Deer Tick
Deer Tick VIP Pre-show Experience Includes: One (1) General Admission ticket Hear Deer Tick play a few songs not featured in the night’s setlist! VIP-exclusive tour poster, signed by the band Specially designed Deer Tick tote bag Commemorative VIP laminate and lanyard Merchandise shopping prior to doors opening to the public Early entry to the venue The ninth studio album from Deer Tick, Coin-O-Matic casts a bright light on a little-known facet of the American mythos: the hidden histories of the band’s home state of Rhode Island, where the everyday dramas of working-class families long collided with the menace of the mafia underworld. As they tapped into their infinite fascination with that strange duality, singer/guitarist John McCauley, guitarist/singer Ian O’Neil, drummer/singer Dennis Ryan, and bassist Christopher Ryan assembled a batch of songs exploring desperation, grief, redemption, and resilience with both cinematic detail and lived-in emotionality. A sharp new turn from one of indie-rock’s most enduringly vital forces, Coin-O-Matic arrives as a complicated love letter to a way of life slowly slipping from the collective memory. The follow-up to Emotional Contracts (hailed by Uncut as one of 2023’s best albums), Coin-O-Matic takes its title from a cigarette-vending-machine company that served as the headquarters of Raymond Patriarca—a legendary mobster who ran one of the most ruthless crime families in U.S. history. “If you grew up in Rhode Island years ago, you’d see all these mobsters on the news and then run into them at a restaurant on Federal Hill,” says McCauley, referring to Providence’s version of Little Italy. “They were criminals but also very colorful characters, and I wanted the album to partly reflect a certain nostalgia for that kind of seediness.” In its soulful contemplation of recklessness and consequence, longing and devotion, Coin-O-Matic ultimately joins the canon of rock albums whose geographically rooted storytelling reveals deeper truths about the human experience. “I think there’s something universal in stories of regret and loss and poor decisions, even if they’re told through the lens of all the odd characters in this little state of ours,” O’Neil points out. “One of the reasons I wanted us to make this album is that I think Rhode Island deserves to be a contender for a place that people sing about,” McCauley adds. “Sonically there’s nothing country about it, but to me it almost feels like a country record set in an urban environment—there’s definitely some outlaws in there. I hope that people see themselves in it, and that they understand a little more about the place that we come from.”
Bahamas
Afie Jurvanen does not spend too much time in cities these days. For nearly two decades, Jurvanen was a fixture of the Toronto scene, both as a valued multi-instrumentalist and producer for friends like Feist, The Weather Station, and Kathleen Edwards and as the architect of one of his country’s most celebrated artists, Bahamas. Jurvanen came of age across Bahamas’ first six albums, the restlessness of jumpy early hits like Pink Strat and Barchords slowly shifting into the generous domesticity of 2023’s Bootcut. But Jurvanen has long been drawn to open spaces, to a quieter life. In 2009, the year of his aforementioned debut, he began visiting Nova Scotia, the Atlantic Ocean. Over the next decade, his trips became more consistent, then more frequent, and then longer, until, in 2019, Jurvanen and his family of four finally made the move—nearly 2,000 kilometers northeast, to Nova Scotia. They live a lifestyle, Jurvanen half-jokes, that is “close to Mennonite.” The kids are homeschooled. No one has an iPad. Text messages can feel like miracles. Despite his extended résumé, Jurvanen has never been much of a tech guy or studio hound, never one for making his own records. In 2021, however, producer and multi-instrumentalist Joshua Van Tassel had also left Toronto, moving back to Nova Scotia and building a little studio, called DreamDate, in a backyard shed there. It was just small enough to skirt inspections, just big enough to house everything. Jurvanen had once rented Van Tassel’s space back in Toronto to listen to his Earthtones album on someone else’s speakers, to decide if it was ready for release. He’d been impressed by the place’s minimalism and tidiness, by the studio rarity of everything working. So Jurvanen began driving the 20 minutes from his cottage to Van Tassel’s spot via a winding ocean road, passing his days hanging out with his local friend and recording some songs. There was no real agenda but to work and play. And that’s how two people in a little shed made what may be the most effortlessly magnetic record in the entire Bahamas catalogue, My Second Last Album. Van Tassel and Jurvanen played every sound on My Second Last Album, from the buzzing acoustics of “Shadows” to the Mellotron ostinato of “Play the Game.” This self-dependence allowed them to do anything they wanted, to follow musical enthusiasms into any space they favored. Jurvanen wrote “The Bridge” via text with Hiss Golden Messenger’s M.C. Taylor, and he and Van Tassel turned it into an infectious country-funk tune, the strutting refrain closing the gap between Little Feat and Canned Heat. There is charging indie rock, hazy piano, and pastoral folk-rock. Again, My Second Last Album is anything Van Tassel and Jurvanen wanted it to be. For a long time, Jurvanen didn’t know what to do with My Second Last Album. After cutting a legitimate country record in the city where the genre lives, was it a too-weird left turn to put out a loose-limbed indie-pop set cut in a shed? He thought about slicing it into singles or splicing it as a bonus onto some sort of future Bahamas compendium, maybe even shelving it altogether. But then he put the record back on after not hearing it for several months and had the simplest and most profound realization possible: He loved these songs, the way they sat together, the story they told about who he was at that moment—a married father content to live in the country alongside the very ocean where he surfs, a musician who often goes to his buddy’s house to casually make some music. It became My Second Last Album, one of Bahamas’ truly indispensable works.
