band lending their explosive energy to the album. But in a departure from the EP, One Of A Kind leans away from Laurel Canyon-esque folk-rock and fully embraces their British roots, finding a particularly crucial inspiration in the gritty and groove-heavy hedonism of the Rolling Stones’ Goats Head Soup. “A lot of our EP was very bright and pretty, so we wanted to smash the door down like we do in the live show,” says Turner. “Because we were creating an entire album, there was so much more space to explore and expand,” Fuller adds. “It’s still undoubtedly that Heavy Heavy sound, but now we have all these other rooms to play around in.”For One Of A Kind’s lead single, The Heavy Heavy chose a sun-drenched and sing-along-ready number that serves as an auspicious bridge to the band’s new era. The last song written for the album, “Happiness” bends toward the lush psych-pop of Life and Life Only while introducing a new level of visceral intensity. “We felt we needed a song that had that summery, flowery feel of the EP, and somehow at the last minute we were able to pull magic out of thin air,” Fuller recalls. A fast fan favorite at their live shows, “Happiness” channels a bold determination to break free from loneliness and stagnation, ultimately providing an automatic mood lift thanks to The Heavy Heavy’s resplendent melodies and signature multi-part harmonies.Kicking off with a majestic bang, One Of A Kind opens on the rolling drumbeats and walloping riffs of its title track—a feverishly chanted anthem whose lyrics transform the listener into the protagonist of their own impossibly glamorous movie (e.g., “You’re getting down/You’re keeping on/You look the best/You’re all night howling”). Graced with a breathtaking vocal performance from Fuller (a classically trained singer), “One Of A Kind” quickly set the tone for the album’s larger-than-life vitality. “Something about the primal nature of that song inspired us to keep making songs that feel quite big and powerful,” says Turner. Later, on “Because You’re Mine,” The Heavy Heavy sustain that feel-good spirit and share a carefree love song lit up in slinky grooves and hallucinatory lyrics depicting what Fuller refers to as “the psychedelic daydream of a wandering nomad type—someone who goes wherever the wind takes them.” As One Of A Kind floats along, The Heavy Heavy endlessly push into previously uncharted sonic terrain, tapping into such unexpected influences as mid-’90s big beat on the bass-driven and gorgeously hazy “Miracle Sun.” “It’s a song with a lot of attitude to it—sort of our way of telling the world, ‘We’re living the way we want to live, and it doesn’t matter if you don’t understand,’” says Turner. Meanwhile, on “Feel,” the band merges the mesmerizing grooves of Madchester-era Britpop with a bit of idiosyncratic poetry (“I am a freeloader love junkie/A real heavy cannonball and I’m hungry…I stand between the sun, between the stone/I feel it in my fingers, feel it in my bones”). And on “Wild Emotion,” One Of A Kind offers up a country-infused serenade laced with galloping rhythms and twangy guitar tones partly inspired by the work of Dire Straits frontman Mark Knopfler. “That’s probably the most emotional song on the album,” Turner points out. “It’s meant to have a reassuring message, but at its center is the story of a woman who’s gone through a heartbreak and can’t find her way out of feeling hopeless and distraught.” After journeying through a whirlwind of sounds and textures—the hypnotic Mellotron of “Lemonade,” the frenetic psych-rock organ and skyscraping vocals of “Dirt,” the earthy acoustic guitar and sweetly playful harmonies of “Lovestruck”—One Of A Kind lands at the reverb-soaked splendor of its closing track, “Salina.” Named for a sparsely populated volcanic island off the coast of Sicily (an otherworldly spot Fuller and Turner visited on vacation), the slow-building epic unfolds in so many exquisitely strange sonic details: moody cello lines, thundering percussion, a spellbinding pedal-steel part simultaneously played by two separate guest musicians. “‘Salina’ was one of those moments where we let ourselves get experimental with the production and create a whole ocean of sound,” says Fuller. “We knew we had to put it at the end and let the reverb ring out in those final seconds—almost as if we’re leaving the album hanging in the air.”Formed in 2019, The Heavy Heavy emerged from a potent alchemy of their eclectic sensibilities. Hailing from the small town of Malvern (a stretch of the English countryside he describes as “a beautiful place full of hippies and longhaired people”), Turner took up guitar in his early teens and later played in a series of psychedelic/surf-rock bands, while Fuller’s extensive background includes performing at Montreux Jazz Festival as a teenager and acting in the London theater. As they moved forward with a mission of “making music that sounds like our favorite records ever” (including everything from Peter Green-era Fleetwood Mac to folk-blues act Delaney &amp; Bonnie to Fleet Foxes), the duo dreamed up a batch of songs in a London flat and self-released an early version of Life and Life Only in late 2020, eventually catching the attention of ATO Records and signing with the U.S.-based label in 2022. Fueled in part by the breakout success of “Miles and Miles” (their ATO debut single), The Heavy Heavy’s five-piece live band soon began playing bigger and bigger venues and taking the stage at leading festivals like Bonnaroo, Boston Calling, and Newport Folk Festival, in addition to performing on “Jimmy Kimmel Live!,” “The Late Show With Stephen Colbert,” and “CBS Saturday Morning” and scoring major syncs with the likes of Nissan and Netflix’s “Outer Banks.”Because of the rapturous response to their debut EP, The Heavy Heavy found themselves in an unfamiliar headspace when it came to the creation of One Of A Kind. “With the EP we were making songs as a way to soundtrack our own lives, but now it’s a different beast—it’s no longer theoretical, which gives everything more weight,” says Turner. But in the end, the band discovered an essential touchstone in the connection they’ve forged with their fans over the last two years. “Not too long ago, a woman came up to us at a show and told us she was getting a tattoo of one of our lyrics to remind herself to keep pushing on and keep chasing her dreams,” Fuller says. “Moments like that always remind us that as long as we keep making what feels good, chances are it’s going to make other people feel good too. I hope this album feels like a great big party to everyone, and I hope it inspires them to live their lives however they want.”

The Heavy Heavy

Hello Brooklyn is an NYC-based cover band servicing the tri-state area. Throwing parties since 2011, we aim to provide you with an unforgettable live music experience. Whether you’re having a wedding, birthday bash, or a party for no reason, you can count on us to get everyone on the dance floor.<div> </div><div> </div>

Hello Brooklyn

Rock n&#39; Roll band coming out of New York City

Telescreens

&#34;What happens when a doctor, a tech guy, an investment banker and a loan shark are all put into one band? ...Some pretty funky shit. Take Your Shoes Off (TYSO) is known across NY and NJ for changing lives and throwing the best, cash blasting shows around, playing covers spanning from the 60&#39;s to today&#39;s top 40&#39;s.&#34;Take Your Shoes Off was founded in March of 2018 when Rafi, Mikey, Paul and John (not pictured) moved into an East Village apartment together. One night they were out at The Red Lion, staring up at the band blasting beautiful cover tunes in the faces of the inebreated, post-college crowd. The three of them looked at one another and thought... how sick would it be if we could one day do this? One rough morning and a quick Google search later, they landed at Rivington Music Rehearsal Studios. They began practicing and eventually formalized the band with a name stolen from the lyrics of the song &#34;Sex&#34; by The 1975 - Take Your Shoes Off was born. Within a week they had their first gig at the Parkside Lounge. The music and energetic crowd at Parkside set them up for success and within just 2 months they were on stage in front of a sold out crowd at The Red Lion, the very venue where they had fantasized of playing a few weeks prior. Take Your Shoes Off has thrived ever since. With three singles released on Spotify and nearly 100 shows played, TYSO has become a staple of many Manhattanites and has touched the hearts of people all around the world.

Take Your Shoes Off

Martin Sexton tours in support the 25th anniversary of Live Wide Open - the critically-acclaimed double vinyl live album. The show will include these fan-favorites as well as some new material and surprise covers.“The real thing, people” —Billboard“Soul-marinated voice” —Rolling Stone“Mr. Sexton as an impassioned performer can bring women and men to tears when they see him live” —Wall Street Journal“The best live performer I’ve ever seen.” —John Mayer“Master of dynamics, reducing a room to silence with his blustering baritone, then teasing that silence with a fluttering falsetto.&#34;  —Acoustic Guitar

Martin Sexton Live Wide Open Tour 2026

Inner Roots, the hottest and most sort after reggae show, dance and backing band the sound of which can be at the best eateries in New York, parties, festivals and cultural events.Inner Roots revived the live band sound and the affordability in the metro area and expanded their listenership and fan base to the suburbs.By all means be the judge and compare the quality of their unrivaled repertoire that’s supersedes the excellences of today’s standards in their display of artistry and infinite musicianship.Inner Roots Band offers a collaboration of many years of musical talent. They are a true expression of reggaes versatility. Their live performance takes you on a journey of Roots, Culture, Lovers Rock, Dance Hall, Vintage Classic reggae music that is rooted in Jamaica and spanning the world. They have been playing together for many years and each member has a style which can’t be refuted.Inner Roots Band consist of Neville Morris (bass), Lee Archebald (guitar) Richard Blackwood (keyboard),Virginia Henriquez (vocal), Owen Dalhouse (drums/leader), Phyllis McClain-Dalhouse (percussionist/manager) These accomplished musicians in their own right have helped to keep Roots, Rock, Reggae alive. World, this that you hear is a tip of the iceberg, Inner Roots simply the best in live entertainment.

Reggae Night w/ Inner Roots

Pet Sounds Live is the premier Beach Boys album experience celebrating Brian Wilson’s iconic masterpiece that altered the course of rock &amp; roll.Pet Sound Live transports you back in time inside the studio and behind the glass as you experience the creation of some of the greatest and most beloved music in rock &amp; roll history performed right before your eyes and ears.This is far more than a tribute and much more than just a band. Pet Sounds Live is rock &amp; roll history come to life on stage like no other show before.In addition to the complete Pet Sounds album, the show also features many other Beach Boys classics like; “California Girls”, “Don’t Worry, Baby”, “I Get Around”, “Help Me, Rhonda”, “In My Room”, “Surfin’ USA”, “Do It Again” and the legendary pocket symphony, “Good Vibrations”among others.Relive the magic of Pet Sounds through live music, narration and visual multi-media with fascinating historical facts all through the lens of Brian Wilson and The Beach Boys’ masterpiece, PET SOUNDS!Experience the iconic masterpiece album LIVE in its entirety along with all of The Beach Boys greatest hits and Good Vibrations coming soon to a venue near you!

The Music of the Beach Boys Featuring Pet Sounds LIVE!

The HEAVY TRAFFIC BAND  was formed this spring to celebrate the timeless  music of STEVIE WINWOOD and his band TRAFFIC. The band explores, with an original twist, classics tunes  from the TRAFFIC catalog as well as several Winwood solo tracks . Not just a &#34;cover band&#34; but a creative interpretation by seasoned musicians. The band  includes east end musicians DAN KOONTZ, JOE LAURO, FRED GILDE,  ALEX SARKIS, and JULIE BLUESTONE  and features guitarist/vocalist  CHRIS WIEDEMANN.  HEAVY TRAFFIC is proud to be performing its FIRST EVER SHOW at the Talkhouse!

Heavy Traffic Band

Hailing from Wilmington, North Carolina, Fudge aims to combine driving rock guitars with melodic and explosive choruses. Releasing their debut EP &#34;Kicking Around&#34; in late 2024, Fudge has been growing a loyal fan base for putting on exciting live shows.Fudge recently released &#34;Interstate&#34;. Interstate is an anthemic 90s inspired tune about hating your day job. Combining compelling songwriting with driving rock based guitars, Interstate is the perfect tune for a long drive or winding down after a busy day.

Industry Night w/ Fudge

<h1>Gypsy Angel Row is a dynamic 9-piece band, featuring The Mystery Horns, performing the very best of Bruce Springsteen and The E Street Band</h1>

Gypsy Angel Row Best of Bruce Springsteen

Middle Aged Dad Jam Band is comedy legends Ken Marino &amp; David Wain along with a revolving group of other dads &amp; friends, playing the best music from the 60s, 70s and 80s. Over the past several years, their infectious blend of great music and laughs has blown up on YouTube and in live shows across the country. &#64;madjamband / <a href="http://madjb.com/" target="_blank" rel="noopener noreferrer">madjb.com</a>

Middle Aged Dad Jam Band

Meet & Greet- GA Ticket plus M&G

<div>Hot Lava is, quite simply, the greatest cover band on Earth.</div><div> </div><div>Hot Lava is more than a band—it’s a social movement, with shows drawing hundreds of fans looking to be scalded by our molten musical interpretations anchored in 70s-era rock-and-roll and the scorching sounds and blistering beats of the 80s, 90s, 00s, and today. A key to our success is that we play great songs. And we play the shit out of them.</div><div> </div><div>Known for an epic live music experience, Hot Lava performs regularly in NYC and the Hamptons. We’ve played small private parties for the 1% and 2,000&#43; person benefits for charity. Some of our members have toured with national acts yet, if you ask them, they’ll admit nothing is more kickass than Hot Lava.</div><div> </div><div>Once the Lava gets flowing, there&#39;s no outrunning it.</div>

Hot Lava

Balancing folk songwriting, rock ‘n’ roll energy, raw instrumentation, and sonic wanderlust, the Seattle-based musicians comprising Richy Mitch &amp; The Coal Miners--Mitch Cutts, Nic Haughn, and Jakob Ervin-- draw inspiration from the friendship between them. What began as a high school passion project in Colorado Springs has quietly translated to billions of streams and packed crowds. “We were always friends who hung out and joked around with each other, but music allowed us to connect emotionally and share an outlet,” observes Mitch. “This is a safe place where we can all meet, bring ideas to one another, and create something out of nothing.” Growing up in Colorado Springs, their friendship preceded the band. Throughout high school, Mitch and Nic participated in as many projects together as possible. They signed up for random sports teams, launched YouTube channels, went on hiking trips, shot home movies, and eventually decided to record an album of their own. Their collective tastes spanned diverse influences, ranging from Vampire Weekend, Fleet Foxes, Gregory Alan Isakov, Peach Pit, and Bon Iver to DIIV, Rainbow Kitten Surprise, Cage The Elephant, and Portugal the Man. In 2017, the guys cut their self-titled debut, RMCM, recorded in a closet under a staircase at Nic’s house. Even though the members attended separate colleges (with Nic at the Air Force Academy, Mitch studying engineering in Denver, and Jakob going to school in New York and England), they continued to write and record remotely and on breaks. “Music was going to be a way for us to stay in touch throughout college,” Mitch notes. Moving the studio to Jakob’s house, Richy Mitch &amp; The Coal Miners unveiled Solstice in 2018 followed by Subliming a year later. In between, Nic, Mitch, and Jakob relocated to Montana where they split their time between day jobs, music, and the ski slopes. Unexpectedly, the one- minute and 27-second intro to “Evergreen” caught fire on TikTok. The outdoor community embraced the track first, while a slew of major co-signs followed. This enthusiasm about the song carried over to DSPs as “Evergreen” has generated over half a billion Spotify streams and the group has averaged north of 20 million monthly listeners on the platform. It notably has cracked the Billboard Hot 100, Hot Rock Songs Chart, and Hot Rock &amp; Alternative Songs Chart. From its inception, “Evergreen” always meant a lot to Mitch. “I had done this 300-mile backpack through Colorado when I was 16-years-old, and that’s when I wrote most of the first album,” Mitch recalls. “At that point, the song was about hiking. You’re battling against yourself to keep walking and stepping. It was a cool way to start the album, because you’re looking forward and you have to move your feet. Now, it means stepping into music, making a record with friends, and taking a chance to release it into the world. There’s a lot of power in getting a collective of people together to create something.” Jakob agrees, “I look at it as a stepping stone to get our feet in the door of the industry, drop everything else, and work on this full-time.” “Evergreen” knocked down that door once and for all. Among many highlights, “Lake Missoula” also piled up 100 million Spotify streams and counting, while “Wet Socks” and “Subliming” generated tens of millions of streams. They launched their first proper headline tour in 2023, graced the bills of festivals such as Lollapalooza, Under The Big Sky and Hinterland, collaborated with Mt. Joy and Caamp on new versions of Lake Missoula and Evergreen respectively , and remained prolific with “Signal Sender,” “Careful,” “Northstar,&#39; and “Sierra Vista.” Maintaining this momentum, they cap off 2024 with their biggest tour yet, playing to sold out crowds coast to coast. No matter what happens next, the friendship and the music go hand-in-hand for Richy Mitch &amp; The Coal Miners. “We’ve been able to overcome a lot, and the band is a testament to that,” Mitch leaves off. “We started this as kids. Keeping it going through college, jobs, and moving around was a huge accomplishment for us. It’s kind of mind-blowing that we’ve turned this into a career in the last year. For me, it’s symbolic of being able to work together and write honest music with a lot of vulnerability.”

