Upcoming Shows

YOUNG GUN SILVER FOX

with THE HEETERS

Musical chemistry is a rare, intangible thing. But for Andy Platts and Shawn Lee, the creative force  behind Young Gun Silver Fox the unmalleable, unspoken connection that gives their work such a  unique and distinctive sound was apparent from their first experiences in a studio together.  

Alongside their now decade plus long tenure as Young Gun Silver Fox where they have built up a  growing fanbase which includes the likes of Hans Zimmer, Jeff Lyne, and The Black Pumas to name a  few , both have already received plaudits for their individual creative excursions. American born, UK  based musician Shawn Lee through his own extensive catalogue of recordings with the likes of Shawn  Lee’s Ping Pong Orchestra and his well-received solo albums, as well as a go to award winning  producer and multi-instrumentalist for the likes of James Morrison and Joel Culpepper, and more  recently musical director and drummer for the legendary Asha Puthli in Europe, USA & Australia .  Meanwhile the multi-talented Andy Platts is the chief songwriter and leader of much loved Brit-soul  sensations Mamas Gun. He’s also clocked up a plethora of song writing collaborations with legends  such as Rod Temperton and Brian Jackson, as well as writing songs for the forthcoming album of  rising UK soul star MT Jones for this forthcoming debut album and they both co wrote the title track  of the latest Take That album ‘This Life’ which went to number 1 in the UK charts.  

Of their initial hook up Shawn explains that “It was about 2006 when we came across each other on  Myspace and I checked out Andy and saw that he knew a couple of the same people, and I was  impressed with his talents so I sent him a message saying we should hook up and do something, and  he never got back to me of course! But maybe it was around 2009 when we first spoke.”  

Taking their name from Andy’s standing as youngest band member and Shawn’s resplendent silver  locks, and sensing they were kindred musical spirits, the duo set about crafting their 2015 debut  West End Coast, bonding over a shared love of the smooth sounds of ’70s pop-soul and artist’s such  as Ned Doheny, Hall & Oates, Steely Dan and the breezy, west coast stylings that had been in Shawn’s  musical DNA since his youth. “I remember at one point thinking Steely Dan was the ultimate group  because they had hit singles and were on the radio and I’m like ‘man they’re accessible and they’re  in the mainstream but their music is so sophisticated and so musical and they have the best playing  and the best arrangements.’ I just thought if you could do that then you’ve won, that’s the ultimate  thing musically for me that if I could do something like that, that had all those qualities but was still  accessible then you’re killing it. Music like that and bands like that are rare, it’s a really special thing.  And there’s something about Young Gun Silver Fox that’s winning on those two fronts.”  

The release of their 2015 debut album West End Coast was timely, riding in at the beginning of an  overdue reappraisal of the previously maligned world of music that became (unfairly) grouped under  the then fashionable ‘Yacht Rock’ tag, and Young Gun Silver Fox came straight out the box with a  perfectly curated record that fused all the best components of mid ’70s to early ’80s contemporary  pop and soul. Much to their own surprise, the band immediately found its audience. “We were  surprised,” explains Andy, “we were making it for us and we thought we’d try and put it out and it  would be great to even play it live but we had no idea that it would find the audience that we hoped  it might find, and we got really lucky in places like Holland where it really took off and we were  playing big venues.”  

If West End Coast lit a musical spark then follow up AM Waves, released in 2018 fanned the flames  and helped turn Young Gun Silver Fox into a self-made success story, showing a growing synergy  between the two musicians that shone through on tunes like the deep, funky pop of ‘Caroline’,  ‘Lenny’s deceptively poignant balladry and the beachside disco of ‘Kingston Boogie’. “After the first  album was done it was like ‘yeah, this really works and this feels good’ and we’d only just scratched  the surface of it” says Andy. “So by the time we hit AM Waves we were really confidently digging in  and chomping at the bit really.”  

Continuing to build on the reputation forged from their recorded output, Shawn and Andy followed  up with stellar live shows and a touring schedule that took them round the world, finding fans in the  many far flung corners of the world and securing the endorsement of musical legends. “I was  surprised to discover how many Brazilian musicians were fans when I was in Rio doing some  recording,” enthuses Shawn, “and I was very pleased to hear that Jeff Lynne from ELO was a big fan.” 

2020’s Canyons cemented the band as a permanent fixture in people’s hearts and minds and  elevated them to the status afforded on their own musical heroes, nailing the tricky skill of making  deceptively layered and richly arranged music sound effortless. Whether through the easy rollin’  groove of opener ‘Kids’, euphoric horn blasts of ‘Dream Woman’ or masterful song writing of closing  piano ballad ‘All This Love’, this was band revelling in reaching new heights.  