Roger Clyne and The Peacemakers
“Here’s to life!” Fans around the world can be found singing the chorus of the Roger Clyne-penned fan favorite “Mekong” and toasting their glasses in unison to celebrate life through rock-n-roll. But the inspiration for the song dates back to the time Roger went to Taipei, Taiwan, as a college student to teach English during the day and busk with his guitar at night for money. Today, as Clyne prepares to release his 11th studio album, he continues to transform his life experiences, inspirations, observations and his own muses into timeless music. And whether he’s wearing his Converse high tops, boots or sandals, Clyne’s blend of punk rock, americana, indie-pop and mariachi influences have made him, drummer PH Naffah, guitarist Jim Dalton and bassist Nick Scropos – collectively known as Roger Clyne & The Peacemakers – one of America’s best live rock-n-roll bands. Starting with the seminal Tempe quartet, The Refreshments, Clyne and Naffah put the fun in rock & roll during the 90s grunge era with a sense of humor. They also started what would become a trademark sound on all future albums by adding mariachi horns, something Clyne was influenced by while in college studying Cultural Anthropology with an ethnography study of mariachis during a three month Spanish-immersion stay with a local family in Ensenada, Mexico. The Refreshments’ debut album, “Fizzy, Fuzzy, Big & Buzzy,” became a cult classic. Changes within their record label and internal band issues resulted in Clyne and Naffah going on a vision quest of sorts in the Whetstone Mountains near the Clyne Ranch in Southeastern Arizona. It was there that Clyne found inspiration in the rolling hills and the jukeboxes of small town taverns that still played Marty Robbins and Johnny Cash – music he had shed from his youth in favor of bands like Camper Van Beethoven & They Might Be Giants. But after reconnecting with those old country records, Clyne and Naffah wrote and recorded under a new moniker what would become Roger Clyne & The Peacemakers’ debut album, “Honky Tonk Union.” The album was the perfect combination of classic rock and twang, and fans immediately connected with it. Their independent release, “Honky Tonk Union,” debuted at No. 1 on Billboard’s Internet Album Sales chart in 1999 prompting a call from a Billboard exec to their Manager demanding, “Who the hell is Roger Clyne and why is he #1 on my chart?!” beating out much better known artists that week like Santana, Creed, Nine Inch Nails, Melissa Ethridge and 311. RCPM released eight more albums that landed in the top ten of Billboard’s Internet Album Sales chart, including a No.1 debut for their third album, “¡Americano!” – all without the backing of a major record label and while flying under the radar of commercial radio. Currently, they just finished their next album, “Hell to Breakfast.” The first single hit streaming on November 21st, 2025, the second single will drop Jan 9th, 2026 and the album launches March 6th, 2026. Roger Clyne & The Peacemakers have toured all over the US and achieved a faithful following through hard work and great music. They have done this all while being independent, without the safety net of a label or a label’s radio promotion department. Dubbed “The Springsteen of the Southwest,” by the Asbury Park Press the band delivers exciting live performances that garner declarations like the one from emcee Jay Peterman of the Seinfeld TV show at Alice Cooper’s annual Christmas Pudding event, “Young man, you light that stage a-flame!”