Richy Mitch & The Coal Miners

LHT Little Head Thinks--cool and down to Earth. the group is located in a perfect place--the Hamptons--for their laid back rap/rock party that they throw while on stage. Putting their fingerprints all over an eclectic mix of covers from the 70&#39;s, 80&#39;s and 90&#39;s while intertwining some of their own catchy originals, LHT keeps the party moving, the drinks flowing and the dance floor packed. LHT has plays regularly at the legendary Stephen Talkhouse as well as other venues in the Hamptons. LHT has lended their talents to benefit Wounded Warriors, The Blue Point Fired Department, as well as local individuals in the community in need of help for medical issues. LHT regularly plays private parties including weddings, providing the perfect atmosphere for any fun party. LHT has shared the stage with Chad Smith, G.E. Smith, and Jimmy Buffet, as well has played shows with Susan Vega, Tribe Called Quest, Paul Simon, and many more.

Bogmen

Social Gold -- The New East Coast Party Band! A powerful &amp; lively performance with superior quality, reaching all ages from the crowd. Playing everyone&#39;s favorites of yesterday and today in every genre, Social Gold brings the party to YOU!

Social Gold

<div>Stagefright brings a very special performance that features an incredible collective of musicians reimagining the music, energy, and collaborative magic of The Last Waltz and The Band. These tribute performances have become beloved events at Union Pool in Brooklyn, NY and venues across the country. Expect timeless songs, rotating performers, a full horn section and an ode to the greatest concert film ever made.</div>

The Last Waltz presented by Stagefright

Early bird GA

Reggae Night w/ Rum Punch Mafia

For the first time in almost a decade, brothers Taylor and Griffin Goldsmith grace the cover of a Dawes record. It’s just the two of them this time, and as such, Oh Brother marks a distinctive new chapter for the California rock band — one that is both introspective and accessible, all while maintaining their beloved sense of sincerity. After the amicable departure of two bandmates last year, Taylor realized that the group’s natural evolution was nothing to hide from Dawes’ dedicated fans. He likens it to looking back on The Rolling Stones’ career — eras with Brian Jones versus Ronnie Wood — or Dire Straits’ lineup with and without brothers Mark and David Knopfler together, or The Cure’s fluctuating cast encircling Robert Smith. People change. Music evolves. But a band is still a band. “We’re not shying away from this information, because then it just seems cowardly or something,” Taylor says. “Rather than try to hide something, let’s celebrate it. Let’s call our record Oh Brother.” The title of Dawes’ ninth LP serves as a sort of double entendre too, an exasperated sigh acknowledging that change can still be challenging. “We’re gonna miss our dudes,” he says. “They’re still brothers.” Still, Oh Brother steers Dawes decidedly forward, honoring 15 years of Taylor and Griffin’s musical relationship, as well as the next era of their band. That spirit informed much of the album’s writing and recording, too. Each of the nine songs began with just Taylor on guitar and vocals and Griffin on drums. They initially tracked each one live together, before adding in additional instrumentation and collaborating with touring guitarist Trevor Menear in the studio. Additionally, Oh Brother is the first record the brothers have co-produced, working alongside longtime friend Mike Viola. Lyrically, the songs on Oh Brother encompass personal moments in their lives and larger ideas of what consistency and stability mean. “House Parties,” a musical sibling to 2015’s “All Your Favorite Bands,” came toward the end of the recording process for 2022’s Misadventures of Doomscroller. Shortly thereafter, “The Game” and “Surprise!” — a six-and-a-half-minute not-quite-center, centerpiece about life not going as expected — came as Taylor was settling into fatherhood. Elsewhere, “King of the Never-Wills” subtly addresses addiction and “Mister Los Angeles” serves as a sardonically satirical commentary on their hometown. At this point in the Goldsmiths’ career, Dawes has cemented itself as one of the most earnest, no-bullshit musical acts out there. To some degree, Taylor acquiesces, “I definitely choose to believe that definitive work can always be out in front of us instead of behind us, but it’s also a fact that we have established a personality.” They’re a band that can move seamlessly between folk rock, piano ballads, and sprawling jams while maintaining both an immediately recognizable sound and a freedom from expectations. Across its heartfelt songs — sometimes silly and sometimes serious, and all filled with sing-along choruses, deeply felt poetic lyrics, and sterling musicianship — Oh Brother highlights the band’s independence. Even as the Goldsmith brothers navigate new chapters in their personal and professional lives, they remain creative, ambitious, and inspired. “All you can really do is find out what are the most essential, truest, and idiosyncratic parts of yourself,” Taylor says. “And I like the fact that Griffin and I are kind of clinging to each other and holding on to each other more than we ever have. We’re grateful for each other in a new way. But we’ve also been through a lot. “It feels like we’re reborn in a way, and I mean that with so, so much love and gratitude to everyone we’ve ever played with before! This is what it means to be a lifer, to have iterations. It means having phases and chapters, and this is a very clear delineation as to the beginning of a new one. So Oh Brother feels like a ninth record, but it also feels like a first record.”

Dawes Duo

with members of different east end bands like LHT, Local Motion, and Landline, as well as the talkhouse legend Mike Mazz, Lou Dog brings Sublime to the East End of Long Island. Come sing along to all your favorite Sublime songs!

Industry Night w/ Lou Dog -Sublime Tribute Band

On September 3rd, 1977, The Grateful Dead headlined one of the largest and most musically successful concerts of all time at Raceway Park in Englishtown, NJ. In addition to the Grateful Dead, the show also featured the Dead family’s New Riders of the Purple Sage and the good-time, southern rock of The Marshall Tucker Band. This tribute extravaganza will feature selections from each band’s sets that day along with other deep cuts and original music inspired these three bands.​As Michael Falzarano tells the tale!Everywhere I toured with The New Riders of the Purple Sage for the past 20 years someone would come up to me at almost every show and say “I saw you guys at Englishtown.” Long story short, it seemed like a good idea to put a band together and pay tribute to that legendary September 3, 1977 show. With that, The Englishtown Project was born. The intention was to play That one show has turned into upwards of 150 shows. Go figure!​The Englishtown Project ​Michael FalzaranoGuitar/Vocals: After decades-long stints with Hot Tuna and The New Riders of the Purple Sage, Michael has earned nothing less than iconic status as one of the most authentic figures on the blues / jam band scene. Over the years, Michael’s evocative singing, intuitive guitar playing and songwriting skills have earned him a large and loyal following worldwide.​Tom Circosta (ZenTricksters)Guitar/Vocals: Tom is one of the NY area’s most versatile guitarists and also happens to be a leading disciple of Bob Weir, arguably the best and most unique rhythm guitarist in rock history. In addition to Zen Tricksters, Tom also plays with the unique Dead On Live and Jam Stampede.Kevin Griffin (Space Bandits)Pedal Steel / Guitar / Vocals: Kevin has made a name for himself playing pedal steel and guitar around the Tri-State area for many years. When not on board with The Englishtown Project, Kevin can be seen with Space Bandits and The Electrix,​Klyph Black (Zen Tricksters)Bass/Vocals: In Klyph, along with Tom and Dave, the Englishtown Project is fortunate to have 3/5ths of the classic lineup of Zen Tricksters, the best and longest running Grateful Dead-centric band in the Northeast. Not only is Klyph an outstanding bassist, he is also one of the most accomplished musicians on the Jam Band scene today.Russell Stedman (Jeff Mattson Band/Zen Tricksters)Drums: Fans of the Grateful Dead know what a great drummer Russell is. Having been on the Jam Band scene for quite a long time, he’s a much sought after drummer who has played in The Jeff Mattson Band and The Zen Tricksters. Now you can see him with The Englishtown Project.​​When scheduling allows most shows include singers Clare Maloney or Annie Mac.Clare MaloneyVocals: New York City-based vocalist Clare Maloney has been hailed for her &#34;golden voice of immense range and depth&#34; and has delighted audiences around the world with her thoughtful artistry, polished singing and heartfelt performances. Raised on Rock &amp; Roll and trained in Classical Music and Opera,.​Annie MacVocals/flute/percussionAnnie is a New York–based multi-instrumentalist and vocalist with roots in classical flute and a deep love for rock, soul, and improvisational music. She’s known for her versatility and feel, bringing an expressive, dynamic energy to the stage—whether locking into a groove, layering textures, or taking the lead. A familiar face in the Dead scene, she’s played with bands like The Electrix and has brought her performance overseas, most recently to Japan.​​The Englishtown Project has many master keyboard players at the ready when scheduling allows:Mookie Siegel (Phil &amp; Friends), Scott Guberman (Phil Lesh Family Band/Gilmore Project), Mike Katzman (Friends of the Brothers/The Electrix), Mark Mercier (Max Creek), Scott Chasolen (The Machine), Jordan Giangreco, (Zach Nugent/Mystic Dead), John Pittas (Dead on Live), Matt Iselin (Half Step) or Mike Borowski (Splintered Sunlight). To name a few.​When we’re doing double drums: Dave Diamond (Zen Tricksters)Drums: Most fans of the Grateful Dead are familiar with Dave’s drumming talents, but more and more are coming to realize that Dave is a multi-talented musician to be reckoned with. In addition to his long tenure with Zen Tricksters, Dave drums for the excellent alt-rock band Assembly of Dust and his own eclectic Dave Diamond Band.

The Englishtown Project

Love always. Love forever. Love until the end of time. The Great Cosmic Playlist is testimony to the endurance of an emotion that is easy to conjure but hard to maintain. But for Larry Campbell and Teresa Williams, who have been coupled consciously since 1986, love is more than a pop song; they are the bards of the long term committed relationship.“As soon as I saw her, I knew she was the one,” says Larry. That epiphany occurred in a Manhattan rehearsal studio. Teresa, an actress and vocalist not long removed from Peckerwood Point, TN, had been pulled into a singing contest. Larry, the New York City native with a burgeoning reputation for his virtuosity on any instrument with strings, was brought in to play pedal steel guitar. “For me, it was love at first note,” she says. Together they went on to capture a greater prize.From the beginning, they shared a musical sensibility; Larry courted her with a Louvin Brothers mix tape. The more they played together, the deeper it grew. Whether it was Larry joining in on the music with Teresa’s family and neighbors under the tree where they were married (“Larry melded perfectly,” says Teresa), or Teresa belting bluegrass songs on the bus with Larry and the rest of Bob Dylan’s band as they traveled between gigs (“It was very fulfilling,” recalls Larry), the couple’s rapport grew richer. “I found a connection I had never experienced before,” says Larry. When Dylan’s manager, Jeff Kramer, suggested that they make hay with this natural duo, he expressed a thought that had been already brewing in Larry’s head. But Larry wasn’t ready. “I had to start seeing myself as a singer and songwriter before I could take that step.” The couple took another decade, much spent playing with Levon Helm and his band at his legendary Midnight Rambles in Woodstock, before Larry and Teresa elevated their rapport to the next level.All This Time is the couple’s fourth album since taking that leap, following Larry Campbell and Teresa Williams (2015), Contraband Love (2017), and Live at Levon’s (2023). All This Time , says Larry, “feels more intuitive to me than the earlier records, less experimental, evidence that we’ve grown more aware of who we are and what we have to offer.” What they offer, evidently, is an intensely romantic album. Songs like Desert Island Dreams, Ride With Me, The Way You Make Me Feel, and I Love You fairly burst with the joy of love, while others recognize love’s humbling power. “All I want, all I need, is right in front of me,” testifies one song. “I still tremble at your name,” says another.It’s not hard to recognize All This Time as a post-Covid album. Larry and Teresa had a hard pandemic. Before Teresa left for remote Tennessee to nurse her father through his last illness, Larry came down with a double-barreled blast of Covid, and Teresa was quarantined. Isolated in Woodstock before treatments had been developed, Larry struggled. “Teresa pulled me through,” he says. “I held his hand over the phone,” she offers. Teresa says Larry’s lyrics often help her decipher what’s on his mind, but it doesn’t always take a codebreaker to recognize the songs on this album as love letters sprouted in a harsh spring. “When you told me that you need me/ After all we’ve been through/ I still think about the love we have to give/ I think about you.”

Larry Campbell & Teresa Williams

Simmerr is a seven-piece band that combines jazz and soul influences with a more modern indie-pop feel for an “addictive sound.” At its core, simmerr is a manifestation of the bond between two best friends, bandleaders James Acre (vocals, keys) and Jairo Campo (vocals, guitar). They lead simmerr with their lighthearted and joyful onstage presence, but dead-set musicality. It’s the perfect combination to bring a smile to the faces of casual and serious music fans alike.

