Show 9pm // 18+
Cornerstone Presents:
GIMME GIMME DISCO: A DANCE PARTY INSPIRED BY ABBA
Calling all Dancing Queens! Here we go again! If you can’t get enough ABBA then do we have a dance party for you. We are a DJ based dance party playing all your favorite ABBA hits, plus plenty of other disco hits from the 70s & 80's like The Bee Gees, Donna Summer, & Cher (DISCO ATTIRE ENCOURAGED). So honey honey, take-a-chance and you’ll be dancing all night long. Grab tickets, bring your friends, and have the best night of your life!
Show 10pm // All Ages
Cornerstone Presents:
Swar Band is one of Nepal’s most influential indie/alternative/pop-rock groups, fronted by the powerhouse vocalist Swapnil Sharma, who is also known for his role as the lead singer of the legendary Shadows Band.
Their music blends emotional depth, rock energy, and modern Nepali storytelling—captivating audiences across Australia, Nepal, and beyond. With millions of streams and an explosive live presence, Swar Band has built a loyal global fanbase and continues to rise as a leading force in Nepali contemporary music.
Show 8pm
Cornerstone Presents:
Show 8pm
Cornerstone Presents:
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.”
With over 30 years of music history behind them, Zoso continues to be regarded as one of the finest Led Zeppelin tributes, with the Chicago Sun-Times calling them “the closest to the original of any Led Zeppelin tribute.” Whether you're a lifelong fan of Led Zeppelin or discovering their music for the first time, Zoso delivers an unforgettable experience that takes you back to the glory days of rock and roll.
Show 9pm // 18+
Cornerstone Presents:
EMO NIGHT BROOKLYN 😈
Welcome to Emo Night Brooklyn 🖤 a late night DJ based dance party blasting the best emo and pop punk jams. We may even invite some of your favorite artists and bands to surprise you and join the party ☠️ Get ready to scream your lungs out, mosh, and dance to all your favorite songs with all of your favorite people and experience the awesomeness that is Emo Night Brooklyn 🔥
Show 8pm
Cornerstone Presenst:
HAUNT ME
with HOLY WATER and THE DISCUSSION
Haunt Me is the brainchild of vocalist and multi instrumentalist Darius Davila who started the band back in February of 2021. After releasing Haunt Me’s debut EP and full length album that same year, Darius recruited his friend Hilario Bautista who he had worked with before for years being in multiple previous bands together. Since then, the duo have been writing and composing music together releasing several critically acclaimed EPs with their sophomore album ‘Watch You Bleed’ releasing on Valentine’s Day 2025 to critical and commercial acclaim. The band currently performs as a three piece group based out of San Antonio, Texas. Their sound can best be described as a fusion of Post-Punk, Darkwave and Indie Rock. Drawing inspiration from both modern and classic artists such as Interpol, The Smiths, The Cure, The Strokes, Hers, Joy Division, Depeche Mode and New Order.
Show 8pm
Cornerstone Presenst:
Show 8pm // 18+
*There is no difference in the tiers other than price.
Cornerstone Presents:
SLACKER UNIVERSITY PRESTNTS: IT'S A 2000s PARTY: BERKELEY
Experience a nostalgic blast from the past at "It's A 2000s Party," coming to Berkeley on January 24. This electrifying event celebrates the iconic 2000s era, featuring the decade's biggest hits across pop, hip-hop, and rock genres. Embrace the Y2K fashion and culture as you dance the night away to tunes from Britney Spears, Eminem, and more. Don't miss this chance to relive the unforgettable 2000s vibes in a night filled with music, style, and nostalgia. Get your tickets now for an unforgettable journey back to the early 2000s!
Show 8:00pm
Cornerstone & RNRG Present:
DEXTER AND THE MOONROCKS
with GIRL TONES
NorCal, get ready - Folk & Funky, a rising podcast created by three Panjabi music heads, is stepping out of the studio and onto the stage. For the first time ever, they're bringing their podcast live with a night built for those who breathe Punjabi music & West Coast energy.
The night kicks off with a live, interactive podcast taping featuring G Sidhu and JK, diving into the stories behind their new releases - Punjabi World Order & Art of Panjab. No scripted talk, no industry fluff, just real conversation with a chance for the crowd to jump in.
When the mics go down, the volume goes up. G Sidhu and JK hit the stage for back-to-back performances, powered by live dhol to bring that raw folk energy.