The pandemic induced lockdown provided time for the duo to reflect but not to rest on their laurels,  and October 2022 saw the band release their fourth work to date, the aptly titled Ticket To Shangri  La, a culmination of everything the band do best, and a record that transports you to musical  paradise the second the piano stabs of opener ‘Still Got It Goin’ On’ kick in and the one-two sucker  punch of second track (and the albums lead single) ‘West Side Jet’ lifts you off your feet with its four  to the floor rhythm and joy-inducing chorus.  

The last albums genesis came from the sharing of songs and recordings online, with each member  embellishing the other’s tunes, whether that was Andy adding melodies and lyrics or Shawn laying  down extra instrumentation. Says Andy of the process; “When Shawn sends me stuff all the musical  variables are done so it’s out of my hands and that’s great but it’s horrible as well, because I get to  see Shawn’s mind working and he’s given me his stuff but I might think ‘I wouldn’t put that chord  there I’d do that’ and I think ‘oh fuck, how do I work with this!’ I really enjoy that because it keeps  you on your toes and you don’t rest on your laurels, you gotta bring your ‘A’ game and scrub up!”  And although Shawn’s desire was to up the groove factor on this album, as always it comes down to  choosing the absolute best songs. “I knew it was gonna be coming down to what the best songs are, I  do think it’s an album of bangers though, the whole first five or six songs hit you and there hasn’t  been another one of our records like that, it’s strong man.”  

Three years later the band are preparing to release their fifth album ‘Pleasure’, after an insanely busy  year completing their largest US tour to date in 2024 as well as touring Europe, including supporting  The Black Pumas both in the US & UK, who personally asked for them to support them, as they are  such big fans of the band.  

‘Pleasure’ took on a different and more personable recording process, after four albums with both  musicians laying down ideas in their own studios and sending files back and across via email. Shawn  in London and Andy in Norfolk, this album Shawn travelled to Andy’s studio The Prairie for four days  in December 2024 and back again in January 2025. The duo commenced furiously writing & recording  ideas from a completely blank slate. Over half of the album's 10 songs were birthed from these in-person  sessions. This was a real game changer and evolution of the game for Andy and Shawn.  

The only additional musicians on the album are the horn players. Nichol Thomson trombone &  arrangements, Tom Walsh on trumpet & Graeme Blevins on sax and flute. The rest is handled by Andy and  Shawn. Andy engineered these sessions and the album was later mixed & finished at Shawn’s London  studio with Pierre Duplan, helping engineer and mix it.  

“At this point YGSF are continuing to build on their back catalogue and we are constantly thinking about  using our collective strengths to evolve”, explains Andy. 

What happens next is open to fate, but one certainty is that Andy and Shawn will continue to come  up with the goods. “The ‘West Coast’ vibe was really a jumping off point initially,” says Andy. “The  more music we make, the more it really is all about what Shawn & I do together naturally, and so  that’s evolving the MO of the whole project all the time in a really natural way.” 

Show 9pm // 18+

Cornerstone Presents:

FROLIC, CARTILAGE, BEHEADED, VESTIGE

FROLIC brings thrash metal to the future - here not just to open up the circle pit, but to push the boundaries of what a Thrash Metal band from the Bay Area can be. From death, trad and black metal to progressive rock and much more, no stone is unturned in the pursuit of pure modern progressive death and thrash. FROLIC's growing acclaim reflects the pure energy and power fans are treated to during each and every live performance--and legacy acts have noticed.

Formed in 2014, FROLIC has enjoyed a substantial rise in popularity in recent years--sharing the stage with Suicidal Tendancies, Death Angel, Possessed, Forbidden, Biohazard, Eyehategod, Warbringer, Goatwhore, Angeles Apatrida, Hatriot, Bewitcher, Mordred, Blind Illusion, Hellfire, Defiance, Xoth and many more.

Celebrating their 30th anniversary in 2025, Zoso has become one of the most iconic and respected Led Zeppelin tribute experiences in the world, having played over 4,800 shows across the globe. Known for their unparalleled dedication to faithfully recreating the legendary band's live performances, Zoso has earned accolades from both critics and fans alike.

The band was founded by Matt Jernigan and Adam Sandling, both of whom are renowned for their exceptional musicianship and passion for Led Zeppelin's music. Jernigan, who takes on the colossal role of Robert Plant, has a commanding stage presence that rivals the icon himself. Sandling, who brings John Paul Jones to life, masterfully plays bass, keyboards, and mandolin, replicating the multifaceted talent of the Zeppelin legend.

In 2015, Bevan Davies joined Zoso as John Bonham, completing the lineup. An accomplished drummer with a resume that includes playing with Danzig, Jerry Cantrell (of Alice in Chains), Static X, and Billy Duffy (of The Cult), Davies brings an unmistakable power and precision to Zoso’s live shows, helping the band recreate Bonham’s legendary drum sound.