Simmerr

The East Coast’s Premiere Cover Band. Playing all the Throwbacks and Top Hits from your favorite artists.

Nicolls Road

West 22nd is an Austin-based rock band formed by friends who met at the University of Texas with a singular mission: become the next great rock band. They call their sound carousel rock, a style that spins through genre, emotion, and energy without losing its center. The term captures the tension at the heart of their music: controlled chaos that is sometimes dizzying, sometimes grounding, and always unforgettable. After a breakout EP and a debut album that have amassed over 75 million streams worldwide, West 22nd made one thing clear - they are not here to blend in. Their lyrics are autobiographical, their shows are electric, and their ambition is unmistakable. They have taken the stage at ACL, sold out numerous dates on their debut headlining tour, and built a fanbase that shouts every word back at them. West 22nd is not chasing nostalgia or trends. They are writing what comes next. And if you have ever felt a chorus hit at exactly the right moment, you already understand.

West 22nd: Places To Be

GA Presales

<div>For over a decade, RUBIX KUBE has taken the universe by storm as the most original ‘80s tribute band of all time! Its one-of-a-kind, ever-evolving and interactive “The EIGHTIES STRIKE BACK Show” captivates public &amp; private audiences of all ages. From their NYC headquarters, to our U.S. troops overseas, The KUBE rocks for the coolest fans in the most prestigious venues across the globe . . and galaxies far, far away. More than just a cover band, “The EIGHTIES STRIKE BACK Show” is like the rad lovechild of a Rock concert and a Broadway musical – from a honeymoon down Electric Avenue!RUBIX KUBE is led by a male &amp; female dynamic duo of karma chameleons, able to transform in the-blink-of-an-eye into any of your favorite ‘80s icons, personifying in sight and sound. It’s like Madonna, Michael Jackson, Cher, Prince, Devo, Bon Jovi, Boy George, Paula Abdul, Guns N’ Roses and more teleport right before your eyes on the same stage, in one concert! The band dazzles with some of the most talented &amp; versatile musicians in the entertainment business, including Steve Brown &amp; P.J. Farley of the million-selling band TRIXTER. All are decked out in vibrant &amp; vintage threads and with enough hairspray to take down Freddy Krueger, The Terminator, Beetlejuice and all The Gremlins at once. Together, The KUBE is able to crank out ’80s Pop, Rock, New Wave, Dance and Hair Metal hits, and perform them just like the originals – yet with their own gnarly twist.So well-known for their world-class musicianship, RUBIX KUBE is often joined on stage by ’80s legends themselves. Rick Springfield,  Dee Snider of (Twisted Sister), Tiffany, Debbie Gibson, Night Ranger, and Dennis DeYoung (of STYX) are just some of The KUBE’s impressive collaborators. To boot, The KUBE is the only ’80s band that can honestly claim to have played with Bret Michaels (of Poison), Mike Score (of A Flock Of Seagulls), Colin Hay (of Men At Work), MC Hammer, Tone Loc, Taylor Dayne, and Bonnie Tyler.Talkshow star Kelly Ripa exclusively praises RUBIX KUBE as “Amazing. You definitely have to check it out, it’s so much fun. It’s like going back to The Eighties!” As the name suggests, they’re also the world’s only authorized &amp; licensed band of the most iconic puzzle toy of the ‘80s, the official Rubik’s Cube.Often imitated, never duplicated, RUBIX KUBE throws the most awesome ‘80s party there is and sends you on a time-travel experience like no other. So jump in the DeLorean and blast to “The EIGHTIES STRIKE BACK Show”!!</div>

Rubix Kube

Cuban music has a new global ambassador: Cimafunk. With a name and image that pays tribute to the Cimarrons – Cubans of African descent that resisted slavery – and music and showmanship that re-embodies funk legends from the last century, the medical-school student turned funk artist has developed into a musical force crafting the sonic future of the island and a global, cultural phenomenon that unites and celebrates blackness across borders, oceans and languages. With his unmistakable AfroCuban sounds, no holds barred live show and multiple Grammy-nominations, Cimafunk is redefining what the planet understands as Cuban music. Cimafunk’s debut album <a href="https://open.spotify.com/album/11qB7I59a0o0p2lNdTkwZC?si&#61;o14OSc_5S3mYeI9ZTwCmzA">“Terapia”</a> (2018), with its groundbreaking #1 single <a href="https://open.spotify.com/track/7MEy790axl2dhJ962bJz4v?si&#61;2e3d15ebb1f94012">“Me Voy”</a> – followed by his breakout performance at SXSW 2019 and widely praised <a href="https://www.npr.org/2020/02/28/809196114/cimafunk-tiny-desk-concert">NPR Tiny Desk Concert</a>, started a movement of converting millions of people to the religion of groove, one live show at a time. The AfroCuban rockstar has moved the spotlight well beyond the Buena Vista Social Club, salsa and reggaeton.From a local sensation on Havana’s small alternative music scene to global success, Cimafunk’s ascent is as dizzying as an F1 race. Performing with La Tribu (The Tribe), his 9-piece band from Havana, Cimafunk has electrified global audiences on massive stages and worldwide temples of music, making a name for himself as one of the great showmen of today. From New Orleans Jazz Festival and Lollapalooza Chile to becoming the first Cuban-born artist to play Coachella, this undisputed star of Afro-Latin music has earned the adoration of musical icons such as Argentine Fito Páez, who has hailed him as &#34;one of the lights of the continent&#39;s future,” the Godfather of Funk George Clinton, who refers to him as “the next one,” and Chucho Valdés, who credits Cimafunk with masterfully and organically blending “AfroCuban with African American, converting this into a new school that until now I haven’t heard done.”Cimafunk’s distinctive musical fusion continued to grow in its artistry with both the release of his second album  &#34;El Alimento” (‘The Nourishment ) -which was met with an abundance of critical praise that included Best Albums of the Year lists of Rolling Stone, NPR and more… as well as an equal volume of glowing reviews for his unrivaled live shows, which quickly made him one of the most in-demand festival performers. Cimafunk has collaborated on records and shared the stage with the likes of Alejandro Sanz, CeeLo Green, ChocQuibTown, Chucho Valdés, Fito Páez, Fonseca, Fred Wesley, Galactic, George Clinton, Jon Batiste, Juanes, Leoni Torres, Lettuce, Lupe Fiasco, Preservation Hall,, Omar Portuondo, Orquesta Aragón, Robert Glasper, String Cheese Incident, The Soul Rebels and Trombone Shorty. Susan Sarandon, Ron Delsner and other personalities have become superfans, often seen side-stage lost in the groove, and the likes of Paul McCartney and more have come out to check out the AfroCuban sensation.  After the success of El Alimento, Cimafunk delves even further into his exploration of the intersections between funk and the sounds of the continent and gives us Pa&#39; Tu Cuerpa (Mala Cabeza Records), his most polished and mature production to date, on August 23rd, 2024.- - - -“Cimafunk’s masterful album is the soundtrack for a euphoric soul train, serving up funkadelic grooves, kinetically punctuated by Cuban rhythms [and] stellar guests… with the joy of being alive in its every note.” – NPR  “a frenetic joy ride of freewheeling blasts of percussive funk intercut with pumped-up classic Cuban riffs…  Cimafunk is engaging in a cultural mixing that celebrates a kind of Latin American hybridity … with mind-bending results. ‘El Alimento’ has thoroughly transformed him into an international funk champion” -NY Times “CIMAFUNK is A Must-See Act… … Cimafunk is Creating The New Sound Of Cuba &amp; Redefining Latin Alternative… with an energetic intensity that has drawn comparisons to James Brown… A funkadelic force to be reckoned with… Cimafunk has exploded on a global scale. The 2x GRAMMY nominee is now a trailblazing creator whose music unites Afro-Cuban rhythms and African American funk”- GRAMMY.com  “Cimafunk [has] one of the most exciting live shows… perpetual showmanship and natural ability to hear music in everything is Cimafunk’s signature… squarely in conversation with American funk, rap, and soul, drawing out a connection that’s always existed between Black art … pulling listeners into Cimafunk’s magnetic orbit… crisscrossing the globe, winning fans over with his electric stage presence” – ROLLING STONE

Cimafunk

In 2015 six lifelong musicians came from all across the country (well, just San Francisco and New York, but whatever) to form a band that is too hot for the police, fireman, and many many others. Rated Fresh throw down harder than your typical party band with a setlist you won&#39;t hear anywhere else, including Top 40 mashups, 90s throwbacks, 60s and 70s classics, and musicianship beyond their years.

Rated Fresh

“What can we do to get people off their fucking phones?” exclaims founder and frontman Luke Faillaci, explaining the mission behind Fai Laci, the band he founded and fronts. “And how can we give them something real and make them have a great time? That’s the most important thing we can do: Just communicate with our followers and let them know they fucking rule!” The Boston quintet — which also includes guitarists Anthony Cervone and Michael “Goldie” Goldblatt, bassist Cal Hamandi, and drummer Zack Putnam — have already amassed a grassroots fanbase thanks to their energetic, wildly cathartic live shows around the Northeast. They’ve seen a community coalesce around their inspired rock songs, with a quarter-million monthly followers and millions of streams despite, until recently, having no label, no publicist, and no manager. They’re proof that good tunes can still find their audience, and they’re working hard to bring others into the fold. “We’ve always been making music for ourselves, and we’re going to hold ourselves to that, because we know other people will want to hear it, too.” Fai Laci are a band with a mission, and Elephant in the Room is the ideal vehicle to achieve it. Produced by Dan Auerbach and recorded at his Easy Eye Sound Studios in Nashville, the album blends the urgency of punk and the stomp of glam with the theatricality of classic rock, all bound together by the band’s sharp swagger and Faillaci’s boundless charisma. Especially for a debut, it’s confident and surprisingly diverse, full of brazen rockers and bruised-heart ballads. The band expertly traverses the psychedelic time and tempo changes of “Cure Upon the Hill” with the same grace and nuance that they bring to “Beautifully Boring,” a dreamily bittersweet anthem about navigating your young adulthood with your sense of self intact. In between, they deliver bangers like the decadent “Sarasota” and the jittery new wave “Headlights”, each a showcase for their inventive guitars and nimble rhythm section. “We never set out to make a certain kind of sound,” says Faillaci. “It takes us wherever it takes us. We got more into the rock side of things on the album, but we also wanted to have some really beautiful songs on it. We wanted to have something for everybody.” That’s been the defining Fai Laci attitude since Faillaci founded the group. Working by himself and learning as he went along, he released two EPs and a handful of singles that he hoped might eventually make their way beyond his circle of friends. Those early songs reveal a young artiststill integrating all of his favorite artists, from the obvious (Bowie, Nirvana, The Doors) to the not- so-obvious (The Highwaymen). “My dad played them around the house all the time, and I lovedthe songwriting and storytelling aspect of their songs. When I was a teenager, I went through an era of loving rap music, especially this artist Felly. I drew a lot of inspiration from him, and that’s when I realized I could just produce myself. I was just figuring out how to make sounds and record them...and I sucked! But I enjoyed it because I was learning how to make the music that I wanted to listen to.”Gradually, Faillaci brought players into the band, based more on personality than chops. “It was never about adding another guitar just to have another guitar,” he says. “It was about getting the right people. I knew they’d be a good fit for the band because nobody has an ego. We’re all pretty level-headed.” Currently, all five band members live together in a house in Medford, Massachusetts, where they can jam ceaselessly and record whenever inspiration strikes. “Everybody holds their own with production and songwriting. Everybody writes. Everybody gets a vote. So, there’s been a huge shift in our sound because everybody is bringing their own ideas to the music. I can’t imagine making this music with anybody else in the band.” Soon their music made its way to Auerbach, one half of the Black Keys, whose first response was: Get ‘em in the studio. “I couldn’t believe it,” says Faillaci. “It was the craziest shock of my life. We didn’t know what we were getting into, because we’d never recorded as a full band before.” They made two trips down to Nashville, where they had a few co-writing sessions with Auerbach and Daniel Tashian (Kacey Musgraves, Demi Lovato) and holed up at Easy Eye Sound Studios. “It was a learning experience, and it gave us the confidence to try things a little differently. We did some overdubs and tried some things to give the record a cool studio sound, but we were focused on making it sound like a performance, like a band playing together. We wanted to capture that feeling we get when we’re playing live.” The five players had a breakthrough while they were working on the opener, “Cure Upon the Hill,” which opens with a Springsteen reference and a deep urge to break free: “Oh, my mamma told me I was born to run, shed off my dirty clothes and burn into the sun.” The song lives up to that sentiment, constantly twisting itself into new shapes as though nothing could hold it in place. “We had basically finished the song, and when we got to the outro, we were trying to figure out what to do. We thought about a double chorus or something like that, but it seemed too easy, too predictable. We don’t want to take the easy route. We don’t want to be predictable. So, let’s do this huge tempo modulation into the choir outro with a dual guitar solo thing.” That decision makes a great song even better, introducing an album full of little sparks of inspiration that catch you off guard and make you put down your fucking phone. “Have You Nothing Left to Say” opens with Cervone playing the national anthem on guitar, a nod to Jimi Hendrix at Woodstock, but also an acknowledgement of the sad state of the union. “That’s something Anthony started doing during our live shows, and then we’d talk about the bad shit going on in America right now and how it’s up to us to make things better. We had to include that on the album, because that’s such a crucial part of the message. Fai Laci aren’t an explicitly political band, but they do see rock and roll as a subversive force: a battering ram for storming the castle, the glue that binds people together into a community that’s more powerful than any one person. It is, ultimately, a noble pursuit. “We’re trying to get people together so they can hang out and just talk to each other,” Faillaci explains. “So, let’s be as real as possible. Let’s keep hammering away at the stuff that makes a true difference to the people in front of us. We’ve proved on a small scale that we can do that. Now it’s just a matter of finding cool ways to do it on a larger scale.”