Keeping the night moving, DJ Slamz takes over the decks with a set crafted for the moment. Modern bangers, old-school classics, and everything that keeps a Punjabi dancefloor jumping.
This is more than an event. It's a community experience. A celebration of our sound, artists, and culture, right here in NorCal. Come for the podcast. Stay for the party. Leave with a night you'll talk about all year.
Show 8pm
Cornerstone Presenst:
Show 8pm
Cornerstone Presents:
NICK HEXUM with WATER TOWER
“Zoom in and obsess. Zoom out and observe. We get to choose.” Rick Rubin, The Creative Act
You probably already know Nick Hexum, the crooner-voiced, laid-back California guy who has long been the lead singer, songwriter, and rhythm guitarist in 311. But do you? His three EP trilogy, Waxing Nostalgic, Full Memories, and Waning Time (yes, they are named in honor of the phases of the moon), features a Midwestern man from Nebraska who plays mandolin and pedal steel, and has many memories from the past he’d like to share.
“I'm a person who pretends like stuff doesn't bother me. So, I knew going into writing this record that it would be cathartic for me,” Hexum says. “I think Covid made me realize just how limited our time really is - it motivated me to create as much as possible," Hexum said with a laugh. "Is it too late for a midlife crisis?"
There is something about reaching not an age, but a stage of life, that forces everyone to slow down and inspires us to look around at what we’ve accomplished, who we’ve become, and what we’re leaving behind. For Hexum, that meant turning to a different style of songwriting. The songs on these EPs are influenced by his foray into Americana, both in instrumentation and songwriting. Reading Saved by a Song by Mary Gauthier and The Creative Act by Rick Rubin pushed him to explore writing far more personal songs inspired by his life.
Listening to Americana artists like Sierra Ferrell, Faye Webster, k.d. lang, Patsy Cline, and Madeleine Peyroux was part of Hexum’s path to making these EPs. The idea to release his first solo albums came after starting SKP, a tech company that allows artists to release albums outside the major label system and retain the rights to their work. Realizing that system, and the distribution it offered, were at his fingertips, was all he needed to release these songs after giving himself permission to become more vulnerable in his songwriting. “I don’t have to wait for other people to say when I can release music,” he says.
“Please Explain,” a standout on Full Memories, was co-written with Ben Kweller and is about asking one of his daughters to open up during a dark time — a plea for vulnerability. “Ben and I had this deep connection with what it's like to be a dad and have worries,” he says.
“Careless,” which Hexum has made a music video for, was an exercise in owning up to the careless behavior we all exhibit in our relationships when we take them for granted. The music is a super-fast fingerpicker on banjo, with flourishes of acoustic guitar, fiddle and mandolin, and is the closest he’s come to old-school country music in the tradition of Roy Clark and Chris Thile.
From Waxing Nostalgic, the slow dance opener that saw Hexum making his debut as a mandolin player, is “Cosmic Connection.” It’s a little more akin to a waltz, with a very ‘60s message about tapping into the universal and letting go of a tribal mentality of 'us versus them.’ “We're so much more connected and there is more harmony than feels apparent right now,” he says. “I choose to reflect on that, even if we feel more out of sync as a species than we have at other times.”
For “1978,” Hexum collaborated with his sister, Angie, a poet, on a song that serves as a visual story of growing up together. While some of the songs are written solely by him, collaborative songwriting is a theme across the EPs. “To me, it's about the humility of knowing that I've got a lot to learn from other people,” he explains.
Making a list of traumatic moments that Hexum felt he needed to explore in songs led to writing “I’m Open” on Waning Time about the time before his brother Patrick passed away following an overdose. “It’s about making these overtures to help him, but knowing I can’t force him to change his life — but I am open to help, if he is receptive,” he says. Hexum, who is sober, discusses painful moments in the song, like offering to discuss sobriety with his sibling, giving him a guitar that he pawned, and accepting that all anyone can do is offer help.
The EPs also contain a pair of covers, Chapppell Roan’s “California” on Full Memories and Billie Holiday’s “Solitude” on Waning Time. Both tap into his crooner-style voice, with Roan’s song speaking to a near-universal experience of Midwesterners who move to the coast, East or West, in search of a bigger life. It’s a crisis of confidence explored through the delivery of someone who has lived a whole life in California, and reckoned with the decisions made throughout that life. The Holiday cover, a song composed by Duke Ellington, in which Hexum sings along to a steel guitar. It is his love letter to a singer who is one of his icons. The selection, changes, and arrangements on both reflect the wide variety of his influences.