Zoso’s live performances focus on the raw energy and intricate musicality of Led Zeppelin’s best-known hits and deeper tracks, with a particular emphasis on recreating their live show experience. The band’s commitment to authenticity has earned them praise from major outlets, with the LA Times calling them “head and shoulders above all other Led Zeppelin tributes,” and the St. Petersburg Times describing them as “the most exacting of all the Led Zeppelin tributes.”

• John Greene - Keys and vocals
• Alex Bowman - Drums and vocals
• Chad Kimner - Bass and vocals
• Eric Schiff - Guitar and vocals

CORONER

with Special Guest HEATHEN

Coroner kicked things off in Zürich back in 1985 and quickly built a reputation as one of underground  metal’s most forward-thinking and technically ferocious bands. With Ron Broder on bass and vocals,  Tommy Vetterli on guitar, and Marky Edelmann on drums, the trio put out five critically praised  records and a semi-compilation between 1987 and 1994, each one dragging thrash metal further into innovative, more experimental territory. 

The albums they released on Noise Records didn’t just push the genre’s limits. They dismantled them  and put something sharper in their place. Even now, those albums are considered cult staples. You  could say they laid the groundwork for what progressive metal became: 

• R.I.P. (1987) 
• Punishment for Decadence (1988) 
• No More Color (1989) 
• Mental Vortex (1991) 
• Grin (1993) 
• Coroner (1994 | self-titled semi-compilation) 

Coroner’s sound has always lived at the edges. It’s a collision of speed, structure, and control. Built  on thrash, their music pulled in classical form, avant-garde twists, jazz complexity, and the cold  mechanics of industrial metal. Every piece was delivered with pinpoint precision and Ron Broder’s  unmistakable vocal grit. 

Often called “the Rush of thrash metal,” Coroner, along with bands like Voivod and Watchtower,  helped shape what would later be known as technical and progressive thrash. 

With each release, their sound pushed further. By the time No More Color, Mental Vortex, and Grin  hit, things had grown sharper. The production became tighter, the arrangements more offbeat, and  the sound had drifted far outside any genre map. 

That influence stuck around. From major players in metal to offbeat experimental types, generations  have taken something from their no-rules, no-compromise approach. For a lot of people, Coroner  weren’t just ahead of their time. They were the reason to start thinking differently about what metal  could even be. 

The band stepped away in 1996 and disappeared from the spotlight. But when they came back in  2011, it wasn’t to rehash the past. They had unfinished business. 

Marky Edelmann bowed out after the early reunion shows, and longtime live partner Diego  Rapacchietti stepped behind the kit, reigniting the band’s rhythmic core. 

Since then, they’ve played select shows and festivals across the globe — Hellfest, Maryland  Deathfest, Brutal Assault — and headed back to the U.S. in spring 2025. More European dates are  lined up for summer. Every show brings the weight of where they’ve been and the tension of where  they are now. 

In October 2025, Coroner will release their first new studio album in over thirty years, through Century  Media and Sony Music Switzerland. This one took time. It moved slow, stayed quiet, and took shape  mostly in the background. Until the moment felt right to let it surface. 

The album was produced by Tommy Vetterli and Dennis Russ, and recorded at Tommy’s renowned  New Sound Studios. Mixing and mastering came from Jens Bogren, known for his work with Opeth,  Sepultura, Kreator, Amon Amarth, and Ihsahn. 

What came out of it wasn’t a callback. It was something new. 

“We didn’t pick up where we left off. We surfaced through something else entirely.” — Tommy Vetterli 

A work born from silence, friction, and control.

LEFT TO SUFFER

with LARCENIA ROE, and FR3AK

Formed in Atlanta, Georgia, Left To Suffer quickly carved a place for themselves within the modern heavy music scene by merging relentless brutality with experimental flourishes that push the genre’s boundaries. Rising to prominence with their breakout record A Year of Suffering and continuing momentum through projects like Feral and Leap of Death, the band has become known for their crushing heaviness, emotional honesty, and willingness to evolve. Along the way, they’ve collaborated with genre heavyweights and cultivated a dedicated fanbase drawn to their unflinching approach to both sound and subject matter. With each release, Left To Suffer has refined their identity, proving themselves one of the most innovative and fearless acts in heavy music today.

BLUNTS & BLONDES

SUN KIL MOON

Sun Kil Moon All The Artists was released on Caldo Verde Records March 28, 2025. The album was recorded in Highland Park, Los Angeles 2023/2024. Music by David Stagno. Words/vocals by Mark Kozelek.

Sun Kil Moon Quiet Beach House Nights was released on Caldo Verde Records, digitally, outside of North America, August 2023. Several singles including 'Raging Bull's Jaw' and 'Damian' have been released as singles in the USA since 2022. The album was released on both CD and vinyl within the USA in 2024. Mark has toured in support of the album in both Europe and the USA throughout 2023 and 2024. Sun Kil Moon has also released various singles, worldwide, including 'Been on Echinacea,' 'Santa Ana,' and 'All The Artists Live in L.A.'