Fai Laci

If you would like to donate to Michael O&#39;Rourke please click link below:<a href="https://www.gofundme.com/f/support-michael-orourkes-cancer-battle?attribution_id&#61;sl:2d965d32-e09f-48ca-9451-437029e5e439&amp;lang&#61;en_US&amp;ts&#61;1780162789&amp;utm_campaign&#61;man_sharesheet_dash&amp;utm_content&#61;amp17_te-amp20_t1&amp;utm_medium&#61;customer&amp;utm_source&#61;copy_link">Fundraiser by Huntley Garriott : Support Michael O&#39;Rourke&#39;s Cancer Battle</a>For over 40&#43; years, two-time GRAMMY award winning, 8th generation Louisiana Creole, Terrance Simien (DOB, September 3, 1965), has been shattering the myths and often misinformation, about what his traditional Zydeco roots music is – and is not. It most certainly is Black American roots music and it is music born of the African American/Black and mixed race French speaking Creoles of South Louisiana. This is the truth and these are the facts.Simien leads a highly skilled Zydeco Experience band with long time band member, close friend and creative collaborator: Danny Williams (30&#43; years, two-GRAMMY award winning), keyboards, vocals; Stan Chambers (15&#43; years, GRAMMY award winning), bass, vocals; Ian Molinaro – Thompson, drums; Michael Christie on trumpet and Noah Boshra, saxophone. Ian MT is a Berklee College of Music graduate and Mike a Shenandoah University graduate ( SU is in the top 10% of music programs in the country). Another Berklee College grad, Ethan Santos, trombone, also lends his skills to us on tour at times.  Noah Boshran, joining us in 2024, is a Tulane graduate.Simien has become one of the most respected and accomplished artists in American roots music today. He and his band mates have performed nearly 10,000 concerts, toured millions of miles to over 45 countries during their eventful career. Their music has been placed in multiple major studio theatre release films, including a Disney animated film, TV shows and radio commercials. They’ve shared studio and stage with legends the Meters, Art Neville, Los Lobos, Marcia Ball, the late Robert Palmer and Dave Matthews Band to name a few. They’ve been cultural ambassadors for their country since the mid 1980’s as part of the U.S,. State Department ongoing cultural diplomacy tours. They performed in Ukraine twice (2012, 2015) with the U.S. Embassy in Kiev and toured Russia for two weeks as well in 2015.

TALKHOUSE 39th BIRTHDAY! A portion of monies made will go to help Michael O'Rourke's Cancer Battle see link below if you would like to donate.

Talkhouse 39th Birthday! Terrance Simien, Nancy Atlas, Inda Eaton & More

GA / DOS $50.00

NMA started by brother Luther and Cody Dickinson in 1996 as a loose collective ofmusicians from their North Mississippi home inspired by their father Jim Dickinson aswell as neighbors and musical elders of their community; RLBurnside, JuniorKimbrough, Otha Turner and Fred McDowell.Luther’s first national tour was the RL Burnside Ass Pocket of Whiskey tour in 1997,selling out shows in the US and Canada. “Kenny Brown hired me to tour with RL andCedric and showed me the ropes. That experience blew my mind. Cody and I havebeen on the road ever since.”NMA began touring in 1998 and over the years the touring lineup has included, Cedric,Duwayne and Garry Burnside, Chris Chew, Berry Oakley Jr, Oteil BurbruidgemandcurrentlyJoey Williams of the Blind Boys of Alabama and Ray Ray Hollowman, guitarplayer for Eminem and Nee-O.Since their debut album in 2000 and hitting the never ending road, they have shared thestage with countless legends; Phil Lesh, Mavis Staples, Robert Plant, John Hiatt, theAllman Brothers, The Black Crowes, Buddy Guy, Snoop Dogg, and Jon Spencer toname a few, while earning multiple grammy nominations for their experimental albumsof they like to call Modern Mississippi Music.

North Mississippi Allstars

Black &amp; Yellow is the collaboration of local Hamptons frontman Ray Ramos and renown drummer Julian Edmond, both formerly of the band Hello Brooklyn. The band&#39;s lineup also features NYC-based singer Jason Karnell, who will co-front the band with Ramos. Black&amp;Yellow promises to feature musical selections from the early days of Motown, dance and R&amp;B to hip-hop and chart topping hits today.

Black & Yellow

Industry Night w/ Black & Yellow

ARTIST PRESALE: Monday June 29, 10a east – Tues June 30, 10p eastPUBLIC ON SALE: Wed, July 1, 10a eastThe Revivalists have partnered with PLUS1 so that $1 per ticket goes to Rev Causes, a fund that supports the essential work of organizations dedicated to reviving and investing in our communities, our health, and our environment. By allocating a portion of our ticket sales, and through fan donations and a variety of fundraising efforts, we aim to assist these exciting organizations in building a better future. For a long time, The Revivalists have been embraced as a good-times band, their swirl of indie rock, soul, folk, and even a dash of hip-hop serving a soundtrack to many summer nights. Their story, after all, has been one of youthful triumph, with a chance encounter between singer David Shaw and guitarist Zack Feinberg steadily leading to an octet that rose from the dingiest dives to the grandest American concert halls and amphitheaters. With PJ Howard and Andrew Campanelli, they are a two-drummer powerhouse anchored by bassist George Gekas and buoyed by horn man Rob Ingraham, keyboardist Michael Girardot, and pedal steel guitarist Ed Williams. But all eight members are now firmly into adulthood, with seven of them fathers. Enter Get It Honest, their sixth and most affecting album, a true grown-folks record built on songs about cutting yourself clear of a past that only drags you down and embracing the parts of your present that make you grateful to be here at all, like love and grace and salvation. Let’s rewind, then, to the title track, the moment when Get It Honest truly began: When Shaw finally woke up for real one morning in early 2023, he barely remembered the words he’d jotted down sometime around 3 a.m. For more than a dozen years, The Revivalists singer had brought a workmanlike tenacity to songwriting, trying to do a little every day so as to keep his proverbial line in the creative waters. But the band was still three months away from releasing its fifth album, Pour It Out Into the Night, while he and his wife, Sam, were still six months away from becoming first-time parents. He was anxious, he admits, and maybe a little depressed. Though nearly 20 years have now passed since Shaw last had a drink, the thick thread of alcoholism that winds through his family still sometimes tugs on him in moments like these. He’d been thinking about how a dram or a draft might make him feel better, at least temporarily, when he stirred in the middle of the night to write down some lines: “Well, I’m so bored, so bored of being sober/Maybe I’ll go downtown, to some bar down on Decatur.” He finished the song the next day, its verses drawing the battle lines between what he has been and can still become. It was the first time he’d ever had such a pre-dawn epiphany, the first time a song had ever arrived so urgently and simply. That song—“Get It Honest,” of course—became the record’s emotional and musical centerpiece, the point from which everything else on the mature and magnetic Get It Honest radiates. In the past, lots of songs from The Revivalists began only with an acoustic guitar and voice. But as the band worked those old numbers up, that original germ would often recede or even disappear completely, supplanted by saxophone and percussion, steel guitar and keys. This time, though, The Revivalists quickly understood that the songs Shaw was writing—alone or with friends like Andriu “Yàno” Yanovski and Eric Krasno or with bandmates including Campanelli, Howard, and Feinberg—should retain that core, that the realizations within these words deserved to sit in the spotlight. Even colossal opener “Heart Stop,” about persevering in the face of things you love so much they threaten to tear you apart, keeps its center of tangled guitars, powerful drums, and belt-your-heart-out vocals intact. “I’m not afraid of the future comin’ my way,” Shaw howls en route to the climax, squaring up to whatever is to come. “I’m over wasting my time.” &#34;This one might hit a little different for everyone, and I love that. But for me, I’d say sometimes you are caught between two loves—one that’s tearing you apart and one that you know is right,” Shaw explains. “This song is the sleepless nights, the wreckage and the moment you finally surrender to what you know is there for you.” Some songs demanded that these skilled musicians do very little, perhaps only adding a trace of percussion; others required players to try new things altogether, like when Feinberg shifted to drums for the arcing and gorgeous acoustic closer, “Lay It on Me.” Only a few years ago, squeezing eight egos into such patient and subtle songs likely wouldn’t have been possible, but experience and solidarity have at last enabled it for The Revivalists. Being alone together again with producer Rich Costey at Guilford Sound—the stunning studio in the verdant woods of Vermont, where they also recorded Pour It Out Into the Night—helped. Where The Revivalists have embraced multiple musical personalities on previous records, this one has a blessed cohesion, as if the band has finally found how it wants to sound, at least for right now. “We let the acoustic guitar be the heart of it all the way through, pretty much with every song. So they just ring true to how they were written,” Shaw says. “It goes to the theme and the title—we just let the skeletons dance.” “Take a deep breath and remember,” Shaw sings late into “Lost and Found,” a folk-pop headrush about reaching escape velocity with your past. “You don’t have to be who you are forever.” He delivers that mantra like a newfound bit of gospel, announcing it as an axiom of collective liberation. Get It Honest follows that lead. “Razorblades And Runways” views the past with bittersweet introspection, Shaw lamenting the days he wasted chasing a thrill or his ego but celebrating the way his family now keeps him moving forward. It is a twinkling bit of soft soul, Ingraham’s flute lighting the way. And “Love’s the Only Thing” is a heartland rock wonder, equal parts plea from an emotional abyss and a paean to the power of love to pull us out of it. Get It Honest isn’t, though, blithely optimistic about the state of the world. The title track stares directly into the dark and acknowledges what it would mean to give in. Shaw wrote “As of Now” on New Year’s Day 2025, hours after a driver killed 14 people on Bourbon Street. “I want people to know, with our music in general, we’re here with them, down in the trenches,” Shaw says. “I don’t ever want to feel like an artist on a pedestal.” To wit, The Revivalists have long run Rev Causes, a philanthropic fund that funnels portions of ticket sales to crucial causes like mental health care, gun-violence reform, and environmental sustainability. With their words and their actions, The Revivalists simply take the time and energy to remember to look up and look ahead, to keep going. Now that Get It Honest is done, Shaw is still grappling with what the title phrase means to him. It is, on the surface, about the inheritance we get from our family, the way our genes and our upbringing inevitably shape who we become, for better and worse. Now that he is a father who sees fresh traces of himself in his daughter each day, it’s constantly on his mind. But maybe, he admits, it’s about something more—perhaps the way we move through an increasingly wobbly world, with little control over anything apart from our responses to it? These songs are about those responses, then, about coming out on the other side of self-flagellation and doubt and getting on with the living, as honestly as you can. The Revivalists have found their own unexpected way toward whatever is up ahead. “This album,” Shaw says, “is about understanding this point and learning to work with it like a potter works the clay. Our flaws and imperfections are what ultimately make us human and beautiful.”

The Revivalists

Grab a drink and get loose with your favorite NYC cover band. The Last Class is a group of young musicians who play crowd-favorites and sing-alongs all night long!

The Last Class

Nancy Atlas and her band of Journeymen have been dominating the East End Music scene or Long Island for quite some time. Known for her raw, live performances and stellar songwriting Nancy and her band, The Nancy Atlas Project, have opened for almost everyone under the sun. To name a few: Elvis Costello, Lucinda Williams, Toots and the Maytals, Jimmy Buffett, Crosby, Stills and Nash… the list goes on and on. The reason is simple. When people want a solid act to open their show and get the crowd warmed up, they call  Nancy and her boys because they know they will deliver. Every time. Nancy grew up with gypsy blood in Commack, NY. Eager to get the buck out of dodge she spent her entire college years abroad at both Cambridge University in England and Richmond College in London and Florence.  She majored in art history, fine art, drinking lots of wine and talking shit. There was a serious recession going on the year she graduated college so instead of becoming a mad advertising executive she walked down to Portabello Road, London, bought a guitar for 60 quid and never looked back. It was pouring buckets of English rain that day so they gave her a black plastic bag to cover her guitar as it didn’t come with a case. Nothing, it is said, can stop true desire. Nancy now lives in Montauk, New York with her husband Thomas and her two sons, Cash and Levon, and her daughter Tallulah. When she is not writing a song or on stage rocking out, she can be found clamming with her kids, surfing with her kids, walking with her kids, reading with her kids or <a href="http://nancyatlas.com/?page_id&#61;285">cartooning</a> for her kids. On rainy days she lazily traces tour maps of Europe with her right hand while sipping her beloved PG Tibs English Tea and smiling out into the East End Mist.<blockquote></blockquote>

Nancy Atlas

Renzo’s Fault respects the 90’s, good music, fun crowds and everyone that brings the energy. This fiercesome foursome spawned out of one of the most famous cover bands that played in New York, Europe and South America and now, Renzo’s Fault performs often in NYC’s highest energy venues such as Red Lion and Cutting Room. If you love to dance, if you love a party and if you love you some good 90’s music (with a touch of the more modern), you’ll blame Renzo the morning after seeing Renzo’s Fault.

Renzos Fault

Cowabunga, dudes!Cowabunga, dudes! The 21st century is sooo overrated, but you know what&#39;s ALL THAT? The SAVED BY THE 90s PARTY! Boo Ya! Hailing originally from New York City and now active all over the U.S., this party has tons of live 90s music from a totally fresh band (they&#39;re da bomb). Get ready for everything from Third Eye Blind to the Spice Girls, from The Backstreet Boys to The Beastie Boys. And after that, we&#39;re not leaving you hangin&#39;! As if! Get jiggy with the DJ spinning dope tunes all night. It&#39;s gonna be the raddest thing since Your Mom!

