Nevertel
THE OTHERS EXPERIENCE VIP PACKAGE includes: One standing GA ticket with early entry to the floor Exclusive production Q&A with the band Professional photo opportunity with Nevertel A VIP exclusive Nevertel merchandise pack One exclusive propaganda poster autographed by Nevertel One commemorative laminate and lanyard Tour merchandise shopping opportunity before doors VIP check-in and priority lane into the venue before doors THE TRAVELER EXPERIENCE VIP PACKAGE includes: One standing GA ticket with early entry to the floor Professional photo opportunity with Nevertel A VIP exclusive Nevertel merchandise pack One exclusive propaganda poster autographed by Nevertel One commemorative laminate and lanyard VIP check-in and priority lane into the venue before doors Leading with an emphasis on quality in everything they do, Nevertel – Jeremy Michael (vocalist), Raul Lopez (rapper/guitarist/producer) and Alec Davis (guitarist) – have honed a distinctly modern genre-blending sound that fuses elements of hip-hop, nu-metal and alternative rock. Touting influences from established acts such as Linkin Park and Bring Me The Horizon, the group draws in listeners with riveting melodic choruses, hip-hop infused verses and bombastic EDM-style breakdowns. Even before they were Nevertel, they were just a bunch of childhood pals bonded by their shared love of music. “We’ve all been best friends since high school and have been in and out of bands together,” Jeremy explains. However, as often happens with school-aged friendships, they eventually drifted apart – until music intervened yet again. “It wasn’t until years later, after seeing Linkin Park at the 2014 Carnivores Tour, Raul called me and Alec about starting another band.” Though the trio is long past their high school days, they still bond over the interests they shared as kids. “What brought us together was our love for music and video games. We would play video games to stay close and keep in contact about the band. Music and gaming have been instrumental to our growth and bond as brothers.” Now, after two albums, two EPs, and a slew of singles out in the world, Nevertel has racked up over 60 million global streams to date (and over 900K a week) while fostering an online community of over 600K social media followers. A testament of their dedication to their craft and commitment to their fans, the band has performed at festivals like Welcome To Rockville, seen radio support from SiriusXM and earned recognition across all major DSPs, with a placement on Spotify’s All New Metal, Kickass Metal, and Hard Rock playlists. “Our mission is pretty simple: to make music that saves and inspires people to make great changes in their lives.” While they pour their hearts into their work, at the core of it all, they do it for the tight-knit group of childhood best friends they once were. “If we could inspire that same 13-year-old kid we once were to follow their dreams and chase their passions then I’d say our mission is being accomplished.”
REVOCATION
Revocation creates extreme music for extreme times. On New Gods, New Masters, their fifth record for Metal Blade, the quartet–spearheaded by founder/vocalist/guitarist Dave Davidson–delivers nine potent and portentous songs of brutal lyrical and musical significance. Produced by Davidson mixed and mastered by Jens Bogren (The Haunted, Spiritbox), tracks including “Cronenberged” (feat. Jonny Davy of Job for a Cowboy), “Sarcophagi of the Soul,” “Confines of Infinity” (feat. Travis Ryan of Cattle Decapitation) and “Dystopian Vermin” thematically explore AI and its impact on humanity. “I’ve been very fascinated with the development of Artificial Intelligence, and I’m deeply concerned where this could lead humanity,” says Davidson, “whether it’s the slow march towards a technological dystopia or the all-out annihilation of our species.” New Gods, New Masters marks the band’s 20th anniversary. Revocation debuted with 2008’s Empire of the Obscene and subsequently released seven critically acclaimed albums and toured over 25 countries, bringing their technically charged, high-energy extreme metal to North America, Europe, and Asia-Pacific. New Gods follows up 2022’s Netherheaven, where Davidson’s lyrics took hard looks at Catholicism, hypocrisy, politics, the occult and demonic symbolism. Critics raved about Netherheaven, calling it “Revocation’s best record in a decade” and praising the “darkest, heaviest songs of their career.” That album set a high bar, but