Sun kil Moon featuring Amoeba was released outside of North America, September 2024. The album has been released on both CD and vinyl October, 2024. Sun Kil Moon featuring Amoeba is a collaboration between Hungarian band Amoeba and singer Mark Kozelek, recorded in Hungary in 2022 and 2023. The single 'Mindy' and 'Hungarian Lullaby' have been releases as singles in the USA.

Mark is contributor to substack, releasing photography, music, and writing, on the first of each month.

Sun Ki Moon Welcome to Sparks, Nevada, was released January 7, 2021. The album is about Mark's life and times throughout the first half of 2020. Shortly after, Mark released, Lunch in the Park. The album picks up where "Sparks" left off, detailing his summer, fall and winter of 2020.

BISHOP SNOW

WHEEL

with SOUND AND SHAPE

Charismatic leaders. These are the dictators, demagogues and false idols who, around theworld at this very moment, are stoking division and igniting war in the name of nothing butself-gain. They’re also the unmistakable target of Wheel’s latest album ofthe same name: aseven-song prog metal opus that strives for all things right in a world gone wrong.Since forming in 2015, Wheel have swiftly grown from underdogs of Helsinki, Finland, to aninternational tour de force. The angular riffs, unforgettable melodies and adventurous scopeof the trio’s 2019 debut,Moving Backwards, was instantly adored by fans of megastars fromTool to Coheed & Cambria. Then, 2021 follow upResident Humanreceived rave reviewsfrom publications across the planet, praising its sonic evolution and bravely dystopianthemes.Charismatic Leaderswas meticulously crafted to meet Wheel’s ever-heighteningbenchmarks.Its songs date as far back as 2020,and recording with engineers/co-producersDaniel Bergstrand and Fredrik Thordendal (Meshuggah) stretched from August to December2023. The end result, mixed by Forrester Savell,has consolidated all the gains of what camebefore: singer/guitarist James Lascelles, lead guitarist Jussi Turunen, bassist Jere Lehto anddrummer Santeri Saksala’s third album represents their heaviest and most conscious musicto date.Already, Wheel have toured the world with such prog metal idols as Epica, Leprous, Volaand Soen, and it’s easy to imagine the irresistible hook of “Disciple” or the explosive guitarsof “Submission” only amplifying the excitement of their shows.Wheel’sTheDark Side Tour 2026will take fans deep into the band’s musical universe,showcasing songs rarely heard on stage next to classics from their catalogue. Wheel willrevive hidden gems, creating an intense and immersive live experience. This tour promises aunique journey for longtime followers and a thrilling discovery for newcomers alike.

THE WHITE BUFFALO

“Everyone knows that you can sing…” 

For The White Buffalo – aka singer / songwriter / guitarist Jake Smith, Oregon-born, Southern California-raised – it was time to take the less travelled path; to assemble notions for studio album Number 8, the follow-up to ‘On The Widow’s Walk’ (Snakefarm, 2020), and embark on a voyage of discovery.

Out with the old, the organic, the expected, the tried; in with the new – new producer, new studio, new location, no distractions, no looking back…

Enter ‘Year Of The Dark Horse’…

“You think we’re a country band? A folk band? Americana? Rock? What the fuck are you gonna say now?!” laughs Jake. “With this album, I wanted something outside of what I’ve ever done. I wanted to open up. Do something dangerous. I’m hard to put into a singular genre as it is, but now I really wanted to take away any kind of preconception or pigeon-holing.

“And don’t ask me, cos I don’t know what it is! It’s a genre-bending thing – there’s elements and influences from ELO, Daniel Lanois, Tom Waits, The Boss, circus, pirate music, yacht rock, and I’m driving and pushing some of these numbers in a way I’ve never done before.

“At the top of the pandemic, I put the acoustic guitar on its stand, got a synthesizer and began writing on it, not really knowing how to play keys, just exploring the different sounds and landscapes. In the not knowing, it allowed me to expand my vocal melodies and compositions in ways the guitar had possibly limited.” 

When Jake, flanked by regular touring / recording compadres, bassist / keyboard player / guitarist Christopher Hoffee and drummer Matt Lynott, crossed the threshold of East Nashville’s Neon Cross Studio, a converted Southern Baptist Church, he wasn’t chapter an’ verse prepared, as usual.

The time before recording had been a crazy one, so there were a bunch of loose ends to be tied (“I’m a perpetual procrastinator” – Jake), plus only three of the 12 songs had been completely written. Jake had maps in his head, but most were mere bones of compositions with only a few key lyrics penned. This allowed producer / studio owner Jay Joyce – plus trusted assistant, Jason Hall – the wiggle room to really get involved, to guide and explore new frontiers …

“It was a whirlwind of creativity,” recalls Jake. “We tracked 12 songs in 11 days; no over-thinking, no looking for perfection, no egos, no playing it safe, just feel, and I’ve never had a producer act so much like a producer… twisting, elevating and contorting our talents!”