Saved by the 90's a party with the Bayside Tigers

<div>Whether he knows it or not, every man lives by a code. And for country provocateur Paul Cauthen, that code is simple. Always bet on yourself. A singer-songwriter with a well-documented distaste for playing by anyone else’s rules, the East Texas native spent two decades clawing his way through the country underground, embodying the independent spirit with a monolithic Big Velvet vocal. Fusing classic-country grit, gospel power, and a rhinestoned rock edge, four previous albums proclaimed his singular style with a booming baritone and near-biblical swagger. Taught to sing by his grandfather in a Church of Christ, Cauthen hit the scene with the duo Sons of Fathers in 2009, before My Gospel, Room 41, Country Coming Down, and Black on Black unveiled a vulnerable, fire-and-brimstone songwriter with brazen Texas attitude – craving deliverance, yet possessed by a “bird dog” instinct for theatrical rapture. Cauthen has toured the world, collaborating with Margo Price, Orville Peck, Cody Jinks, and Lana Del Rey. And with favorites like “Cocaine Country Dancing,” “Fuck You Money,” and his GOLD-certified collab with Shaboozey on “Last Of My Kind,” he counts 442 million global streams. Cauthen’s fifth album, Book of Paul, takes him further down his path of utterly authentic country music; fearless, proud, and with two middle fingers in the air. Co-writing 12 of 13 tracks, the troubadour confesses to his wild side and wrestles with the sin. He spares no detail – and makes no compromise.</div><div> </div>

Paul Cauthen

Get ready to unleash your inner 80s aficionado with the Cherry Bombs! This explosive tribute band is here to take you on a time-traveling journey back to the neon-soaked era of big hair, shoulder pads, and leg warmers. Whether you&#39;re looking to dance, sing along, or simply bask in the nostalgic glow of the 80s, the Cherry Bombs are the band to see.Formed in 2022, the Cherry Bombs were brought together after their fateful encounter at the annual Battle of the Fantasy Girl Bands held at the iconic Stephen Talkhouse. Their shared love for the music of the 80s and their electrifying performances catapulted them into the spotlight, capturing the hearts of audiences far and wide.Yuka Silvera, the grooving bassist, lays down the funky foundation that will keep your feet moving all night long. An exciting new addition to the band is the dynamic multi-sensory solo performer, Mila Tina on drums who will blow your mind.Leading the charge is the charismatic Lola Lama, whose captivating vocals can effortlessly transport you from power ballads to high-energy anthems. Vanessa Lynah’s sultry vocals adds the perfect touch. Adding a touch of je ne sais quoi is Nika Nesgoda, the band&#39;s cellist, whose strings soar through the mix, weaving a unique tapestry of sound.But the Cherry Bombs&#39; explosive performances wouldn&#39;t be complete without the multi-musician, Christopher Walsh who ignites the stage with his scorching guitar riffs, the young talented artist Matthew Brand on keyboards.Dust off your mixtapes, dig out your cassette player, and get ready to be transported back to a time when MTV ruled the airwaves and the 80s were in full swing. The Cherry Bombs are here to take you on a musical journey through the greatest hits of the decade, ensuring a night of unforgettable fun and infectious nostalgia. Get ready to rock out with the Cherry Bombs and experience the neon glow of shoulder pads, spandex, and Stiff Stuff like never before!The Cherry BombsMila Tina on Drums, Yuka Silvera on Bass, Nika Nesgoda on Cello, Lola Lama and Vanessa Lynah Lead Vocals, Christopher Walsh on guitars, Matthew Brand on Keyboards Follow Us: <a href="https://www.instagram.com/cherrybombsmusic/">CherryBombsMusic</a>

The Cherry Bombs

&#34;With a decade of raucous and electrifying wedding/event gigs under their cute little belts, THE CHROMANTICS are seasoned dance floor experts who will keep you dancing &amp; screaming along and making out with friends &amp; strangers all night. Feel the love from this energetic NYC-based outfit as they bust out hits from all of your favorite eras with a full band featuring live horns and led by their ferocious front-woman Erin Willett (NBC’s The Voice). From Ain’t Too Proud To Beg and Proud Mary to Pony and Pink Pony club there’s something for everyone and everything for someone.&#34;

The Chromantics

On her tenth studio album, the masterful Trouble and Strife, Joan Osborne has issued a clarion call. With stunning vocals, a diverse range of sonics, and incisive lyrics, this deeply engaging collection of new original songs is her response to “the crazy, chaotic times we’re living in,” she says, and “a recognition of the important role music has to play in this moment. Music has a unique ability to re-energize people and allow us to continue to hang on to that sense of joy of being alive.” Since she broke through 25 years ago with the multi-platinum Relish and its touchstone mega-smash “One of Us,” the seven-time Grammy nominee has never played it safe. Osborne has followed her restless musical heart, exploring a diverse range of genres: pop rock, soul, R&amp;B, blues, roots rock, gospel, funk, and country – all of which can be heard on Trouble and Strife, along with the Western side of C&amp;W and a touch of glam and disco. “For a lot of the record, we were going for a ‘70s AM radio vibe,” says Osborne.  As for the lyrics, the songs “are the most political I’ve ever written,” she conveys of her first album of originals since 2014’s confessional Love and Hate.  Osborne also produced Trouble and Strife, primarily recorded in her basement studio in Brooklyn and released on the label she founded in 1991, Womanly Hips. Tackling serious subject matter in her writing while crafting music to “uplift,” Osborne assembled “a great live band” (including several musicians who played on her acclaimed last album, Songs of Bob Dylan): guitarists Jack Petruzzelli , Nels Cline, and Andrew Carillo, keyboardist Keith Cotton, bassist Richard Hammond,  and drummer Aaron Comess. For vocal harmonies, she enlisted exquisite vocalists Catherine Russell, Ada Dyer, Martha Redbone, and Audrey Martells, whom she’s “had the great privilege to work with over many years.”  The result is a Trojan horse of a record – music that is energizing, melodic, and hummable, with lyrics that call out the corrupt, the despicable, and the destructive. Roots-rockin’ opener “Take It Any Way I Can Get It” inspires with the mandate “I’m still survivin’/I got to be dancin’”, propelled by a joyous gospel-tinged vocal attack backed by Wurlitzer and Southern-style intertwined guitars that dare you to sit still.  She cowrote the funky “Never Get Tired (of Loving You)” with Richard Hammond and her partner Keith Cotton, propelled by Cotton’s Prophet 6 synth, for her teenaged daughter: a message of stability in an uncertain world. “That song has a serious subtext,” says Osborne, but its “cool, retro flavor hopefully makes it a joyful thing.” The gorgeous ballad “Whole Wide World” finds Osborne hitting impossibly high notes, its sound inspired by the Chi-Lites; its message “is about hanging on to hope and envisioning something better for the future.” Another early ‘70s sound infuses the super-catchy “Boy Dontcha Know”: Osborne’s purring vocals are surrounded by a Spiders from Mars-era piano and Big Star-esque Mando-guitar; its singalong lyrics look at gender nonconformity and the obstacles one faces when born female.  Abuse of power is the subject of two of the angriest songs on Trouble and Strife, with their infectious sound imbuing the songs a la a wolf in sheep’s clothing: the bluesy stomp “Hands Off,” punctuated by distinctive guitar riffs, denounces corrupt exploiters of people and the planet.  “That Was a Lie,” with scornful lyrics buffeted by buoyant pop rock, castigates “those camera-ready mouthpieces for corrupt officials,” according to Osborne. Texan Ana Maria Rea, whose family emigrated to America when she was a child, contributed spoken passages in her native tongue to the rhythmic “What’s That You Say.”  “She tells the story of her family coming from Mexico City, where her father had been kidnapped, to the U.S. and how difficult that was,” says Osborne. “Her message is ‘I’m not afraid,’ and her mission is to help other people who are in the same position she was in. Ana Maria is a shining light of a person.”Escape from a place where “there’s nothin’ left alive” drives Osborne to “Panama,” a showcase of her vocal range expressing gut-punch lyrics reminiscent of Dylan at his most vitriolic. But it is the Western-flavored title track that Osborne points to as the song most inspired by her “Dylanology” concerts that began in 2016 and led to her 2018 covers album,  “If you spend that intensive time living with his songs, I think it just rubs off on you,” Osborne admits. “’Trouble and Strife’ betrays the Dylan influence the most because of the odd characters coming in and out of these absurd situations (much like the ones we find ourselves in today).” Osborne’s years of experience as a seasoned road warrior are reflected throughout Trouble and Strife, the album. Her tenure with what she calls a “meat and potatoes rock ‘n roll band&#34;, Trigger Hippy, shows up in “Meat and Potatoes,” a farewell

Joan Osborne

An Evening with Joan Osborne

&#34;Welcome aboard everyone! Grab your cocktails, kick up your dock shoes and set sail with us! We will bring you all the best tunes from the fabulous and fun Yacht Rock genre!  All the best hits from Steely Dan, Michael McDonald, Christopher Cross, Kenny Loggins, Hall &amp; Oates, Toto and many more! – Led by Liz Asaro(Pink Mirror Presents) and musically directed Rocco Dellaneve(Of The Snow Productions), Yacht Pockets is comprised of incredibly talented and seasoned musicians based New York City&#34;

Pink Mirror presents Yacht Pockets

King Yellowman Jamaica&#39;s first dancehall superstar, Yellowman ushered in a new era in reggae music following Bob Marley&#39;s death. His early-&#39;80s success brought the popularity of toasting -- the reggae equivalent of rapping -- to a whole new level, and helped establish dancehall as the wave of the future. For better or for worse, he also epitomized dancehall&#39;s penchant for &#34;slack&#34; lyrics -- that is, casual violence, sexism, homophobia, and general rudeness. Graphic sexuality was his particular forte, reaching levels of explicitness previously unheard in Jamaica. It brought him numerous detractors, but it was also a big reason for his early popularity. There was more to it than that, though; Yellowman was one of the most verbally nimble toasters of his time, with a loose, easy flow, a talent for improvisation, and a definite wit in his wordplay. Plus, all the boasting about his prowess on the mic or in the bedroom had to be over the top to be convincing: true to his stage name, Yellowman is an albino, which carries a tremendous social stigma in Jamaica. His rise to stardom was unlikely enough, but his transformation from untouchable outcast into sex symbol was staggering -- and may not even have taken place without his trademark lewdness. Shocking though it could be, it affirmed him as a sexual being just like his listeners, and was delivered with enough humor to let the audience know that he didn&#39;t take himself too seriously. Bouts with cancer pushed him into more thoughtful, socially conscious territory in the 1990s, but his initial style remains the most influential, paving the way for countless dancehall toasters to follow. He remained quiet through most of the 2000s before mounting a comeback with 2019&#39;s No More War. Yellowman was born Winston Foster in Negril, Jamaica, in 1959 (some accounts say 1956). An early target for abuse because of his albinism, he grew up in an institution in Kingston, with little to keep him company besides music. Influenced by early toasting DJs like U-Roy, he practiced rhyming and got a job with the Gemini Sound System as a substitute DJ. Christening himself Yellowman and dressing in a bright yellow suit, he peppered his lyrics with jokes about his skin color and outlandish tales of his sexual conquests. In 1979, he won a landslide victory at the well-known Tastee Talent Contest, and within months he had become one of Jamaica&#39;s top concert draws, thanks to a dynamic, humorous stage show in which he often used the microphone to mimic his anatomical gifts. Yellowman recorded prolifically in the early &#39;80s, at one point flooding the Jamaican market with more than 40 singles. His first full-length album, Them a Mad Over Me, was recorded for Channel One in 1981 and featured the hit title track and the single &#34;Me Kill Barnie,&#34; an answer record to Lone Ranger&#39;s hit &#34;Barnabas Collins.&#34; He also scored with singles like &#34;Operation Eradication&#34; and the infamously slack &#34;Shorties,&#34; which Peter Tosh condemned as degrading to women (hardly the first time such a criticism would be leveled at him). Despite this success, Yellowman didn&#39;t truly hit his stride on record until he hooked up with groundbreaking dancehall producer Henry &#34;Junjo&#34; Lawes. The 1982 LP Mister Yellowman kicked off their collaboration; released internationally by Greensleeves, it started to break him in the U.K. and U.S., and is still often acclaimed as his best album. It also launched a series of Jamaican hit singles over the next few years that included &#34;Yellowman Getting Married&#34; (a rewrite of the My Fair Lady number &#34;I&#39;m Getting Married in the Morning&#34;), &#34;Mr. Chin,&#34; &#34;Who Can Make the Dance Ram&#34; (a rewrite of &#34;The Candy Man&#34;), &#34;Zungguzungguguzungguzeng&#34; (sampled by several hip-hop acts), &#34;The Good, the Bad, and the Ugly,&#34; &#34;Soldier Take Over,&#34; &#34;Nobody Move Nobody Get Hurt,&#34; and &#34;Wreck a Pum Pum,&#34; among others. Many of his recordings during this era featured vocal contributions from fellow DJ/toaster Fathead, whose specialty was punctuating lines with animal noises (&#34;ribbit&#34; and &#34;oink&#34; were his favorites). After 1983&#39;s Zungguzungguguzungguzeng album, Yellowman signed a major-label deal with CBS Records, which encouraged him to maintain the stylistic versatility of his previous work. However, his lone album for the label, 1984&#39;s King Yellowman, sported mixed results, attempting everything from slack toasts to R&amp;B and pop-tinged crossover tracks, including covers of &#34;Sea Cruise&#34; and &#34;Take Me Home Country Roads,&#34; and the much-maligned fusion attempt &#34;Disco Reggae.&#34; He subsequently released several albums on Shanachie, including 1984&#39;s Nobody Move Nobody Get Hurt, 1985&#39;s Galong Galong Galong, 1986&#39;s Going to the Chapel, and 1987&#39;s Don&#39;t Burn It Down. The latter found him delving more into social consciousness; the title cut was a pro-marijuana protest, while &#34;Stop Beat Woman&#34; condemned domestic violence and &#34;Free Africa&#34; criticized apartheid. Around the same time, he suffered a bout with cancer that required the removal of part of his jaw, leaving him facially disfigured. Always a fighter, he nonetheless returned to action with the hit Fats Domino cover &#34;Blueberry Hill,&#34; and moved to the Ras label to record the well-received Yellow Like Cheese album with producer Philip &#34;Fatis&#34; Burrell. Yellowman&#39;s recording career continued apace, as his sexual boasts and gay jokes kept getting raunchier and nastier. His popularity had slipped after 1985, due in part to less consistent material, and also in part to the emergence of a legion of new dancehall artists, many of whom harked back to his early material for inspiration. Things changed, however, after an early-&#39;90s bout with skin cancer. Greatly shaken after this second life-threatening illness, Yellowman completely rethought his approach to music, and thereafter devoted himself almost exclusively to spiritual and social concerns. 1994&#39;s Prayer album (still on Ras) was the first effort in this new direction, and it was followed quickly by Message to the World in 1995. 1997&#39;s Freedom of Speech continued in a similar vein, after which Yellowman switched over to the Artists Only label. His first effort was 1999&#39;s Yellow Fever, which concentrated on conscious reggae but also featured some good-natured party tracks. Following the 2003 release of New York, Yellowman entered a lengthy recording hiatus, though he continued to perform live. In 2019, 16 years after his last album, he returned with No More War. The LP was the inaugural release on Yellow Baby Records, a label launched by Yellowman&#39;s daughter K&#39;reema, with whom he also collaborates.