an even sharper musical and lyrical focus was achieved on New Gods, New Masters, which is deftly captured in the album artwork by Paolo Girardi. “He did an incredible job of bringing the lyrical themes of a bleak techno-nightmare to life,” Davidson says. “The ‘New God’ being birthed from the abyss of teeth and wires was even better than what I envisioned. I absolutely love the color palette he used. He even included some easter eggs from our first demo and first full-length album cover, which adds even more depth and meaning to the artwork for me.” Titling the album New Gods, New Masters reflects his belief about humans’ need to worship various gods. “It seems as if that desire is encoded in our DNA. As science and our understanding of nature and the universe as a whole, increases, the religions of the old gods start to become obsolete,” believes Davidson. “However, I believe we’ve replaced our old gods with new ones, worshipping technology and creating a cult-like idolatry of innovators.” Revocation, unafraid to upend musical and lyrical tropes with forward-thinking and sounding approach, with songs that excoriate society’s addiction to phones (‘Sarcophagi of the Soul”) and animal experiments that illuminate/replicate societal issues (“Dystopian Vermin”), Davidson’s science-backed observations all the more terrifying for their reality. If technological advances create worse problems alongside “solutions,” Revocation forge ahead, four guys plugged in, fighting existential threats with metal, “waiting to see what the next trial of the human experiment brings.” Music grounds and uplifts the band members-and fans. “I’m proud that I’ve been able to evolve as a musician and songwriter with every release. I never want to stagnate, and I think we’ve achieved real growth with every album,” says Davidson. “I’m also extremely proud that I’ve been able to keep this band going after all these years; it’s crazy to think of how far we’ve since the beginning.”
The Barbarians of California
Bennie and the Gents
Join us for our tenth annual tribute to our Space Boy, David Bowie! A night full of Bowie classics in costume, makeup, and 70s splendor. Bennie and The Gents will salute the Glam Icon with songs such as Ziggy Stardust, Under Pressure, Heroes, Changes and many more. Bennie and the Gents is an Omaha […]
In Her Own Words x Every Avenue
For the last decade, In Her Own Words have quietly become one of the most beloved and consistent voices in modern pop punk, building a dedicated fanbase through brutally honest songwriting, massive singalong choruses, and the kind of emotional connection that only comes from lived experience. In 2026, the band celebrates the 10 year anniversary of their breakthrough album Unfamiliar, the record that helped define a generation of emotionally charged pop-punk and introduced fans to songs that still hit just as hard today. From bedroom speakers to packed clubs around the world, Unfamiliar became more than just an album. It became a soundtrack for growing up, falling apart, and figuring yourself out along the way. To celebrate the milestone, the band will be performing Unfamiliar in full on a special anniversary co-headline tour alongside longtime scene favorites Every Avenue. Bringing together two bands whose songs helped shape the soundtrack of the late 2000s and 2010s emo and pop punk scene, the tour is designed as both a nostalgic celebration and a reminder of why these songs continue to resonate with fans years later. While the anniversary tour celebrates the album that changed everything for the band, In Her Own Words aren’t simply revisiting the past. Behind the scenes, the band has spent the last year working on a brand new full-length album, one they describe as their most ambitious and emotionally honest material to date. With new music expected in 2026, this tour marks both a celebration of where the band came from and the beginning of an entirely new chapter. —- Every Avenue is a Michigan-born alternative rock/pop punk band known for the nostalgic anthems that helped define the late-2000s Warped Tour era. After multiple years performing on Warped Tour and worldwide touring alongside Boys Like Girls, The Summer Set, New Found Glory, Secondhand Serenade, and Yellowcard. The band built a loyal international following through fan-favorite tracks like “Tell Me I’m a Wreck” and “Mindset.” Now returning with renewed momentum, Every Avenue is making their official comeback in 2026 with plans to release