With an impressive clientele numbering Eric Church, Brothers Osborne, Fidlar, Ashley McBryde, Halestorm, Little Big Town, Cage The Elephant, to name just a few, multi-instrumentalist Joyce has a reputation for working at an intense level.

He’s a Grammy Award-winning Producer of the Year (2018), has 4 CMA and 5 ACM Awards, and when it comes to making music, the Ohio native is never one to take the obvious route – perfect for an album featuring a dozen musical vignettes, individual yet constant in flow; an album loosely based around the shifting of the seasons and the shifting of a relationship; an album showing off the complete scope of Jake’s song-writing craft, from the stripped back to the fully loaded…

“Jake is fierce, he basically wrote a whole movie,” says Jay. “We holed up in an old church, in the midst of the pandemic. It was just the four of us, making the soundtrack to his movie, and I have to say, it was inspirational.”

To keep the storyline as clear as possible, the 12 songs were recorded in sequence, with every square inch of Neon Cross brought into play; a new sonic palette was required, a unique set of sounds, and if it meant pushing the musicians into new, sometimes uncomfortable, areas, well, that was the price to pay…

“Oh, he would break at least one of us on the daily!” exclaims Jake. “At some point, we all questioned if we could even sing or play! We’d start at 11, have lunch at one or two, be done by seven, and we felt like we’d gone to war!! Exhausted, our heads spinning. Like, what did we even do today?!

“A lot of stuff was tracked on the fly, and Jay would help guide arrangements, bridges, links, all sorts of things, then he ended up adding other elements in the mix to bind it all together. He’s an insane musician and he would change things on a dime. We’d spend an hour getting a drum tone, then he’d say, ‘Sounds amazing, but any fool can make a drum kit sound good’. So he’d abandon all of that, and end up using a 50 dollar child’s kit mic’d with a singular microphone and pump it through a tiny Marshall amp. His mind works in a manner I’ve never witnessed in anyone else!”

But what about the vocal recording? Surely Jake’s signature baritone, a much-revered calling card, required nothing more elaborate than a candle-lit corner, some honey, cigarettes and coffee…

“Not reallyl!” laughs Jake, “he kept putting me in strange and awkward positions – on two or three of the songs, he sat me down on a low-profile couch, with the mic a foot off the ground, so I’m hunched over singing with my knees higher than my head. He was taking away my body, my power. He’d say, ‘Everyone knows that you can sing, bro, what else is there…?’ He was looking for a vibe, a cool factor, not vocal acrobatics. 

“And he’s meticulous about trimming the fat, and about syncopation, where the words are landing. He would also sense if something wasn’t quite working, or if it was getting repetitive; on ‘Love Will Never Come’ he forced me to abandon the vocal melody and lyrics I had prepared, nearing a hundred words, saying it sounded like, ‘Hickory Dickory Dock… I’m bored after hearing that melody twice’. He made me take an entirely different approach, on the spot, like, ‘Make up something cool. Now! GO! GO!’ I’ve never been challenged like that before! The first thing that spilled out of me was the map for that performance. 

“He’s a fucking genius with a splash of bullying ex-wife. You know he’s right, you trust him, and he will push you beyond what you think you’re capable of.” 

For ‘Year Of The Dark Horse’ to achieve its full potential, Jake knew the experience had to be immersive, which is why the Nashville location proved crucial. Not only were the three musicians away from the lures of home, but the house they all stayed in was just a block from the studio, and filled with a variety of instruments. Wherever they were, they could hone in on the project, and some of the songs came together while the clock was ticking… 

“I wrote ‘Love Song #3’ eight days into recording,” remembers Jake. “I knew the story and the scope of the album needed a true love song, so I wrote one from a melody I had swimming around in my head. 

“I work strangely well under desperate conditions,” he continues, making sure to give credit to his fellow musicians, his ‘band of brothers’; they hadn’t heard the songs at all prior to entering the studio, “coming in blind”, but they collectively stepped up to the plate, and beyond, sometimes getting a tune out of instruments they’d never even heard of!

As for Jake, he was happy to embrace a project where new boxes were being ticked on a daily, sometimes hourly, basis. This time around, it was all about building on glories past, adding fresh, exciting, more left-field moments to a style and a sound that has seen his music growing in stature worldwide, supported by key placements in the worlds of TV and film (‘Sons Of Anarchy’, ‘Californication’, ‘The Punisher’, ‘The Terminal List’, etc.).

Over the years, Jake has built a second-to-none reputation for the emotional weight of his music, and here this core element dramatically underpins a body of work that allows the imagination of the listener to play an important part throughout, building on a tale of debauchery (of the drunken variety) and blame, of love and loss, a life lived against the odds, the whole thing set in one lunar year, following our anti-hero through the highs and lows of the seasons. 