Waxing Nostalgic and Full Memories are out now. Waning Time will be released in summer 2025.
Show 8pm
Cornerstone Presents:
OZOMATLI
If Los Angeles had a soundtrack, it would be Ozomatli. Since 1995, the multi-genre cultural powerhouse has blended Latin, hip-hop, funk, reggae, and global influences into an unmistakable sound that captures the city’s energy and diversity. Emerging from LA’s politically charged streets, Ozomatli has spent three decades uniting communities through music—earning three GRAMMY® Awards, performing at the Hollywood Bowl, and touring the world from New York to Tunisia, Mongolia, and beyond. Their socially conscious lyrics and infectious grooves have made them a beacon of unity, resilience, and celebration.
May 2025, Ozo kicks off the 30 Revolutions Tour—a tribute to three decades of music, culture, and connection. As part of the tour, $1 from every ticket sold will be donated to Sweet Relief and Backline to support mental health services for music industry professionals.
As they continue into their fourth decade, Ozomatli stands as a living testament to the past, present, and future of Los Angeles—moving hearts, minds, and dance floors across the globe.
Show 8pm
Cornerstone Presenst:
The English Beat is a band with an energetic mix of musical styles and a sound like no other. The band's unique sound has allowed it to endure for nearly four decades and appeal to fans, young and old, all over the world.
When The English Beat (known as The Beat in their native England) rushed on to the music scene in 1979, it was a time of massive social and political unrest and economic and musical upheaval. This set the stage for a period of unbridled musical creativity, and thanks in large part to the Punk movement and it's DIY approach to making music, artists like The Beat were able to speak out and speak their mind on the news of the day, as in “Stand Down Margaret”, things that mattered to them and the youth culture, as in “Get A Job”, and universal matters of the heart and soul, as in their classic hits “I Confess” and “Save It For Later”.
The Beat first came to prominence as founding members of the British Two Tone Ska movement, with their classic first album “Just Can't Stop It” fitting squarely in that genre. Along with their contemporaries The Specials, The Selecter, and Madness, the band became an overnight sensation and one of the most popular and influential bands of that movement.
However, band leader Dave Wakeling never felt constrained by the movement. The band crossed over fluidly between soul, reggae, pop and punk, and from these disparate pieces they created an infectious dance rhythm. The band's sound continued to evolve over their three studio albums, through the General Public era (a band formed by Dave with The Beat’s toaster, Ranking Roger), and it has continued its evolution with the forthcoming English Beat album “Here We Go Love”, a PledgeMusic crowd-funded album set for a 2016 release, the band's first new album since 1982's “Special Beat Service”.
Consummate showman that he is, Dave Wakeling continues to keep The Beat alive and strong, touring the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat, General Public, and songs from his new album “Here We Go Love”.
You just can’t stop The English Beat!
Louis “sirlou” Kahn
Show 8pm
Cornerstone Presenst:
The English Beat is a band with an energetic mix of musical styles and a sound like no other. The band's unique sound has allowed it to endure for nearly four decades and appeal to fans, young and old, all over the world.
When The English Beat (known as The Beat in their native England) rushed on to the music scene in 1979, it was a time of massive social and political unrest and economic and musical upheaval. This set the stage for a period of unbridled musical creativity, and thanks in large part to the Punk movement and it's DIY approach to making music, artists like The Beat were able to speak out and speak their mind on the news of the day, as in “Stand Down Margaret”, things that mattered to them and the youth culture, as in “Get A Job”, and universal matters of the heart and soul, as in their classic hits “I Confess” and “Save It For Later”.
The Beat first came to prominence as founding members of the British Two Tone Ska movement, with their classic first album “Just Can't Stop It” fitting squarely in that genre. Along with their contemporaries The Specials, The Selecter, and Madness, the band became an overnight sensation and one of the most popular and influential bands of that movement.
However, band leader Dave Wakeling never felt constrained by the movement. The band crossed over fluidly between soul, reggae, pop and punk, and from these disparate pieces they created an infectious dance rhythm. The band's sound continued to evolve over their three studio albums, through the General Public era (a band formed by Dave with The Beat’s toaster, Ranking Roger), and it has continued its evolution with the forthcoming English Beat album “Here We Go Love”, a PledgeMusic crowd-funded album set for a 2016 release, the band's first new album since 1982's “Special Beat Service”.