King Yellowman

The latest album from Neal Francis, Return To Zero, emerged from the kind of visionary fever dream that only the most masterful and inventive artists are capable of bringing to life. Amid a grueling tour schedule that found him playing nearly 400 shows from 2021 to 2024, the Chicago-based singer/songwriter/pianist immersed himself in creating a beautifully strange entangling of timeless rock &amp; roll and ’70s-era dance music, merging supremely heavy guitar riffs with lush and pulsating grooves—all constructed sans digital programming, in keeping with his devotion to all things analog. Worlds away from the glitzy fantasia of archetypal disco, Return To Zero inhabits a far moodier atmosphere and ultimately makes for the most thrilling manifestation of Francis’ peerless musicality yet.Equal parts heady and hedonistic, pensive and euphoric, Francis’ third studio LP echoes both his deep-rooted psych-rock sensibilities and a lifelong affinity for classic funk. “I’ve always been intrigued by music that toes the line between funk and rock,” notes Francis. “In the past I’ve asked myself things like, ‘What would it sound like if Thin Lizzy cut a disco record?’ It’s something I’ve been fascinated with for a very long time, so I finally decided to really go for it.”The follow-up to his 2023 double live album and concert film Francis Comes Alive, Return To Zero marks Francis’ first full-length studio effort since In Plain Sight—a 2021 release acclaimed by the likes of leading rock critic Steven Hyden, who praised its “throwback big-band sound that recalls the highs of 1970s funk and swamp rock.” With his past work also including his 2019 debut album Changes (hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6), Francis began playing piano at the young age of four and became an in-demand sideman while still a teenager, touring with revered blues artists and beloved instrumental band The Heard before embarking on his solo career. Over the years, he’s sold out headline shows all across the globe, supported the likes of Wilco, Black Pumas, and My Morning Jacket, appeared at major festivals such as Bonnaroo, Fuji Rock,  and Lollapalooza, and even performed at historic venues like Carnegie Hall.Like all of his studio work so far (including his 2022 EP Sentimental Garbage), Return To Zero finds Francis co-producing alongside his frequent collaborator Sergio Rios and recording live with members of his touring band (drummer Collin O’Brien, bassist Mike Starr, guitarist Kellen Boersma), elegantly showcasing his prodigious talent and dazzling originality as a keyboard player. Mainly created at Rios’ L.A. studio, the album’s grandiose yet warmly inviting sound also took shape from his close collaboration with composer/conductor Dom Frigo (who aided Francis by transcribing the LP’s symphonic string sections), Say She She (a Brooklyn-based psychedelic-soul trio who adorn a number of songs with their beguiling backing vocals), and a stacked lineup of co-writers that includes Queens of the Stone Age bassist Michael Shuman and Wild Belle co-founder Elliot Bergman.In the making of his most ambitious work to date, Francis faced countless moments of creative frustration—a factor that eventually gave the album its title. “I was cutting a lot of the vocals at home, using a hybrid process where I’d bounce the tracks from my computer to a tape machine and then record the vocals to tape,” he explains. “I’d be in my vocal booth in the closet with all our winter coats, and every time I needed to start over I’d press this button that says ‘RTZ,’ which stands for ‘Return To Zero.’ I was doing take after take and pressing that button over and over—it was a huge pain, but it also linked up with what I’ve learned in my meditation practice: no matter how frustrated you get, just remain calm and take inventory, and then begin again.”Although executing Return To Zero’s highly elaborate arrangements often involved a very time-intensive trial-and-error approach, the album-opening “Need You Again” surfaced from an immediate burst of inspiration after Francis attended a DJ set by Derrick Carter (a Chicago house legend who created a 12-inch remix of “BNYLV” from In Plain Sight). “My girlfriend and I went out to a queer dance party called Queen! and stayed till about four in the morning, and Derrick played a track that was a big rock riff over a funk beat,” he recalls. “The next day I went into the studio on very little sleep and started working on the demo for ‘Need You Again,’ and after I finished I couldn’t stop listening to it.” Featuring a guest spot from Grammy-winning guitarist Eric Krasno (Soulive, Lettuce), the result is a glorious entry point into the album’s groove-heavy soundscape, unfolding in sinewy riffs and larger-than-life rhythms as Francis narrates a tale of ruinous infatuation. “It’s a song about a love affair, and the experience of projecting magical qualities onto another person and feeling almost addicted or beholden to them,” he reveals. Another charmed moment in the album’s creation, “Broken Glass” was sparked from a session featuring Francis on bass and Shuman on drums, with the two soon conjuring the hypnotically potent riff that propels the track forward. With its viscerally charged depiction of lust and self-denial, the darkly majestic epic reaches a stratospheric crescendo at the bridge, when pounding drums meet with Say She She’s near-operatic harmonies. “Once we had that riff I started filling in some freeform poetry from my notebook, which had to do with the idea of taking direction in an intimate liaison,” says Francis. “It all came together so naturally because of how Michael was playing drums, bringing that Queens of the Stone Age heavy-rock thing I love so much.”One of the most dance-ready tracks on Return To Zero, “Back It Up” glides along on glossy synth lines and a playfully swaggering riff, imbuing a carefree spirit into Francis’ deliberately over-the-top confession of romantic desperation. “That song went through a few different phases before we got to the final iteration,” he says. “It took me a while to accept that it’s okay to have fun with the lyrics, instead of making everything so serious all the time.” Meanwhile, on “What’s Left Of Me,” Francis presents a gorgeously sprawling power-pop anthem built on his resplendent piano work. Co-written with Nashville-based songwriter Chris Gelbuda, the track arose from a piano-and-vocal demo captured at Chicago’s Fine Arts Building, soon evolving into a piercingly candid reflection on life on the road. “Chris and I are good friends and we got to talking about the challenges of being in a committed relationship while you’re on tour,” says Francis. “A lot of these songs were influenced by Electric Light Orchestra and the way Jeff Lynne synthesizes classical music and pop songwriting, and ‘What’s Left Of Me’ was definitely one where I was going for an ELO vibe.”Partly inspired by the funk and dance records he typically spins during his sets as an all-vinyl DJ, Return To Zero also encompasses everything from the spaced-out drama of “Dance Through Life” to the string-laced reverie of “Can’t Get Enough” (a collaboration with Durand Jones &amp; The Indications’ Blake Rhein that is a sublimely mellowed-out homage to acid-jazz pioneer Roy Ayers). In creating such a complex body of work, Francis found his sense of perseverance repeatedly tested. “Most of these songs were pretty hard-won,” he says. “There was a feeling of pulling out all the stops to achieve what I was going for, and in the middle of that I was dealing with some depression and exhaustion. I ended up learning a lot about myself, and now I feel like I’m in a completely different place in terms of my priorities with mental health.” Despite its more daunting aspects, the writing and recording of Return To Zero also brought plenty of moments of pleasure, including composing with strings for the very first time and tracking songs with his longtime bandmates. “All those guys are like my brothers, and there was a feeling of us working together with an almost athletic desire to get better every time we did a new take,” Francis says. “Those were really long days at the studio, but they were also so much fun.”Looking back on the making of Return To Zero, Francis points to certain crucial lessons absorbed while creating his most extravagantly realized work so far. “One of the main things I’ve learned is that every album is going to be its own journey; I can’t really take the arsenal of things I’ve learned in the past and expect them to save me from any kind of frustration with whatever I make next,” he says. “Creating art is always going to be a challenge, which maybe goes back to why AI-created music is never going to be all that compelling—it’s just too fucking easy. The best I can do is use what’s at my disposal and try not to freak out or despair when it gets difficult, and hopefully end up making something that gives people joy.”

Neal Francis

Finance brothers by day and DJs by night; after bursting onto the scene with a 2025 Montauk residency, Long Island’s homegrown finest are bringing their talents to the iconic Talkhouse. Expect a night of high energy, solid grooves, mediocre DJ dancing, and a surprise guest vocal appearance.

DJ Night- BSCHOOR X DENO

<blockquote><div><div><div><div>&#34;Stereomatic is an 80&#39;s cover band - they cover songs you know and love from the WLIR New Wave Days. Playing the best of Duran Duran, The GoGo&#39;s, Depeche Mode, Blondie, The Cure, Yaz, Erasure, Madonna and many more.&#34;</div></div></div></div></blockquote>

Stereomatic

Hailed by Rolling Stone as “a rare 21st century guitar hero and the undisputed future of the blues,”  Christone “Kingfish” Ingram stands at the crossroads of history and innovation, channeling the spirit of the  Delta while boldly reimagining what comes next. Now, with his new album, Hard Road, Kingfish looks  back at his extraordinary GRAMMY® Award-winning journey thus far by lighting out for previously  unexplored musical territory, infusing his signature sound with a genre-blurring approach fraught with  creative urgency and heretofore untapped emotional range. Executive Produced by Ingram and Ric Whitney for Kingfish’s newly minted Red Zero Records with  production by Patrick “Guitar Boy” Hayes, Nick Goldston, and longtime collaborator Tom Hambridge, Hard Road is Ingram’s most sophisticated and musically ambitious collection yet, one which renews the  long tradition of the blues by welding it to multiple strains of contemporary Black music. Songs like  “Nothin’ But Your Love” and the fiery “Voodoo Charm” see Kingfish effortlessly uniting classic blues licks with hard rock, no-holds-barred funk, soulful pop, and velvety R&amp;B, all with resounding immediacy and  astounding eloquence. With each album, Kingfish has upped his already prodigious game, not only in his  breathtaking guitar playing but in the increasing strength of his deeply personal songcraft and vocals  marked by a depth of expression well beyond his 26 years. “I feel like this is one of the first times people will be seeing me outside of just the blues thing,” Kingfish  says. “ I’ve always wanted to do music that showcases my voice and my songwriting as well as my  guitar playing. And I feel like this is the first album that showcases this approach.” A native son of Clarksdale, Mississippi — the de-facto Ground Zero for the Delta blues, just a stone’s  throw from the fabled crossroads where Robert Johnson made his fateful deal with the devil — Kingfish’s  six-string prowess first turned heads when he was still but a teenager. Though steeped in the tones of  B.B. King, Albert King, and Buddy Guy, what set Ingram apart was how he expanded the form, blending  in funk, soul, rock, pop, and jazz to create what has proven an evolving body of work that has drawn  accolades, acclaim, and honors from all corners of the globe. 2019’s debut album, Kingfish,  topped Billboard’s “Blues Albums” for an incredible 91 weeks and earned him his first GRAMMY® Award  nomination, plus three Blues Music Awards, including “Album of the Year.” Kingfish followed up with  2021’s 662, titled after his hometown MS area code, which won both the GRAMMY® Award and Blues  Music Award for “Best Contemporary Blues Album.” In 2023, the incendiary Live In London received yet  another GRAMMY® Award nomination as well as his second Blues Music Award for “Album of the Year”  and third consecutive triumph in the “Best Contemporary Blues Album.” Having now seen the world and returned home irrevocably changed, Kingfish was determined to push  himself as a songwriter, baring his soul and revealing new shades to his character. “Crosses” showcases  Kingfish’s personal spirituality with a righteous roar of rock ‘n’ roll testimony while “Clearly” and the heartbreaking “Hard To Love” sees him reaching acceptance that the path he’s chosen for himself is  strewn with both the highest of highs but also agonizing lows. “I’m still learning this songwriting thing as I go,” says Kingfish. “I learned telling your story is the best  story. I’m having more personal life experiences as I go and that plays a big part in the songwriting. I  always try to get a little bit more personal than before. “I have a journal pad here in the studio but most of the time I’m pretty much writing on my phone. The  writing goes on in the studio, it goes on in the hotel room and on the bus. If the line comes, I’ll just jot  it down in my notes. I feel like, for musicians, that part of us kind of never turns off.” Dripping with lusty energy and bewitching sensuality, the slinky funk of “S.S.S.” expands the parameters  of Kingfish’s music to incorporate other facets of his personal tastes. The elemental power of his guitar  remains at the center, with its searing tone and squalls of blistering leads, but Hard Road makes  unexpected stops at smooth R&amp;B, pop, and neo-soul, genres that tend to demand a bit more delicacy in  their arrangements and instrumentation.  “In those genres of music, you have to be a little more restrained with your playing,” Kingfish says.  “You have to tell a story rather than being all over the place. That’s a good thing, because it showcases  another side of my playing, rather than people thinking that I might be a one trick pony when it comes  to guitar techniques.” None of which to say Kingfish has pulled back from his spellbinding guitar mastery – far from it. His  playing throughout is fraught with flash, fervor, and finesse that retains its deep roots in the electric blues tradition while ascending to new heights of technical prowess and dynamic invention.  “Don’t get me wrong,” Kingfish says, “there’s definitely some shredding this on the record. But I feel  like there’s more subtlety as well. It’s a good balance, I think. “I just love what I do,” he adds. “I’m passionate about the guitar and I want to showcase that. I’m not  trying to impress anybody.” Kingfish is supported in his resolute efforts by a divergent trio of producers, each of whom brings  something exceptional to the proceedings. Tom Hambridge, a 4x GRAMMY® Award-winner known for  his work alongside such iconic artists as Buddy Guy, Johnny Winter, James Cotton, and countless others,  once again took his place behind the board having previously collaborated with Kingfish on his two  previous studio recordings.  “Me and Tom have a really good working relationship,” Kingfish says. “We have a chemistry for sure.  The new songs we wrote together, like ‘Voodoo Charm,’ all came together quite nicely. For me, Tom  brings experience. He’s taught me a lot about songwriting, about telling a story and how to paint a  picture to the audience.”Eager to up the ante for Hard Road, Kingfish also enlisted pop songwriter/producer Nick Goldston – with  whom he previously collaborated on 2020’s “Rock &amp; Roll,” an intensely emotional tribute to his late  mother, Princess Pride – as well as Patrick “Guitarboy” Hayes,” a veteran producer/musician who has  worked with R&amp;B stars like Trey Songz, Usher, and Keyshia Cole and first made Kingfish’s acquaintance  while both attended the 2020 GRAMMY® Awards. Each producer guided their respective sessions  towards varying sounds and styles, offering Kingfish fresh perspectives on how to approach his own  utterly distinctive artistry, from his signature instrumental proficiency to bringing heretofore untapped  depth to his vocal abilities.  With Patrick and Nick, I learned more about singing melodies,” Kingfish says, “Singing something that  the listener can remember and hum or sing along to. It’s different from the sort of straight blues I’m  used to. You know, in the blues you have that gospelly, minor pentatonic singing. But these other  genres, you have to really sing each line, if that makes sense.” Hard Road marks still another milestone for Kingfish as the first-ever release on his own Red Zero  Records. Co-founded by Kingfish and manager Ric Whitley, the newly launched label will further his  avowed mission to propel the blues ever onwards by giving a platform to uplift not only young artists  like himself but hard-working regional musicians who have yet to surface into national consciousness. “That’s something me and Ric have been talking about since 2019,” Kingfish says. “I was watching a  Sam Cooke documentary, and he was, right before his death, putting together a label. Something he  said on the documentary, he said he just wanted to give a chance to artists who didn’t get the same  opportunity as he did, or no opportunity at all. So that what we’re trying to do over here. Not only do  I have complete control of my music, but the big thing for me was, there’s a whole lot of other guys  and girls that’s leading the life in this blues world. But they don’t have the same resources or the same  opportunities as I did. So we’re just trying to be that helping hand.” Having already transformed modern blues with his landmark success, Kingfish is determined to pay it  forward. Hard Road reaches its destination with the raw-boned purity of “Memphis,” a slice of front  porch acoustic blues stripped clean of effect pedals and high voltage yet still as exhilarating as anything  that preceded it. With its unwavering focus on personal reflection, studio craftsmanship, and  contemporary sounds, Hard Road is a declaration of Christone “Kingfish” Ingram’s still rising confidence  and ability, a modern blues fusion that affirms this preternaturally gifted artist’s steadfast intent to carry  the flame for the music that made him and share its special magic and power across genre and  generation. “We see a lot more young people in the crowd these days,” Kingfish says. “Which is great because  that’s pretty much what we’re trying to do – we’re trying to lure my generation in, and then once we  get them in, we can show them about the real raw thing.”

