OZOMATLI – 30 REVOLUTIONS TOUR
Fishbone
Fishbone is a band. Fishbone is Red Hot. Starting in Junior High School as part of the bussing program transporting students to schools within or outside their local school districts as a means of rectifying racial segregation, Fishbone were breaking stereotypes. This essentially was the spark that started the bands creative and influential drive that would lay the foundation that other bands would follow for decades to follow. Born out of the punk rock scene of Los Angeles, CA, Fishbone came out as a force of songs and live energy leaving bands not wanting to follow them. A feeling that continues today. Signed to Columbia Records in 1984, Fishbone released 4 albums and 3 EPs and toured the world headlining shows, festivals and leaving people stunned and still one of the best shows ever seen. A constant statement that still is used today from fans to artists that shared the stage with them. After years of touring and rotating members, Fishbone in 2025is back to their most solid line up which includes original members, Angelo Moore (vocals/Saxophone), Chris Dowd (Keys/Vocals) rounding it out with John “JS” Williams (Trumpet/Vocals) drummer, Hassan Hurd, Aroyn Davis and the return of Trace “Spacey T” Singleton on guitar. With their last critically and fan acclaimed EP recorded produced by Fat Mike of NOFX that came out on Fat Wreck Chords in 2023, in 2024, Fishbone is getting ready to reclaim their live touring throne, leave the audience wanting more, thinking more, influencing younger bands, and paving the foundation and legacy they have been laying for decades. With their latest single “Racist Piece of Shit” coming out ahead of the 2024 Elections and creating much controversy and praise as Fishbone has done for Decades, they will be following up with their new album, “Stockholm Syndrome” coming in early 2025#FuckRacism
Blacktop Mojo
D.R.I
Damones
Boundaries
Creeping Death & Kruelty
The English Beat
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!
Hayes Carll
VIP PACKAGES CAN BE PURCHASED HERE. VIP PACKAGES ARE AN ADD-ON EXPERIENCE AND DO NOT INCLUDE A TICKET TO THE SHOW. We’re Only Human Hayes Carll isn’t preaching or teaching. He’s not interested in telling the rest of us what to do or think. But he is charting out a personal guide for his life, quieting the noise, and sitting with his real voice – the one that’s candid, consistent, and often inconvenient. We’re Only Human is Carll’s tenth album. Like his best lyrics, it is also an understated masterpiece, an honest snapshot of one man’s confrontation and delight with humanity’s biggest and most intimate questions. Where do we find forgiveness for ourselves and grace for others? How do we hold on to peace of mind and stay present? What can we—and should we––trust? And how can we moor ourselves to, well, ourselves, in the midst of confusing, trying times? We’re Only Human offers audiences the chance to listen to Carll as he listens to himself. “I’ve lived outside of myself for so long,” Carll admits. “Distractions, fear, anxiety, insecurity, and the complexity of being human in this world have so often pulled me away from being present or at peace.” “I feel like there’s been a voice riding shotgun all my life, pushing me to do better, but I’ve struggled to listen to it,” Carll says. “The idea behind this record was to do the personal work I needed to do, then codify those lessons in song to serve as sort of breadcrumbs to get me back on the trail if, and inevitably when, I get lost again.” Carll is more than two decades into a celebrated career. Praise from places such as Pitchfork and the New York Times––the latter of which yoked Carll’s ability to tackle tough issues with wry humor to Bob Dylan––punctuate a resume that includes Americana Music Awards and a Grammy nomination. His songs aren’t safe, but many of Nashville’s stars have recorded them, including Kenny Chesney, Lee Ann Womack, and Brothers Osborne. As a solo recording artist, Carll has long-since established himself as one of Americana’s most-played––and most loved––voices. His warm but crackling vocals, wit, and heart dance through wordplay that’s always clever, and never too precious. Through it all, whenever Carll points a finger, it’s most often at himself. As We’re Only Human collects moments of Carll figuring out how to be with himself, the songs feel forthright, hopeful, and timely. In today’s onslaught of instant gratification, rage-baiting headlines, glorified intolerance, and falling empathy, the record is a startling outlier: an artist’s raw, real-life effort to live well—both with himself and others. Carll embraces private epiphanies, and shares them with the world, allowing them to unfold for all to see and share. In the end, Carll’s latest album is a lovingly and purposefully written collection of reminders. “I hope other people find something in it, too” Carll says. “Through it all, I am trying to stay appreciative, knowing that I did what I set out to do: write something that can help me navigate this journey with a little more grace and peace.”
Samia
Each Samia VIP Experience Includes: • One (1) GA ticket to the show • Early access to venue + merch table • Intimate acoustic set and Q&A with Samia Bovine excision, a mysterious phenomenon involving the bloodless surgical removal of cattle organs, serves as the eerie inspiration for the opening track of Samia’s third album, aptly titled Bloodless. Her voice flows through the evocative lyrics with ease, weaving through the gentle strum of a lone acoustic guitar. The quiet intimacy builds into a storm of sound, culminating in Samia’s layered, ethereal harmonies that pierce with a haunting, macabre refrain: “And drained, drained bloodless.” These emptied cattle evoke a grotesque vessel she unwittingly nurtured in an attempt to embody something both untouchable and on display, overflowing with infinite projections and capable of driving an unrelenting pursuit of the unattainable. Through sharp images—Diet Dr. Pepper and Raymond Carver as parallel pursuits of minimalism, white underwear and leeches, a Degas dancer poised at the bannister—Samia examines a paradoxical existence where merit transforms into a calculated act of extraction (“I felt the pea, can I eat it?”). This is just one strand Samia weaves into the intricate tapestry of Bloodless. Her 2020 debut album, The Baby, marked a confessional coming-of-age —an intimate love letter to those sentiments that are most difficult to articulate. In her 2023 album Honey, Samia deepens this exploration of young adulthood, offering a more introspective take as she searches for clarity. These releases, including her 2021 EP Scout, alongside her magnetic live performances, have earned her widespread critical acclaim, over 150 million streams, and a devoted fan base who sing along passionately to every word at sold-out shows. She’s also won over new audiences opening for artists like Maggie Rogers, Lucy Dacus, and Courtney Barnett. “I’ve spent the past two decades unintentionally conflating an abstract idea of men with my understanding of God,” Samia explains. “The person I became in order to impress this imagined figure is inseparable from who I am today. With this album, I’ve tried to confront that head-on.” Bloodless explores her relationship with a fragmented, symbolic version of Men—a patchwork of expectations and imagined standards she tried to meet, which ultimately shaped her sense of self. “I suffer from decision paralysis,” she admits, “where I’ll mentally play out every possible choice and endure the consequences in my head. God and Men provide some aspect of relief here in that they will make choices for you. The great thing about God and my Figment Man is that I decide what either of them wants me to do. So, in this convoluted way, I still get to do what I want, while offloading the responsibility.” Recorded in North Carolina and Minneapolis, Bloodless is a richly layered album that shifts seamlessly from sparse folk to sweeping indie-pop epics. Across these thirteen songs, Samia grapples with the hollow form she once embodied—a vessel that gained value through its own absence, until playing dead became its own form of life. With Bloodless, she endeavors to disinter the self buried beneath these carefullyconstructed personas, ultimately reaching a place of acceptance for her whole, imperfect being.