Consummate showman that he is, Dave Wakeling continues to keep The Beat alive and strong, touring the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat, General Public, and songs from his new album “Here We Go Love”.
You just can’t stop The English Beat!
Louis “sirlou” Kahn
Show 7:30pm
Cornerstone Presents:
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:
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.
Show 8pm
Cornerstone Presents:
76TH STREET
with TORNSEY
Show 7pm
Cornerstone Presents:
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.
Show 8pm
Cornerstone Presents:
CINEMA THERAPY LIVE!
Show 9pm
Cornerstone Presents:
BLUNTS & BLONDES
Show 8pm
Cornerstone Presents:
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.
Show 8PM
Cornerstone Presents:
ZZ WARD
with STEPHANIE ANNE JOHNSON
One of the most profound lessons ZZ Ward learned from growing up listening to the blues greats was to be authentic to your story. When the LA-based singer-songwriter and multi-instrumentalist began to write new music, she found herself in the midst of one of the biggest life changes a person will ever experience: motherhood.
The resulting music is her truest and most blues-infused to date. Freed from the pop pressures of her previous major label, ZZ is able to fully embrace the blues, her most formative influence. Her Sun Records debut, Liberation, features a program of originals and re-imagined blues favorites done in ZZ’s singular way. Encompassing greasy Chicago blues, foot-stomping Delta blues, rootsy garage rock, and vintage soul, the album is almost a ZZ-curated survey of the blues. The 14-track album was produced by multi-platinum producer Ryan Spraker (Eli “Paperboy” Reed, Weezer, In This Moment).
ZZ’s first single, “Put The Gun Down,” from her 2012 debut, Til the Casket Drops, broke into the AAA Radio Charts Top 10, and stayed there for 10 weeks. It was followed by the single, “365 Days,” which hit #2 on the charts. Til the Casket Drops also snuck into the Billboard Top 40 Alternative Chart. ZZ’s sophomore album, The Storm, released in 2017, peaked at Number 1 on the Billboard Blues Charts, highlighted by singles featuring GRAMMY-Award winners Fantastic Negrito, “Cannonball,” and Gary Clark Jr., “Ride,” which was also the end title song for Pixar’s feature film Cars 3. This past summer ZZ was personally picked by Slash to open the tour for his own blues album.
Show 9pm // All Ages
Cornerstone Presents:
FLEETWOOD MACRAMÉ
Fleetwood Macramé has become one of the Bay Area's most exciting tribute bands. What began as a simple exercise in fun has turned into an awe inspiring live experience complete with show stopping renditions of Fleetwood Mac's greatest hits. Audience participation is encouraged, and Bay Area crowds are coming in droves to sing along with Fleetwood Macramé. What's more, they sound so much like Fleetwood Mac, if you closed your eyes, you would think it was the real thing. Only it's better, because you are in the front row!
Show 8pm
Cornerstone Presents:
BISHOP SNOW
Show 8pm
Cornerstone Presents:
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.
Show 8pm
Cornerstone Presents:
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.
Show 8pm
Cornerstone Presents:
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
Show 8pm
Cornerstone Presents:
SIPPY
SIPPY is a Sydney-born bass music powerhouse whose name has become synonymous with fearless sound design, unapologetic intensity, and stage-commanding energy. Now based in Los Angeles, the ICON Collective alum continues to carve her own lane with Scars in Stereo (Deadbeats, 2025) - her long-awaited debut album that captures both her raw power and emotional evolution as an artist.
A standout of the global bass scene, SIPPY made her name dominating the Australian festival circuit, with headline tours and performances at Touch Bass and Spilt Milk, before making waves in the U.S. bass scene. She’s since gone from support slots for Zeds Dead, Excision, and Dirt Monkey to sold-out headline shows, most recently completing her ‘Gremlin Mode’ Tour and taking stages at Red Rocks, Tomorrowland, Lost Lands, Bass Canyon, and ÎLESONIQ.
Now, SIPPY is entering the next phase of her artistic evolution with her debut album, Scars in Stereo, out October 17th via Deadbeats. The record showcases a more personal and vulnerable side of her artistry while elevating her technical production skills and emotional range. Lead singles "Ashes" (August 15) and "Killa" (September 12) have already begun to shift expectations, pairing haunting vocals, raw storytelling, and bold bass design in a way only SIPPY can.
A proven favorite on labels like Deadbeats, Bassrush, and UKF, and with official remixes for The Chainsmokers, Zeds Dead, and Marshmello under her belt, SIPPY continues to push boundaries. Scars in Stereo arrives October 17, 2025, alongside a national tour and high-profile festival appearances - marking a bold new chapter for one of bass music’s most compelling voices.