And who is this mysterious Donna? And what was she doing in the bar? And in the bathroom?!  (‘She Don’t Know That I Lie’). She’s right there at the heart of the action, and the song that bears her name is probably the most propulsive on the album – an open display of Jake’s deep regard for the great Jeff Lynne…

“During the pandemic, I would ride around on my bike with a speaker on the back, tripping balls, and listening to ELO,” he recollects. “I love Jeff Lynne!”

Hard on the stiletto’d heels of ‘Donna’ comes album closer ‘Life Goes On’, which bring things to a conclusion in gentle, reflective tones. Jake felt his way through the song in the studio, then when he stepped up to do it for real, was told by Joyce that his first take was ‘the one’…

“He wouldn’t let me have another crack! ‘You can’t beat that!’ One single imperfect take when I wasn’t even aware we were recording. Pure, honest, true…”

Which effectively sums up ‘YOTDH’ as a whole, The White Buffalo’s most unpredictable and inventive work to date, the most well-rounded, too – surprising, spontaneous and spectacularly genre resistant.

THE EXPENDABLES

The Expendables have proven anything but in their nearly 25-year career since starting out as a  spirited party band in high school performing surf-rock covers for birthdays and family  gatherings. A quarter-century later, elementary school buddies Raul Bianchi, Adam Peterson and  Geoff Weers, along with bassist Ryan DeMars, who joined in 2000, have forged a unique sound  born in the laid-back beach life in their hometown of Santa Cruz, CA. The Expendables’  infectious hybrid of ska, surf-rock, punk, reggae and metal can be heard in their latest streaming  track, “Surfman Cometh,” a spaghetti-western meets “Pipeline” twang that could easily form the  soundtrack to the latest Quentin Tarantino film. The song is the first release from the group’s new  and improved Band Room, their longtime rehearsal space in a 1,100 square foot warehouse and  former wine cellar on Coral Street, where Adam Patterson took charge of the final mix to great  effect. The band’s previous studio album of original material, 2015’s Sand in the Sky, was  followed by The Expendables’ second release featuring acoustic reworkings of past material,  Gone Raw, 2019’s follow-up to 2012’s Gone Soft. The Expendables continue woodshedding  until they can get back out on the road. Their 2017 Moment EP, which debuted at #1 on the  Billboard Reggae chart, showed the band starting to move into different musical directions, a set  featuring collaborations with reggae crooner HIRIE, rapper Tech N9ne, Eric Rachmany, and  Micah Peuschel

THE DAVE MATTHEWS TRIBUTE BAND

DMTB is a celebration of the music of the Dave Matthews Band - a time machine to a funky tea party in the 90’s, a boisterous era of tape trading, sing-alongs, and exploration into a new sonic landscape spearheaded by complex guitar riffs, soaring violin melodies, smooth sax lines, and explorative-explosive drumming.

Dedicated to recreating that moment in musical history, the DMTB has been honing their craft for over 20 years. Since 2004, the band’s ruthless touring schedule has been unparalleled, playing over 2000 shows in 46 states and 10 countries. The Buffalo, NY based band has successfully paid tribute to the Dave Matthews Band, with heartfelt recreation of DMB’s musical spirit.

The DMTB aims to transport the listener back in time. The band takes inspiration from the classic DMB sound, with immense respect for the original quintet. While including material from the bands later and current catalogs, the goal is to create a well rounded and authentic tribute.

The attention to details, love for the music, and sense of community creates an atmosphere that causes concert goers to say “...wow, if I close my eyes, it's like I’m there!”

ELISE TROUW

with SWELL FOOP and MEERNA

Elise Trouw has spent most of her life counting

As a child in rural Fallbrook, California, she could tell you exactly how many stairs were in her house – though she might skip one just to land on an even number. Before she had words for it, Elise was tracking the rhythm of the world: steps in multiples of four, chairs in symmetrical rows, piano notes practiced at 5am in precise sequence. Her parents eventually made her wait until 6am. 

This early obsession with order and balance would later lead her to the drums, where everything clicked. “Drumming was like a physical manifestation of how my brain already worked,” she says now. “Counting subdivisions, staying locked into the groove – it just made sense to me.”

It also offered something else: protection. Behind the kit, she didn’t have to be the center of attention. She could participate without exposing too much.

That changed when she began to sing.

Best known for her seamless one-woman-band videos and genre-blurring musicianship, Elise rose to fame in the late 2010s through viral live-looping mashups and meticulous multi-instrumental performances. Her debut album, Unraveling, released as a teenager, led to a performance on Jimmy Kimmel Live! and a two-week tour opening for Incubus. With no label or manager at the time, Elise was suddenly in green rooms and industry meetings where she was both admired and underestimated – navigating adult spaces while still barely out of high school.

“I didn’t realize until later how much I felt like I had to be palatable,” she reflects. “I wanted to be seen as likable. As someone who could play well and sing well and look good doing it, even if that meant not being my full self .”