Christone "Kingfish" Ingram- The Hard Road Tour

From fist pumping, sing-a-long anthems, to high energy Top 40, Party Rock and Dance (even some Country), Fast Five is New York&#39;s most exciting new cover band providing the best in live entertainment!  We are a dynamic group of 5 veteran musicians who have played every scene, including bars, nightclubs, colleges, weddings, corporate parties, and national venues. Our song list is huge and constantly growing!  We tailor our act to suit every type of audience, from late night club crowds, to country club parties and everything in between.  Playing songs that are meant to be played live, every Fast Five show is a high energy, live music experience!

Fast Five

Alabama-born country crooner Kashus Culpepper encompasses the sound of the South. A student and reverent purveyor of Southern music – country, soul, blues, folk and rock – Culpepper’s husky, sandpaper growl bellows like a freight train over self-penned stories that are as raw and real as they are haunting. Finding his voice in church as young as five years old, it wasn’t until 2020’s global pandemic that Culpepper went from listener to performer, picking up a guitar and learning cover songs to play at barrack bonfires in Rota, Spain during his deployment with the Navy. Covers soon became originals, and once he landed home on U.S. shores, Kash played dive bars up and down the Mississippi Gulf Coast, making a name for himself with the fresh-yet-reminiscent sound that oozes from his very being. Crashing into prominence, Culpepper sold out headline club shows throughout the South before formally releasing a single song. With Nashville taking notice, Culpepper found a musical home at Big Loud Records. Culpepper has joined Leon Bridges, Sierra Ferrell and Darius Rucker on tour – embarking this year on a headlining run as well as dates with Wyatt Flores and Eric Church. Named one of the 2026 Shazam Fast Forward Class, WXPN’s Artist to Watch for January 2026, 2026 Nashville Scene Artist to Watch, GRAMMY.com’s 25 Artists to Watch in 2025, Apple Music Zane Lowe’s 25 Artists for ’25, 2025 Variety Power of Young Hollywood Impact Report, Opry NextStage Class of 2025, Billboard’s February 2025 Country Rookie of the Month, 2025 Amazon Music Bonfire Artist to Watch, Apple Music’s February 2025 Country Riser of the Month, 2025 Pandora Country Artist to Watch and Martin Artist Showcase Class of 2025, Rolling Stone declares: “If what we’ve heard so far is any indication, expect 2026 to be a breakthrough year for this Alabama singer.” Culpepper’s debut album Act I is out now.

Kashus Culpepper

For nearly two decades Donavon Frankenreiter has been traveling the globe, first as a professional surfer and now as a musician. Born in Southern California, Donavon spent most of his youth chasing waves, turning proatthe age of 16. These days instead of surf competitions, it’s concert halls that bring Frankenreiter to town, where he entertains audiences with his unique blend of laid-  backgrooves, philosophical lyrics and soulful delivery. This year, Frankenreiter is releasing his first studio in 9 years, out September 20,2024. The album, entitled Get Outta Your Mind, marks the 20 year anniversary of his self-titled debut album.<div>Iris and the Shade:</div><div>Iris And The Shade met at a random bar, on a random late night, on a random whim, after two decades of circling each other unknowingly in their hometown Dana Point. Their meeting began with a trip (Chase aka “The Shade” tripped Iris with his foot to meet her) and that began a love story full of grace and grit and lots and lots of music. Their porch singing and mutual musings pushed them to create the indie folk-rock duo called Iris And The Shade.</div><div> </div><div>On tour Iris And The Shade will be sharing songs from their new album ~Cosmic Rollercoaster~ that was produced by Matt Costa.</div><div> </div><div>They sound like the ebb and flow of the ocean; sweet and calm or rough and storming. Either way they have a story to tell as they continue to release new music and tour the United States during the summer 2025.</div><div> </div><div>Their mission is to connect with others through music while positively contributing to the causes they care about. Iris and the Shade are passionate about the welfare of animals, de-crowding and increased funding of dog shelters, and the cleaning of their local beaches and oceans.</div>

Donavon Frankenreiter w/ Iris and the Shade as Support

For nearly two decades Donavon Frankenreiter has been traveling the globe, first as a professional surfer and now as a musician. Born in Southern California, Donavon spent most of his youth chasing waves, turning proatthe age of 16. These days instead of surf competitions, it’s concert halls that bring Frankenreiter to town, where he entertains audiences with his unique blend of laid-  backgrooves, philosophical lyrics and soulful delivery. This year, Frankenreiter is releasing his first studio in 9 years, out September 20,2024. The album, entitled Get Outta Your Mind, marks the 20 year anniversary of his self-titled debut album.Iris and the Shade:Iris And The Shade met at a random bar, on a random late night, on a random whim, after two decades of circling each other unknowingly in their hometown Dana Point. Their meeting began with a trip (Chase aka “The Shade” tripped Iris with his foot to meet her) and that began a love story full of grace and grit and lots and lots of music. Their porch singing and mutual musings pushed them to create the indie folk-rock duo called Iris And The Shade.<div>On tour Iris And The Shade will be sharing songs from their new album ~Cosmic Rollercoaster~ that was produced by Matt Costa.</div><div> </div><div>They sound like the ebb and flow of the ocean; sweet and calm or rough and storming. Either way they have a story to tell as they continue to release new music and tour the United States during the summer 2025.</div><div> </div><div>Their mission is to connect with others through music while positively contributing to the causes they care about. Iris and the Shade are passionate about the welfare of animals, de-crowding and increased funding of dog shelters, and the cleaning of their local beaches and oceans.</div>

<div>Merging the complex rhythms and Latin influences of South America with a modern fusion of funk and commercial dance music, Conga Cartel brilliantly combines to produce an explosive mix of dynamic music that rocks audiences to their very core.Working out of New York, the seven-piece band represent the wonderful tapestry of the South American continent and have been weaving together a stunning sound that has been entertaining crowds for years. A true international collection of experienced musicians, with band members coming from Uruguay, Chile, Venezuela, Colombia, Ecuador and New York itself, their music is undeniably infectious and underpinned by that audacious Latin flare.Fronted by the smokey and soaring vocals of Carolina, every single member of the band combines to become more than a sum of all their parts. Willy Fuentes from Chile drives the rhythm section with solid bass line grooves. Playing drums with boundless vitality, Jorge Castano, originally from Colombia, provides that perfect interplay with the rest of the band; complemented at all times by father and son percussionists Aquiles Jr. and Aquiles Senior. Infused with their Venezuelan heritage, they provide that infectious top line of congas, timbales, maracas, bongos, bells, and whistles that brings the carnival to the party. And finally, but by no means least, fitting like a smoldering glove of Santana-inspired guitar licks, Fabian Rodriguez from Ecuador proves his elegant mastery of the six-stringed instrument to audiences every time he performs. Conga Cartel has also egularly jammed with members of Mambo Loco.Conga Cartel have played at some of the most memorable events and venues in the Hamptons including The Montauk Music Festival, North-West ‘Woodstock’, Stephen Talkhouse, The Gig Shack , Springs Tavern, Tauk at Trails End, The Surf Club and The Harpoon House. Either individually or as a band, they have worked with artists such as Taylor Dayne, Orquesta Alquimia, Steel Pulse, Mila Tina, GE Smith, Big Karma, Mambo Loco, and Bajo Suen?os. As these performances and legacy demonstrate, they firmly believe in providing a platform and a strong voice for the Latin community.That incredible experience on stage and unique understanding of the musical journey that their audiences are on, is also driving them towards the studio and an album recording that is eagerly anticipated by their fans. Bringing together that melting pot of cultures with modern dance tunes is an intoxicating mix of ingredients that will redefine what is expected of the Conga Cartel.As the world experienced the tragedies of the last two years, so did the lives of musicians descend into anxiety and the loss of their dreams. Now the world has turned and the future looks so much brighter with the Conga Cartel back in it. Stronger together with a musical bond that cannot be broken, they are once again taking to the spotlight with the energy that defines the joy and wonder of life.There is nothing finer than hearing the Conga Cartel in full flight. Their collective knowledge of syncopated rhythms and inspiring, sophisticated melodies are a testament to their own self-belief and desire to take their music to the next level. Music is a part of all of our DNA and is the one thing that binds us as human beings. That cultural exchange that the Conga Cartel represents, lives through us in joy, love, celebration and song.Fall in love with music all over again and experience the future with the Conga Cartel.</div><div> </div>

Industry Night w/Conga Cartel

When The Record Company pick up their instruments, the members—Chris Vos [guitar, lead vocals,harmonica], Alex Stiff [bass, backing vocals], and Marc Cazorla [drums, backing vocals]—participate in amusical back-and-forth akin to a formative andsupportive conversation among siblings. The nuances oftheir personalities seep through loose,bluesy guitar leads, airtight drum grooves, thick bass, and vividlyevocative lyrics. With such fluidity, the musicians respond to one another so instinctuallyyou’d swearthey were telepathically linked. However, there’s no such superpower necessary when you’ve got theclosest thing to a brotherhood that three musicians unrelated by blood can share...The GRAMMY®Award-nominated trio only amplify the power of this bond on their fourth full-lengthoffering and 2023 debut for Round Hill Records.“We know each other’s personalities on the instruments, so we reconnected with one another andreally found that brotherhood again,” explains Chris. “It&#39;salwaysbeen there, but we got back into aroom where it was like a circle of stone. We’re creating something that will go out into the world. We allstand behind it equally, and we’re willing to put our lives and love into it. When you put your career,your future, and your art into another person’s handsand you know they’re doing the same for you,there’s a different level of trust. That’s been our secret since day one. When it’s challenging, we’re alltrying to figure out the challenge. When it’s good, we’reall experiencing it together.”They’ve experienced everything as a family since forming back in 2011. Along the way, they served up atested-and-provenepic in the form of their 2016 debut,Give It Back To You.The releaseearned aGRAMMY®Award nomination in the category of“Best Contemporary Blues Album”and spawned “OffThe Ground,” which reached #1atAAA Radio and tallied nearly 40 million total streams and counting.Beyond a string of stunning late-night television appearances, they performed onCBS This Morning, atBonnaroo, and on an extensive tour with John Mayer in addition to headlining coast-to-coast. Theymaintained this momentum withAll Of This Life[2018] andPlay Loud[2021].On top ofpraise fromAmerican Songwriter,Classic Rock, and more,NPRhailed the latter as“the band’s biggest and mostdynamic record to date.”In 2021, the guys hunkered down and commenced creating what would become their fourth LP.Working out of an intimate home studio in Beachwood Canyon, they wrote, recorded, and self-producedthe music. Outside of cutting drums at the legendary Sunset Sound,it proved to be a homegrown affairthrough and through.“We got back to our old perspective, which is to trust the idea, get out of the way, make something,listen, and respond to it,” affirms Chris.Alex elaborates, “We decided to record the organicthing that got us really excited to play music as aband in the first place. That was the general theme of this record. Keep it as close to a three-piece soundas possible. Keep the music raw. It’s a return to form in a way, but we’re still growing.”“We’vebeen doing this for a while,” adds Marc. “As long as we sound like us, we can be proud of it.It’s not going to be for everybody, but we’ve never been prouder of what we’re doing.”he Record Company kicks off their next era with the single “Dance On Mondays.” Guitar cries through ahypnotically hummable bassline and head-nodding beat. Meanwhile, a chantable hook instantly takeshold with grit and gusto as Chrisaffirms,“I don’t dance on Mondays.”“Somebody asked me to go see a bandon a Monday night, and I just said,‘I don’t dance on Mondays’,”Alex recalls. “I wrote it down in my phone. The phrase signifies,‘I’m taking my life back, and I’m notgoing to dance for anybody’. It goes back to where we are as a band and us being The Record Company.”Then, there’s “Talk To Me.” Bass practically dances atop a simmering groove punctuated by tambourinebefore guitar kicks back in as Chris urges,“So, why don’t you talk to me?”Marc goes on,“It reminds meof one of those rare Blue Note groove records with a chill vibe.”Launching into toe-tapping bounce, harmonica wails on “Darkest Days” as the stomp and 12-stringguitar underline a soulful vocal. “Highway Lady” shines with a Laurel Canyonmeditationin the glowof swooning slide guitar.“We wanted to make music you could listen to“Highway Lady”on a road trip in the car with the city’slights behind you,” Alex says. “This songhad this big vibe of feeling good both musically andspiritually.”“Lyrically,it’s my favorite,” adds Marc. “It could be about so many different things. I moved into thishouse with a little pool, which I’d always wanted in Southern California. When it’s hot as shit out, younaturally develop all of these new friends during the summer. You make a pool playlist, and I wantedone of our tunes to be a contender. To me, this is one.”In the end, The Record Company are stronger than ever as a band and, more importantly, as brothers.“I’d love for people to hear this record and feellike they’re in the house with us making it,” Alex leavesoff. “I want them to feel like they’re part of this unpolished and homemade thing, because that’s whatwe were trying to get back to.”“We’re a trio, and that’s the completion of this circle,” Marcconcludes. “The fourth member of thisgroup is the space between us. We embrace that space as part of the raw element. That’s what weexplored on this album, and it’s beautiful. We can’t wait to bring it on the road.”

The Record Company

<div>“DUNE BLUE treads between indie rock, surf rock, and reggae. Crafted at the Dune Lagoon in Williamsburg, Brooklyn, Dune Blue emerged on the NYC club scene in ‘23 with a blazing live energy and has since hit the road for two U.S. tours.</div> The boys released their debut album “Doom &amp; Bloom” in Fall 2025, mixed by legendary Aussie surf rock engineer Jack Nigro, and are gearing up for their first headline East Coast tour.”

Dune Blue w/ nautics

It&#39;s after midnight in a rehearsal studio on Central Park West. Five of the Manhattan music scene&#39;s deadliest gunslingers are planning to pull off the crime of the decade. Their objective: Bring Back The Awesome Music of The 90&#39;s! Meet THE RESERVOIR DAWGS! NYC&#39;S Premier &#39;90s Tribute Show. More than just a cover band, The Dawgs are Masters of their Domain. A fully-costumed high-energy all-&#39;90s Party of Five covering the dopest grunge, power-pop, hip-hop, r&amp;b, and alternative jams from the end of the second millennia. You Oughta Know that The Dawgs are ready to help you get a little Crazy, Right Here Right Now and have a Hella Good time. The Dawgs are available for Clubs, Theaters, Corporate Parties, Private Events, Casinos and 90&#39;s Night Charity Fundraisers. So, if you&#39;re thinking of reaching out, just go ahead now!