Show 8pm
Cornerstone Presents:
THE GARCIA PROJECT
The Garcia Project performs full, unaltered classic Jerry Garcia Band setlists from 1976–1995 — song for song, set for set — using era-correct arrangements, tempos, instrumentation, and gear to recreate the authentic sound that defined those legendary shows.
Since 2010, The Garcia Project is more than a tribute, the band delivers the emotional and communal experience that made the classic Jerry Garcia Band so beloved. A recent Grateful Web feature described their performances as “a night of healing, heart, and pure Jerry magic,” noting that The Garcia Project opens “a little doorway back to the Jerry Garcia Band years,” with the same warmth, looseness, and deep musical breath that defined the original concerts.
Over the years, fans have affectionately dubbed The Garcia Project the ‘DSO of JGB’ — not as a comparison to any other band, but to express the level of precision, intention, and respect they bring to recreating classic shows.
Their authenticity has earned praise from the musicians who lived it
Show 8pm
Cornerstone Presents:
METALACHI
Show 7pm
Cornerstone Presents:
VARIALS
with UnityTX, HEAVY//HITTER, BOLTCUTTER
Show 8pm
Cornerstone Presents:
LIZ COOPER
The thing about finding yourself is there's always another corner to turn. The Vermont-based
singer/songwriter Liz Cooper made her third album during a period of intense self-discovery and
reinvention. She moved to New York for the first time, weathered a pandemic, came out to
herself after falling in love with a friend, and experienced her first queer relationship and
breakup, all in the course of a few years. New Day marks both a personal and a musical
revolution for Cooper – a plunge into psychedelic pop depths and a fullhearted reflection of a
whirlwind chapter in her life. These songs scintillate with the kind of self-confidence that only
beams through after you've aimed a sharp gaze inward and realized that whatever you see will
always keep darting ahead of you.
In making New Day, Cooper radically overturned her habitual approaches to making music.
Rather than writing with a full band behind her, she recorded demos alone in her apartment,
learning day by day to trust herself as she forged her new sound. “I needed to show up for
myself to finish writing something that felt impossible,” Cooper says. “New York really
challenged me to become a better writer, artist, and person. Living there made me ask myself,
why am I making this? Why am I doing any of this? What's the point? I was tired of being
pigeonholed as a guitar player and Americana artist. I needed to follow my own creative bliss.”
While recording, Cooper assumed production duties for the first time in her career, which
enabled her to work bold new textures into each song. Together with co-producer Dan Molad
(Lucius, JD McPherson), she wrung entirely new sounds out of her guitar with studio equipment
she’d never tried before. For the album’s bristlingly optimistic title track, Cooper ran her guitar
through a Kaoss pad synthesizer while Molad captured the sound by swinging a microphone
around the room. They visited the War on Drugs’ studio to record feedback from Marshall
amplifier stacks. Rather than focusing solely on composition and performance, Cooper took a
sculptural and procedural approach to production. “Instead of writing my guitar parts note by
note, I was experimenting on the spot,” she says. “It opened my mind up – and it felt really
good.”
Despite its boisterousness and verve, New Day was originally born in a quiet place. After nearly
a decade of living in Nashville, where she'd moved at age 19, Cooper relocated to Brooklyn in
February of 2020. She had expected to stay on the road as a touring musician as she'd done for
years, but the pandemic soon upended the industry and shuttered venues indefinitely. Confined
to her neighborhood and her apartment, Cooper sought out new ways to keep making music.
A longtime guitarist who found her first musical home in Nashville’s Americana scene, Cooper
taught herself to play the piano during lockdown, opening up brand new creative channels
outside her usual writing practices. She didn't have to worry about disturbing her neighbors with
an amplified electric guitar, and the process of learning an instrument while simultaneously
writing on it unearthed an almost childlike sense of discovery. The piano proved to be a loyal
friend during a profoundly alienating time. "It felt like someone I could lean on – like the piano
was my voice when I couldn't talk or sing," says Cooper.
As songs started to trickle out, Cooper flew back and forth to Los Angeles to record with Molad,
who engineered her 2021 album Hot Sass. The first song they recorded together was the
riotous new wave number "Boy Toy," where Cooper fully ignites her confidence as an openly
queer performer. "I wrote 'Boy Toy' the night before we went into the studio. It was totally
random, not at all planned," says Cooper. "I met up with my friend Caroline Kingsbury, and we
were like, Let’s make a fun song that’s just super direct and sexy and big. It felt so powerful and
free to start there."