DeVotchKa
In a serendipitous moment on “Morning Becomes Eclectic,” the radio station KCRW in Santa Monica changed the trajectory of both indie cinema and one of Denver’s most distinctive musical voices. When filmmakers Jonathan Dayton and Valerie Faris heard DeVotchKa’s evocative sound drifting through the airwaves, they knew they’d found the emotional heartbeat for their film “Little Miss Sunshine.” That instinct proved prophetic. DeVotchKa’s soundtrack and score for the 2006 film became inseparable from its story. The bittersweet orchestration to the Hoover family’s cross-country journey, captured the themes of hope, resilience, and beautifully imperfect dreams. The band’s signature sound gave the film its unmistakable soul, turning moments like young Olive’s final dance into cultural touchstones. The work earned DeVotchKa a Grammy nomination for Best Compilation Soundtrack Album and the film won two Oscars. Introducing the world to the band’s cinematic, lush orchestral sound, songs like “Til the End of Time” and “How It Ends” transcended the screen to become anthems. Now, two decades later, DeVotchKa will be celebrating this landmark collaboration with a special 20th anniversary tour, “A Tribute to the Music of Little Miss Sunshine.” The performance honors not just the music that helped define a generation of independent film, but the unlikely journey that began with a radio station, a perfect song at the perfect moment, and a story about never giving up on what makes you different. Join DeVotchKa as they revisit the soundtrack and score that launched them into the cultural conversation – a reminder that sometimes the most beautiful twists of fate create the most lasting art.
Jeff Tweedy
Jeff Tweedy, founding member and frontman of Wilco, is one of contemporary music’s most respected songwriters and performers. In addition to 13 Wilco albums, he has released five solo albums – most recently, his 30-track “magnum opus” (New York Times) Twilight Override. This tour, featuring his sons and longtime collaborators, offers a rare chance to experience songs from across his expansive catalog and step inside the world of Twilight Override. When you align yourself with creativity and creation, you align yourself with something that other people call God. And if you align yourself with creation, you have automatically taken a side against destruction. You’re on the side of creation. And that does a lot to quell the impulse to destroy. Is the world getting darker? Sure feels like it. What is it? Is it the pervasive nagging toothache of dread that comes with witnessing the disintegration of a country that you thought you knew and understood? A home you still love with a love that could never be taken away, regardless of how painful that love has become. That sense of decline is hard to ignore, and it must at least be a part of the shroud I’m trying to uncover. The twilight of an empire seems like a good enough jumping-off point when one is jumping into the abyss. Twilight sure is a pretty word, though. And the world is filled with former empires, so maybe that’s not where this dissonance is coming from entirely. Could be how old I’ve managed to become without warning. What ever it is out there (or in there) squeezing this ennui into my day, it’s fucking overwhelming. It’s difficult to just ignore. Twilight Override is my effort to overwhelm it right back. My effort to engulf this encroaching nighttime (nightmare) of the soul. What I really want to do is grow my heart big enough to love everyone. And if I want a heart to grow big enough to meet this moment, it requires something expansive. “Like a TRIPLE record!?”,you ask? Yes! Like a goddamn triple record! I mean…What else do I have but my songs and my family and my friends? What else do any of us have to keep the lights on? How else can I generate my own light? To me any song, no matter what the subject matter, can be a point of light and that’s one of the reasons I try and make so many of them. They all have the potential, even the heaviest music on the Earth has the potential, to lift someone up. This sounds like a Hallmark card, but it rocks harder than a Hallmark card. I’m aware the day ends and the sun sets no matter how hard we wish for it to lift itself back out of the ocean. So I guess what we’re really talking about is time. In a way these three records represent the past, present and future. The darkness comes and goes. But the clock keeps plowing ahead. We all want more. But not more of this particular shitty time. It feels like the clock is camped out at the worst part of the day. Everyone stuck saying goodbye to the future they woke up to. Waiting for it to get dark enough to dream up a new day. Truthfully, I’ve been doing this for a long time. And I’m not going anywhere. This is the stuff that works for me. I can’t sing and be afraid at the same time. And dreaming at twilight isn’t forbidden. Not quite a daydream and nowhere near a nightmare. Twilight dreaming is a lovely workaround. Killing time with key changes and harmonies. Feel free to join us all here. Not singing into the void or at the void. Just singing. Feeling good. Together. It will do you no harm. Sharing this music with the world is the best I can do.