Even her songwriting during that time was shaped by a desire to connect – sometimes by leaning into what she thought people wanted to hear. “I wasn’t always writing from a deeply personal place,” she says. “I was still figuring out what I was allowed to say.”

But while she was performing onstage, another project was taking shape in secret.

Her new album The Diary of Elon Lust, out February 13th, 2026 via Midtopia, is the most radical departure of her career – and also the most honest. It’s a satirical concept album told through the persona of Elon Lust: a twenty-something male alter ego who embodies a cocktail of entitlement, objectification, and weaponized likability. Part archetype, part confession, part cautionary tale, Elon is made up of things men have said to Elise. Or to her friends. Or to you.

“I started writing these songs as a joke,” she says. “But over time I realized – they weren’t completely jokes. And suddenly, they were the only songs I was writing that felt real.”

Across 14 tracks – each one a diary entry of sorts – The Diary of Elon Lust dissects modern masculinity through playful, uncomfortable, occasionally absurd vignettes that blend humor and social commentary with deeply personal truth. The songs are bolder. The lyrics are sharper. The satire is pointed – but never preachy.

The lead single “All You Need Is Lust” introduces the character with a tongue-in-cheek mantra that turns the Beatles’ famous phrase on its head. Over layered vocals and hypnotic groove, Elon invites listeners into a cult of carnal worship, where desire is king and female bodies are holy objects. The surreal music video, inspired by the Hieronymus Bosch painting, The Garden of Earthly Delights, features dancers with cherry heads, boob costumes, and a fever-dream aesthetic that leans into discomfort. “We wanted it to feel strange and unsettling—somehow sexual, but not sexualized,”

“The Perfect Girl” draws from a memory that’s stuck with Elise since middle school: the day a group of boys made a “hot or not” list ranking all the girls in class. The song is absurdly upbeat – Elon rattles off ideal features like a Frankenstein sculptor – but the subtext is darker. “It was one of the first moments I realized how girls were being seen,” she says. “It wasn’t much about who we were. It was about how we looked. That never really left me.”

Later tracks like “A Little Blood” dive into the shame women are made to feel for their bodies – except, of course, when those same bodies serve male pleasure. And on “Gentleman,” Elon paints himself as the self-proclaimed “good guy,” racking up points for being decent while still expecting thanks in return. These contradictions – harmless on the surface, corrosive underneath – are what make the character so effective. Elon is not a monster. He’s familiar. Maybe even likable. He’s “just joking.”

While Elise’s past work has always showcased technical brilliance, Elon Lust allows for something more: vulnerability, messiness, agency. The drums are still there, the grooves still tight. But this time, Elise isn’t hiding behind them. She’s stepping forward, even if it means letting go of perfection.

Social media was the launchpad for Elise’s early success. Her live-looping videos drew millions of views across Instagram, Facebook, and YouTube, and helped her build a fanbase outside the traditional industry gatekeepers. But it also came with a cost. “It gave me visibility,” she says. “But it also exposed me to things no one would say to my face. There’s a specific kind of cruelty that comes from anonymity online..”

She doesn’t read comments anymore. Or if she does, only on good days.

And while The Diary of Elon Lust may sound like a sharp left turn, it doesn’t invalidate what came before. “I’m proud of Unraveling,” she says of her debut. “It was where I was at. It was real in its own way. But I was 17, and I wasn't comfortable being fully honest in my songwriting yet.”

This new project is different.

“This album might feel like a big departure, but it’s the first time I’ve felt free in my songwriting —it's my humor, my perspective on the world,” she says. “Even though these songs come from my own experiences, I hope people hear them and understand too.”

SWELL FOOP

Swell Foop is an indie rock band hailing from Berkeley, California, composed of Sophia Shen and Miranda Loyer on lead vocals, guitar, and bass, and Tiena Elias on drums. Having met as students at UC Berkeley, Swell Foop has made its rounds through the Bay Area's DIY venues and backyard stages, but over the years has matured into something more meaningful than a fleeting college band, a change marked by the release of their debut EP "Don't Spare Me" in 2024. Songwriters Sophia and Miranda conjoin introspective lyrics with enthralling melodies, beckoning the listener into narratives surrounding femininity, identity, and change. Their songs range from dreamy indie pop to bass-driven rock, balancing vulnerability and earnestness with unshakable determination

KASH'D OUT

with BEACH FLY

Florida-based reggae/rock band Kash’d Out has been hustling hard since day one. Formed when Greg Shields (lead vocals) and Jackson Hauserman (guitar) first met during a studio session, the band quickly found its sound. With the addition of Joey Brohawn on bass, Marshall Hearne on drums, and most recently A-Mac on keys, Kash’d Out's clever lyrics, tasteful guitar riffs, and infectious grooves came to life.