Over time, Cooper built out the songs she had written and demoed in New York. Slow and
sparse sketches became big, buoyant anthems. She looked to early Beck records for inspiration
as she crafted New Day's crisp, high-contrast sound.
On the album's lead single and title track, fuzz bass churns underneath twinkling synths and
binaural backing vocals. Piano and strings take center stage on the swelling "IDFK," one of
many songs inflected by Lou Reed's classic album Coney Island Baby, which Cooper played on
repeat while living in Brooklyn. The bittersweet "Sorry (That I Love You)" conjures the extremes
of a troubled relationship over warm, vintage-toned guitar and bass, while closer "Baby Steps"
wraps the album on a hopeful note: "I've made mistakes / I'm only human / These baby steps /
Lead me to you," she sings at the love song's sweetly irresistible hook.
"I struggled so much while writing this record," Cooper says. "I felt like I wasn’t allowed to come
out – I was dealing with a lot of internalized homophobia. Celebrating my queerness and
understanding who I am has been a long process. Every day is a new day of coming out to
myself and to everyone around me. I’m very proud to be making music that feels honest to me
and my experience."
No matter how many times you change, no matter how many hours you commit to improving
yourself, each new phase in a life is still only a prelude to the next one. With New Day, Cooper
captures the unfurling transformations that revealed her to herself – and leaves the door wide
open for all the people she's still yet to become.
Show 8pm
Cornerstone Presents:
MAGOO
Magoo is a progressive bluegrass quartet from Denver, Colorado, redefining the boundaries of modern bluegrass with fearless creativity and world-class musicianship. Known for their dynamic live performances, the band delivers a powerful blend of intricate arrangements, tight three-part harmonies, and extended improvisations that bring new life to the genre.
Their debut album What a Life arrives in February 2026, capturing the group’s adventurous spirit and balance between heartfelt songwriting and soaring instrumental work. The record honors the roots of bluegrass while boldly exploring its modern evolution, featuring a guest appearance from bluegrass legend Sam Bush on fiddle and harmony vocals and mastering by two-time GRAMMY Award winner David Glasser at Airshow Mastering.
Each member of Magoo brings a distinctive voice and musical strength to the project. Dobroist Dylan Flynn, winner of the 2024 RockyGrass Dobro Competition, adds soulful depth and melodic warmth. Guitarist Erik Hill, runner-up in the RockyGrass Flatpicking Contest, drives the band’s rhythmic pulse with power and precision. Mandolinist Courtlyn Bills injects fiery solos and inventive arrangements, while bassist Denton Turner grounds the sound with groove, timing, and subtle dynamics. Together, they form a sound that is rich, cohesive, and unmistakably their own.
Magoo’s recent achievements include first place at UllrGrass Band Competition and Clash of the Strings, second at the Telluride Bluegrass Festival Band Competition, and a sold-out headlining show at Globe Hall in Denver. Their festival appearances at Winter WonderGrass, Grand Lake Folk Festival, RapidGrass, and Huck Finn Jubilee have solidified their reputation as one of the most exciting new acts in the progressive bluegrass scene.
With What a Life on the horizon, Magoo stands poised for a breakout year, bridging the heart of traditional bluegrass with the fearless innovation of a new generation.
Show 8pm
Cornerstone Presents:
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!”
Show 8pm
Cornerstone Presents:
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
Show 8pm
Cornerstone Presents:
HOT 8 BRASS BAND
Drawing on the traditional jazz heritage of their hometown of New Orleans, the Hot 8 Brass Band are renowned for including elements of funk, hip hop, rap, and its local variation, “bounce” in their music. The collective earned a win in the 64th Annual Grammy Awards 2022 for their feature on John Batiste’s ‘Album of The Year', following the nomination of their ‘The Life & Times Of…’ LP for ‘Best Regional Roots Album’ in 2013.
Transcending genres and trends, Hot 8 have performed and collaborated with the likes of Jon Batiste, Blind Boys of Alabama, Basement Jaxx and Alice Russell, and provided live support for Mos Def, Lauryn Hill and Mary J Blige. Since forming they have established a decade-long affiliation with actor/BBC 6Music DJ Craig Charles, among other tastemakers, DJs and journalists worldwide. After a festive appearance Live at Maida Vale for Lauren Laverne (BBC 6 Music), the Hot 8 Brass Band performed for Jools Holland's annual Hootenanny on BBC Two to welcome in 2019. Later that year, after taking to the stage at the BRIT awards in February, Hot 8 Brass Band were invited on the European leg of George Ezra’s tour.