Reservoir Dawgs (90s)

The Thing is a four piece rock and roll band from New York City. The Thing consists of Lucas Ebeling (Drums), Jack Bradley (Guitar &#43; Vocals), Michael Carter (Guitar &#43; Vocals), and Zane Acord (Bass &#43; Vocals). Michael, Jack, and Zane bonded over a shared love for rock &amp; roll in school. Their influences span generations and styles like The Kinks, Cream, and artists of The Nuggets Compilation. As they progressed in skill and knowledge the band started envisioning a career inspired by the likes of Brian Jonestown Massacre, King Gizzard, and The Black Keys. The band originated in New York City in 2022. Months later, the band found drummer Lucas Ebeling who was freelancing in the New York jazz scene.  Since then they have played hundreds of shows across North America and Europe. Their debut LP, ‘Here’s the Thing’, was self-recorded by the band in Zane’s childhood home in Sharon, CT as well as Jack’s prior studio in Brooklyn. After establishing their sound and recording process, the band turned around the month after it was released to the public and recorded their second LP, ‘The Thing Is’ in May of 2023. The album was self-recorded in one month, with Lucas on the kit this time. With this album, they experimented more and recorded with all four members playing together in the same room. This method proved worthy, they recorded their third album in the same manner in January of 2024. The Thing’s self-titled third LP can be expected Summer 2025. LONG LIVE THE THING.

The Thing

Steve Earle is one of the most acclaimed singer-songwriters of his generation. A protege of legendary songwriters Townes Van Zandt and Guy Clark, he quickly became a master storyteller in his own right, with his songs being recorded by Johnny Cash, Waylon Jennings, Joan Baez, Emmylou Harris, The Pretenders, and countless others. 1986 saw the release of his record, Guitar Town, which shot to number one on the country charts and is now regarded as a classic of the Americana genre. Most recently, Earle’s 1988 hit Copperhead Road was made an official state song of Tennessee in 2023. Subsequent releases like The Revolution Starts...Now (2004), Washington Square Serenade (2007), and TOWNES (2009) received consecutive GRAMMY® Awards. Jerry Jeff, released in 2022, consisted of Earle’s versions of songs written by Jerry Jeff Walker, one of his mentors. Earle has published both a novel I’ll Never Get Out of This World Alive (Houghton Mifflin Harcourt 2011) and Dog House Roses, a collection of short stories (Houghton Mifflin 2003). Earle produced albums for other artists such as Joan Baez (Day After Tomorrow) and Lucinda Williams (Car Wheels on A Gravel Road) As an actor, Earle has appeared in several films and had recurring roles in the HBO series The Wire and Tremé. In 2009, Earle appeared in the off-Broadway play Samara, for which he also wrote a score that The New York Times described as “exquisitely subliminal.” Earle wrote music for and appeared in Coal Country, for which he was nominated for a Drama Desk Award. Earle is the host of the weekly show Hard Core Troubadour on Sirius Radio’s Outlaw Country channel. In 2020, Earle was inducted into the Nashville Songwriters Hall of Fame. And in 2023, Steve was honored by the Bruce Springsteen Archives &amp; Center for American Music. Steve’s latest album, “Alone Again (Live)”, released on July 12th, 2024. Most recently, Steve was honored with an invitation to join the Grand Ole Opry and was officially inducted on September 17th, 2025.

Steve Earle-Solo & Acoustic 

Steve Earle-Solo & Acoustic w/ Paul Burch as support

Jake Marsh

Prepare to be transported back to the vibrant 1970s as New York City’s premier ABBA tribute band, Mamma Mania! brings the classic hits of one of pop music&#39;s most iconic groups to life. With their dazzling costumes, flawless harmonies, and captivating stage presence, this tribute captures the essence of ABBA’s unforgettable sound.From &#34;Dancing Queen&#34; to &#34;Mamma Mia,&#34; fans will enjoy a night filled with nostalgia from a stellar cast of musicians! Performers include current or former touring members of: Mamma Mia - Official North American Tour, Marc Martel’s Queen Extravaganza, INXS, Britney Spears, Rob Thomas, The Weeknd and many more! Mamma Mania! pays homage to ABBA&#39;s legacy, celebrating the timeless melodies and uplifting lyrics that have charmed listeners for generations.Join us for an evening of music that showcases not only the incredible songs but also the joyful spirit of ABBA. Whether you’re a lifelong fan or new to their music, this tribute promises to be an unforgettable experience filled with energy, enthusiasm, and plenty of dancing. Don&#39;t miss your chance to be part of this extraordinary celebration of ABBA from some of New York’s finest!!

Mamma Mania- ABBA Tribute Band

<div><div><div><div><div><div>After four fun-packed years down under, a brush with death and the related injuries were enough to convince Dave to leave the stunt business and return to Canada, to focus solely on music, in late 1988.His fans were glad he did and Dave took on music full time to perfect his professional repertoire, in Southern Ontario, Canada. He quickly became known for his big sound and antics on stage and ventured to write and produce his first album of original tracks. The result was an album with the  title track “I’m in Trouble”, an eclectic collection of pop material that showcased Dave’s versatility as a writer, vocalist, musician and producer.Following a number of local TV appearances around this time, Dave gave a charitable performance for the annual Terry Fox Run. The outdoor venue was packed with approximately 10,000 people participating in the festivities and the ‘Run for Cancer’. This was followed by several months of club bookings all over Southern Ontario, promoting his music.</div></div></div></div></div></div><div><div><div><div><div><div>Dave was invited for a season in Bermuda that actually lasted an incredible 20 years! From house band at “The Cock &amp; Feather” to the headline act at “Henry VIII Pub and Restaurant,” he delighted an international audience and still travels to entertain many of these fans, in all corners of the globe, by private invitation.Dave now makes his home in Key West, Florida where he shares his unique and ever-expanding performing style with yet another international group of tourists and locals alike. He spends his summers on the road or in the UK, with his wife Karen, where his reputation and fan base also continues to grow.Dave Bootle possesses a killer comic presence, a versatile, range and an appealing voice. His big sound is meticulously crafted by Dave personally and his intricate background sequences are envied by his peers, and greatly appreciated by his audiences. These are just some of the reasons for Dave’s enduring popularity.</div></div></div></div></div></div>

Dave Bootle

When you hear Annie Trezza it&#39;s often hard to believe that all that sound comes out of one person. With groovy guitar riffs, 60&#39;s inspired melodies, and transportive lyrics, she projects an energy well beyond her size. Upon listening to Dylan and Beatles records on repeat at a young age, she felt compelled to pick up a guitar and start writing her own tunes at age 14. She spends her summers playing all around her home in Montauk, NY. In the off-season when she&#39;s not chasing the waves she&#39;s writing new music, and continuing to play anywhere in the world she finds herself. Between her distinctive voice and her poetic lyrics, it&#39;s hard not to get a little carried away when listening to any of her tunes. And that&#39;s okay because that&#39;s exactly what they&#39;re meant to do. With an album to follow, her EP Blue Suitcase #2 was released December 2019.

Annie Trezza

Fantastic Cat almost died. Each member also individually (but at separate times) faceddevastatingheartbreak,went to jail, got sober,almostquit musicentirely,reconnected withalong-estranged family member,started making music again,hit rock bottom,had a chanceencounter with a mysterious stranger who changed their perspective on life, almost quit musicentirely a second time,reconciled their progressive, liberal ways with theirstrict,conservativeupbringing, and embracedtheraw power of theirsexuality.It was quite a summer.And sure, you may be reading this right now saying, “Wow, thatkind ofsounds like the band justbasicallyjammed everybio clichéthey could think ofintoa singleparagraphwithout anythingto back it up in a pathetically transparent attempt to generate press coverage.” But that kind ofcynical thinkingis exactly whyGQownsPitchforknow(or whatever thehellhappened there).Anyway,it’s all real, andifit makes for the kind of inspirational headline thateditorsandadvertisers alikeboth find highly clickable, then so be it.You see, two years ago, Fantastic Cat was nothing more than a little-known rock and roll bandwithacult following (their fans were primarily members of Heaven’s Gate).That all changed withthereleaseof theiraward-eligibledebut,The Very Best Of Fantastic Cat, which garnered thekind of press you simply can’t make up.USA Todayproclaimed, “we don’t have a music writeranymore,”whileNPRreceivedmultiplecopiesof the albumin the mail,andThe New York Times’Jon Parelesdeclared, “I’m currently out oftheoffice and will respond when I return.”Success went to thesupergroup’shead, though, and through a series of dramatic events almosttoo unbelievable to recount in specific, verifiable detail, they nearly lost everything, only totriumphantly overcome theirseemingly insurmountablesetbacks in a way that just begs for aJudd Apatow-producedHBO Maxdocumentary(or at the very least,a decent Spotify playlistplacement somewhere closer to the top than the bottom).Today,Fantastic Cat isbackand older than ever,taking America(and the nicer parts of Europe)by storm with their smash hit new album,Now That’s What I Call Fantastic Cat,which, as of thiswriting, hasn’t technically been released yet, but seems almost certain to be a huge successbased on industry trends and corporate forecasting.Galvanized by a transformative journey into the spiritual vortices of the Pocono Mountains, theband found inspiration for their sophomore effort in the world of mind-expanding psychedelics:they dropped antacids, experimented with mushrooms (primarily porcini), and even beganmicrodosing a variety of hard seltzers.Theresult was an album that could only be described as“Christopher Cross crossed with Kris Kristofferson,”abewildering blend of stepdad rock and in-law countrydestined to solidify their status as your leastfavorite songwriter’s favorite songwriters.Butno one hit the record button,and thesessions went mercifully undocumented.Instead, the albumthey turned in to the labelis an entirely different collection, one that meets(but does not exceed) the minimum Grammy® eligibility requirements in all major televisedcategories.Now That’s What I Call Fantastic Cat!

Fantastic Cat

Singer/songwriter Alexa Ray Joel, the daughter of the legendary singer and songwriter Billy Joel and supermodel/actress Christie Brinkley, composes songs from her personal experiences.“I&#39;m always writing from an intimate feeling,”Joel says.“If it doesn&#39;t pour out of me, I don&#39;t want to write it.”Joel has had a long and accomplished career in music. By the age of 15, she was already completing full songs, accompanying them on the piano, and writing poetry. She sang alongside her father in the final year of his Madison Square Garden residency in 2024. Her favorite Billy Joel song is Lullaby (Goodnight, My Angel), which he wrote for her. This fall, Alexa Ray is set to release a new 5-song EP, Tales From A Winding Tower, following the releases of the hard-charging single Riverside Way and the ‘60s-insipred Heavy Eyes, while her latest single, Only Just A Moment, revisits the heartache of a past romantic encounter from her youth wherein the line between friends and lovers was blurred.“It&#39;s a deeply intimate song, based on an encounter I had many moons ago,”she says.“It left me with a very palpable ache, and it&#39;s a pretty relatable narrative. A lot of young women go through that.”The EP is the latest in a long and accomplished career, including her 2021 poignant pop single Seven Years, inspired by her long-term relationship. During the pandemic, she contributed to charity events, including a virtual variety show for The Felix Organization, which benefits children in foster care, founded by Darryl McDaniels of Run-D.M.C. In 2022, Joel collaborated with HOBO Bag for their Naughty &amp; Nice collection, also creating a playlist inspired by the theme. Joel is on the board of “Rockers on Broadway,” a celebration of the Broadway community, and has performed at the annual events honoring artists like Diane Warren and Billy Porter. Her performances at Café Carlyle have showcased her eclectic repertoire, including original songs, Broadway numbers, and nods to her father and Ray Charles. The New York Times praised her in a 2014 review headlined, “A Singer Confidently Following Her Heart.”Joel became part of The Gap&#39;s &#34;Back to Blue&#34; television ad campaign, performing her interpretation of Billy Joel&#39;s 1977 song, Just The Way You Are. Her Notice Me single, released in 2010, was listed as a &#34;Hit-Bound song&#34; on the Sirius XM Hits 1 Satellite Radio Channel.Newsday wrote the song had a “carefree braininess” and “bouncy guitar riffs and an instantly hummable chorus” that made Joel&#39;s work sound “like Regina Spektor crossed with Katy Perry.”Joel has also ventured into the fashion world, appearing on magazine covers, participating in fashion weeks, and serving as a fashion correspondent. She&#39;s also an advocate for women, addressing issues like online bullying and body image. “I have so many remarkable young women who follow my social media. These women often write to me with stories of their struggles with a body image, as well as general battles with finding self-esteem and self-love. I can relate to this on a deeply intimate and personal level, as I was bullied quite a bit by the media when I was younger. You could say I was an exceedingly late bloomer; I didn’t really grow into myself, or feel remotely good about myself, until my late 20s.”Joel showcases her talents not only in music but also in acting, with appearances in Fox&#39;s Family Guy, and auditions for Broadway productions. Her philanthropic efforts are marked through her performances at charity events for organizations such as Smile Train, the Rainforest Foundation benefit concert, and the Christopher &amp; Dana Reeve Foundation. A self-described “cat-lady,” she’s also championed animal rescue efforts. You can follow her journey on Instagram &#64;alexarayjoel

Alexa Ray Joel

Welcome to Expost. With raw material from Memphis, San Francisco, New Jersey, and North Carolina — forged on Manhattan&#39;s Lower East Side since 2011 — Expost is known for its sprawling influences, improvisational risk-taking, and total commitment to live performance. Expost has graced such storied rock clubs as The Stephen Talkhouse, Arlene&#39;s Grocery, The Cutting Room, and the original Sullivan Hall. Every year during Phish&#39;s MSG New Year&#39;s Run, Expost plays an all-night afterparty for those rock fans who never sleep. The band&#39;s latest EP, &#34;The Tapes Vol. 3&#34;, is available on Spotify, Apple Music, and elsewhere. The Expost experience is only available live. #expostup

EXPOST

An actor and comedian for four decades, Hank Azaria is finally stepping into the role he’s always dreamed of – The Boss. After years of idolization and months of honing in his craft, Azaria mastered a vocal impression of Bruce Springsteen, the first step in his latest project that combines his love of performing and his musical passions – creating “The Best Bruce Springsteen Cover Band Ever”.Hank Azaria &amp; The EZ Street Band will perform Bruce Springsteen classics. The EZ Street Band brings the signature sounds of Jersey’s hero to life with the same spirit as Azaria’s performance as “Bruce.”

Since 1970

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