Their breakout caught the attention of Hawaiian legends Pepper, who signed them to LAW Records and released their debut full-length album, The Hookup. Before the album even dropped, the band hit the road with Pepper and Less Than Jake, launching them onto the Billboard Reggae Charts and into households across the country.

Since then, Kash’d Out has become a relentless touring force, supporting genre staples like Collie Buddz, The Expendables, and Iration, while also headlining multiple national tours.

Their most recent album, Butter (released on LAW Records), showcased the band’s musical growth and experimentation, further solidifying their reputation for crafting songs that blend catchy melodies with honest, introspective lyrics.

Now signed to Ineffable Records, the band continues to evolve. Their latest single, “Mushroom Tea” featuring Little Stranger, dives into a playful, psychedelic groove—bringing together bounce, wit, and a touch of nostalgic stoner charm. It marks the beginning of an exciting new chapter as they gear up for their next full-length album, due out in 2026.

With a packed touring schedule and a high-energy live show, Kash’d Out continues to bring their music to fans across the country—spreading good vibes and authentic connection at every stop.

Beach Fly is the feel-good musical project led by John DeMari. He got his start interviewing some of his favorite artists like Slightly Stoopid, Pepper, and Iration on the 2 Minute Podcast.

Beach Fly’s homegrown, organic sound is a refreshing blend of modern reggae influences and feel-good beachside rhythms. Drawing inspiration from bands like Slightly Stoopid and Rebelution, as well as acoustic-driven favorites like Jack Johnson and Xavier Rudd, their music captures the essence of laid-back coastal living.

With smooth melodies, uplifting lyrics, and infectious grooves, Beach Fly is on a mission to transport you straight to a sun-soaked paradise. Whether you’re catching waves, relaxing with friends, or simply looking for an escape, their sound delivers the ultimate tropical vibes.

AURORAWAVE

 with BRACE YOURSELF

aurorawave is a boundary-pushing rock band recognized for pioneering a distinct sound they  term reggaecore — a fusion of heavy guitar-driven intensity and rhythmic influences drawn from  reggae. Their music integrates aggressive, groove-oriented arrangements with emotionally  charged lyricism, resulting in a style that is both musically intricate and viscerally accessible. 

Formed with the intention of absolute authenticity, aurorawave established a clear identity with  their self-titled debut album. The project featured notable collaborations with members of The  Ghost Inside, Atreyu, and Attila, introducing the band’s hybrid sound to a broad spectrum of  alternative and heavy music audiences. Their debut positioned them as emerging voices with the  versatility to operate across multiple subcultures within the rock and reggae landscapes. 

In 2025, the band unveiled Monument, a decisive step forward in their evolution. The album  brings together an eclectic and high-profile group of collaborators, including Aaron Gillespie  (Underoath), Frankie Palmeri (Emmure), Left To Suffer, Ekoh, Jesse Royal, The Movement, and  Kumar Fyah. Monument expands the band’s sonic framework while retaining the emotional  weight and urgency that define their approach. The result is a record that is both thematically  cohesive and musically diverse. 

Known for their dynamic live performances, aurorawave has developed a reputation for  translating studio complexity into high-impact, crowd-responsive sets. Their ability to connect  across genre lines has earned them placements on varied lineups and growing support from fans  of alternative rock, metalcore, and modern reggae. 

aurorawave represents a deliberate convergence of influences — not as an aesthetic novelty, but  as a fully realized artistic direction. Their work continues to resonate with audiences seeking  depth, intensity, and innovation in contemporary rock.

MELROSE AVENUE

with AUTUMN KINGS and STRAY VIEW

About Melrose Avenue: Melrose Avenue is a melodic punk/metalcore outfit hailing from Australia. With their explosive sound and captivating online presence, they have amassed a dedicated following and become one of the most viewed Australian musical acts of the year. Stay tuned for their upcoming tour dates and be prepared to be blown away by their electrifying never seen before performances!

TROY DOHERTY

TROY (Troy Doherty) is a rising pop singer-songwriter and the voice of Hermes in EPIC: The Musical, earning a fast-growing worldwide fanbase. His debut album ZODIAC has surpassed 20 million streams, fueled by multiple viral videos and over 1.2M monthly Spotify listeners. After selling out every show on his beta tour, TROY now brings his fan-inspired 2026 U.S. ZODIAC Tour to cities across the country.

His entertainment career includes roles such as Clayton Swain on TNT’s The Last Ship, the Hambone King on Nickelodeon’s Victorious, Byron in Zoey 102, and standout theatre performances including **the Artful Dodger in Oliver! ** and Scut Farkas in the world-premiere of A Christmas Story: The Musical.

TROY writes and produces his music, blending indie pop, rock, soul, and cinematic influences into an emotional, powerful live experience.

TROY live in 2026 brings every sign, every story, and every emotion to the stage across the U.S. The ZODIAC era is here.  Experience it!