Show 8pm
Cornerstone Presents:
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.
Show 8pm
Cornerstone Presents:
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.
Show 8pm
Cornerstone Presents:
PAUL THORN
with Special Guest WILL HOGE
When it comes to songwriting, less is more, and simplicity is strength. Just ask Paul Thorn, who’s spent three decades turning soulful grooves and small syllables into songs that pack a big wallop. Maybe he learned the power of minimalism from his years as a pro boxer; maybe it just comes naturally. But whether he’s targeting heads, hearts, hips or the occasional funny bone, he somehow manages to condense large nuggets of wisdom into tight little mantras, the kind embroiderers stitched onto pillows before internet memes existed.
Thorn’s new album, Life is Just A Vapor, contains some beauties: “Life is a vapor, let’s live it while we can”; “tough times don’t last, but tough people do” (from “Tough Times Don’t Last”); “any mountain up ahead is just a hill” (from “Old Melodies”). They’re words of advice, comfort, support, encouragement, often meant to uplift, especially in times of struggle.
“I like for people to be touched by music and get something from it, something that they can take with them throughout the day,” Thorn says. “Every song on this album, there's a message in it of some sort about how to live life.”
American Blues Scene writer Don Wilcock calls Thorn “an everyman (who) addresses things we all think about, but few can articulate with the kind of candor, humor and folksy truth that immediately endear him to almost everyone lucky enough to hear his music.”
Whether he’s expressing love in “I Knew,” warning an ex’s new conquest about the dangers ahead in “She Will,” extolling the value of holding off on sex in “Wait” or listing the ingredients for making a marriage work in “Courage My Love” (“a half-acre on your daddy’s land / and a little luck / a load of white gravel in our driveway / so we don’t get stuck in a rut /a 3-horsepower lawnmower and courage my love”), Thorn delivers his messages with consummate skill — and pinpoint precision. One minute, he’ll unwind an outrageous tale full of wild characters (often accompanied by his own cartoonish illustrations); the next, he’ll tug at heartstrings with confessions of love, loss or failed dreams, balancing wit and pathos with an ease only the best storytellers can pull off. One of Thorn’s favorites was his friend and mentor John Prine, who inspired the title tune.
We’ll discuss that one in a bit, but first, we should mention that in “Wait,” a commentary about dating in the Tinder era, the fella who buys his dates dinner with a two-for-$20 coupon is someone Thorn actually knows. “Geraldine and Ricky” is based on real people, too — well, a real person and her hickory-headed dummy. Whether written solo, with longtime manager/collaborator/album producer Billy Maddox or with Chuck Cannon, Scotty Brassfield or Denny Carr, nearly all of these songs are inspired by or reference actual events or people; Geraldine was a traveling evangelist who couldn’t connect with children until she tried ventriloquism. When she spread the lord’s word through Ricky, kids were mesmerized — including 5-year-old Thorn, who requested, and got, a ventriloquist doll for Christmas.
“I would get up and tell jokes at church, and I'd take it to school and tell jokes at school,” he says, with that Tupelo, Miss.-formed accent and instantly charming, matter-of-fact delivery he
has. “I had my mind up that when I grew up, I was going to be a ventriloquist.” (His singing career actually began at 3 — in church, of course; Thorn’s dad was a Pentecostal minister.)
Over a snaky rhythm enhanced by guest guitarist Luther Dickinson, Thorn fictitiously paints Geraldine as “a toxic opportunist looking for anything that will better her situation.” When she lands a dying old sugar daddy, she dumps Ricky. But karma catches up to Geraldine, while Ricky, thankfully, gets rescued.
But Life is Just a Vapor is not all homilies and humor. “I’m Just Waiting,” a catchy, funky tune featuring blues guitarist Joe Bonamassa, deftly examines relationship insecurity. In “Chicken Wing,” over a cool melody on which guitarists Michael Graham and Bill Hinds (on slide) merge T. Rex with Southern rock, a former pimp and scam artist admits: “I’m in the winter of my life / I love my dog, I like my wife / I wash the dishes, I sweep the floor / I keep a 12-gauge behind the door.”