Mei Semones
“No second-guessing, no overthinking. The way I want to live my life is by doing the things that are important to me, and I think everyone should live that way,” says Mei Semones of her strengthened self-assurance. Through continuously honing in on her signature fusion of indie rock, bossa nova, jazz and chamber pop in a way that highlights her technical prowess on guitar, the 24-year-old Brooklyn-based songwriter and guitarist is quickly establishing herself as an innovative musical force. Since the release of her acclaimed 2024 Kabutomushi EP, a series of lushly orchestrated reflections on love in its many stages, Mei has gone on to tour extensively across the US, cultivate a dedicated following, and write and record her highly anticipated debut album, Animaru. Inspired by the Japanese pronunciation of the word “animal” in Japanese, Animaru is the embodiment of Mei’s deeper trust in her instincts – a collection of musically impressive tracks that see Mei sounding more adventurous, more vulnerable and more confident than ever before. Mei’s newfound assertiveness comes in part from her experiences in the past year, as 2024 was a transformative year for the Mei Semones band. They shared bills with the likes of Liana Flores, Elephant Gym and Kara Jackson, among others, and Mei transitioned to doing music full-time. Amidst the frequent touring, Mei and her five-piece band recorded the album in the summer of 2024 at Ashlawn Recording Company, a farm studio in Connecticut operated by their friend Charles Dahlke. To these sessions, she brought a batch of tracks that, not unlike Kabutomushi, are sophisticated declarations of non-romantic love: love of life (“Dumb Feeling”), love of family (“Zarigani”), love of music and her guitar (“Tora Moyo”). Animaru exemplifies Mei’s enchantingly wide range as a songwriter and musician, including some of the most challenging and most straightforward songs Mei has ever written. Though her music might inherently evoke feelings of romance and softness, the crux of the album lies in Mei and her band’s skillful balance of tension and release. Often within individual tracks, there will be moments of pared-back acoustic guitar adorned by Mei’s infectious vocalizations that, in a moment’s notice, transform into orchestral swells of sweeping strings and complex guitar rhythms. Album opener “Dumb Feeling” is a prime example, a bossa/samba blend complete with indie rock sensibilities in the choruses as Mei details her contentment with her life in New York City. Mei actively seeks out musical challenges throughout Animaru, like on “I can do what I want,” the album’s most technically ambitious track. But she still manages to make the quickly cascading guitar harmonics and odd meters sound like a breeze to play, her breathy, lilting voice cutting through the track’s energetic dynamics. It epitomizes the album as a whole – she sings of doing things her own way, on her own terms, in hopes of inspiring others to make the same active switch in their own lives. Animaru, the debut album by Mei Semones, is out on May 2, 2025, on Bayonet Records.
Magnolia Park
VIP Packages Include: – One (1) General Admission Ticket- Mini Game w/ Magnolia Park- Meet and Greet w/ Magnolia Park- Photo Op w/ Magnolia Park- Limited Edition Magnolia Park Plush- Souvenir Laminate w/ Lanyard- Signed Foil Tour Poster- Early Entry- Crowd Free Merchandise Shopping MAGNOLIA PARK – vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, drummer Joe Horsham and bassist Vincent Ernst – have never been ones to settle for subtlety. Since forming in 2018, the Orlando, Florida-based quintet have repeatedly proven themselves to be one of the most exciting and forward-thinking groups in the underground, spinning a chameleonic, genre-spanning sound that incorporates punk, hard rock, hip-hop and metalcore into a dizzying, multisensory experience. Blazing onto the scene with an insatiable social media work ethic and prolific musical output, their popular Halloween mixtapes, multi-part Eater EP series and full-length debut, Baku’s Revenge, cemented them not only as a playlist and For You Page favorite for millions of listeners around the world, but a must-see live act on tour with A Day To Remember, From Ashes To New and the inaugural Summer School tour (where they served as a headliner). They’ve also graced the stages of major festivals like Reading and Leeds, When We Were Young, Sonic Temple, Louder Than Life, Welcome To Rockville and Riot Fest, plus the revived Warped Tour stops in D.C., Long Beach and Orlando. Making their way back overseas, in 2026 the band have European performances slated at Download Fest, Rock Am Ring, Rock Im Park, and more. The fivesome have unleashed their most ambitious effort yet: VAMP (Epitaph Records), a neo-gothic concept album rich in world-building and gripping storytelling. Culling influence from the band’s favorite anime including the long-running Vampire Hunter D, along with inspiration from iconic works like Star Wars, Dracula and Joseph Cambell’s legendary monomyth, Vamp unravels an ominous journey through Nocturne Nexus, where rulers and rebels battle with the future hanging in the balance. “The most exciting thing about this band is how everyone elevates everyone else,” Roberts says. “I’m just so glad that we’re all able to do that and come out with great music and great vibes and feel like we’ve accomplished something special. That’s the whole mission: to make sure that at the end of the journey, we’re better than we were in the beginning.”
Dark Holiday 2025
Ariel Pink
The Real Zebos