For the record, the song is not about the uncle Thorn introduced on Pimps and Preachers, one of a dozen albums he’s released on his own Perpetual Obscurity Records since founding the label in 2000. (Thorn made his recording debut on A&M Records in 1997, after ex-Police manager Miles
Copeland III heard him and had him open for then-client Sting, one of A&M’s top talents.) And just to be clear, Thorn’s definition of pimp includes “anybody that manipulates people and doesn't give them nothing in return.”
“I'm around pimps every day, especially in the music business,” he adds. “A pimp is a larger word than just somebody on the corner with a gold chain. ‘Chicken Wing’ is an overview of a bunch of pimps that I have known in my life and I melded their stories together. … all that song is about is different seasons of life.”
Speaking of seasons of life, two of the album’s most poignant songs contemplate the passage of time. “Old Melodies,” the kind of song a retro-country-loving couple might dance to after renewing their wedding vows, suggests challenges are easier to face with a partner by your side.
“It's about being together through life, and that's where I'm at,” Thorn says. “I'm 60 years old, and the stuff I'm writing about and singing about is for people that get what being 60 years old is.” Then he reveals the song’s sobering origin, which adds a different perspective.
“We had a family problem a long time ago, a relative that ran off the tracks with drugs and everything,” he explains. “When my dad was dealing with the pain of the heartache that somebody he loved was in a dark hole, he was just standing there, crying. And he said, “Man, ‘Amazing Grace’ used to be my favorite song, but now it’s ‘We Shall Overcome.’ Boy, that just hit me right between the eyes. They're both great songs, but ‘Amazing Grace’ is more like a praise song. ‘We Shall Overcome’ is, ‘We got something we gotta deal with, and we're gonna deal with it, and we're gonna get past it.’ I thought that was a beautiful thing he said.”
Thorn, a brilliant gospel stylist, could sing the heck out of either of those songs. If you haven’t heard his version of the O’Jays’ hit, “Love Train,” from Don’t Let the Devil Ride, his 2018 album of gospel covers, you haven’t experienced the song the way it truly should be heard.
On this album, he’s backed occasionally by Tupelo gospel group New Testament, or Muscle Shoals session singers Cindy Richardson and Marie Lewey (aka the Shoal Sisters) — who sing on “Life is Just a Vapor,” a phrase adapted from scripture.
It's safe to say no one but Thorn would start a song with the lines, “Me and John Prine was eating ice cream / at the Double Tree Inn Suite 1019.” And no one but Thorn would follow them with, “Don’t tell Fiona she won’t understand / Life is a vapor. Let’s live it while we can.”
Of his late friend, Thorn says, “He’s one of the greatest songwriters of all time, and one of the nicest people, too. I can't even count the times I've opened up for him, which was a great opportunity for me.”
As he will do for countless audiences, Thorn narrates the story behind those lyrics: “One night after I opened up for him,” he recounts, “John invited me and a few other friends to come to his hotel room and have some ice cream after the show. So I went, and it was a big thrill. Then the next morning I went on Facebook and I wrote about my encounter, and I said to the world what a moment it was for me to get to hang with John and have this ice cream and everything.
“Right when I posted it, his manager called my manager and said, ‘Take that post down immediately. John is a severe diabetic, and his wife Fiona is going to kill him for eating ice cream.’”
In total straight-man mode, Thorn nonchalantly adds, “Yeah, I got him in trouble for eating ice cream.”
And that’s how the finest troubadours do it: Set ‘em up with humor, then hit ’em in the feels with lines like, “Every day’s a gift, breathe in and hold it. / Every day’s a gift, it’s gone before you know it.”
Gorgeous, moving words. Simple, straight-forward and, if you’ve lost a loved one, or a hero like Prine, very likely tear-inducing.
“I'm just trying to put out a good body of work that will be remembered like John's music,” Thorn admits. “I'm trying to carry on his tradition, to keep it alive.”
Prine, the heavyweight champ at spinning humor and heartbreak into gold, would have loved this song, and this album. Maybe the lyrics he inspired will motivate someone to grab some thread and start stitching.
“Shoulda, woulda, coulda, I’ll do it someday, / Turns into time just slippin’ away. / The hour glass is runnin’ out of sand, / Life is a vapor. Let’s live it while we can.”
Show 7pm
RNRG Presents:
BLOOD FOR BLOOD
with SKINHEAD
Show 7:30pm
Cornerstone Presents:
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!
Show 8pm
Cornerstone Presents:
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!