new music and launch a six-week U.S. legacy tour alongside In Her Own Words — bringing the energy, emotion, and nostalgia of the golden pop punk era back to stages across the country. —- Public Works came ripping out of New Jersey this past year. After years of releasing music and content under different names and genres, Public Works fell back into his roots. His single “Long Island” took the internet by storm and launched his name around the world overnight. Public Works has not slowed down since, releasing a song a month, along with a 5 track EP titled, “Pocket Knife” in June 2025. His shows are.. let’s just say eccentric. After his first run of shows in the north east in April of 2025, Public Works found a new obsession in connecting with fans through performing. It’s something you have to see in person. —- FELICITY is an Orlando-based “trash rock” band formed in 2013, blending pop-punk, hard rock, and metalcore
Silverada
Mike Harmeier was still in his early 20s when he formed the band now known as Silverada. From the start, they were the definition of a workingman’s country band, cutting their teeth with five-hour sets on Austin’s dancehall circuit before spreading their music to the rest of America. By the early 2020s, they’d become global ambassadors of homegrown Texas music, flying their flag everywhere from Abbey Road Studios (where they recorded 2019’s Cheap Silver & Solid Country Gold with help from the London Symphony Orchestra) to the Grand Ole Opry. The band’s newest self-titled album, ‘Silverada’, marks a new chapter in the band’s history. It’s not just the title of the boldest release of the group’s critically-acclaimed career; it’s also the name of the reinvigorated band itself. “Back in the day, all we wanted to do was play the Broken Spoke,” says Harmeier, nodding to the hometown honky-tonk in Austin, TX, where Silverada began sowing the seeds for a sound that mixed timeless twang with modern-day dynamics. “We had different aspirations back then. We were still figuring out what kind of band we were gonna be, and that took a lot of time and a lot of records.” A lot of records, indeed. Silverada marks the group’s ninth release, and it balances the strengths they’ve accumulated along the way – sharp, detailed songwriting that bounces between autobiographical sketches and character studies; gorgeous swells of pedal steel that drift through the songs like weather; a rhythm section capable of country shuffles, hard-charging rock & roll tempos, and everything in between – with a willingness to break old rules and open new doors. “Radio Wave” is a roots-rock anthem for the highway and the heartland, peppered with Springsteen-worthy hooks and War On Drugs-inspired atmospherics. Harmeier wrote the bulk of Silverada in his backyard studio, surrounded by dozens of books he’d picked up at a local Goodwill. “We’d been on tour for so long, playing the same set for almost two years, and I wanted to write something that was a departure,” he remembers. There’s a smart sense of history here – a celebration not only of where the band is headed, where they’ve been, too. Even so, Silverada doesn’t spend much time looking in the rearview mirror. Instead, it keeps its gaze focused on the road ahead. This is a snapshot of a band in motion, chasing down the next horizon, writing the soundtrack to some new discovery. It’s the sound of alchemy, of some new metal being forged. And like silver itself, Silverada shines brightly. “We spent the first part of our career figuring out who we are and what we’re good at,” says Harmeier. “Now we want to evolve not only the sound of the band, but the dynamic of the live show, too. Silverada is us setting the stage for the next leg of the journey.”
Being As An Ocean
The Album Party
DRI
Failure
Magnified VIP Includes: -One General Admission Ticket -Early entry and watch soundcheck -Hang with the band -Professional photo and autograph -Laminate and lanyard -Exclusive lapel Pin -Exclusive Location Lost tote bag -10% off on merch, and first access. For a band so closely associated with weight, density, and mass, Failure have spent much of their career writing about what happens when those things fall away. Bodies drift. Memories fragment. Signals distort. Gravity fails. But even after 30 years, the hugely influential trio of Ken Andrews, Greg Edwards, and Kelli Scott are still following the sound wherever it leads, even when it’s uncomfortable, unfamiliar, or disruptive. Location Lost, the band’s seventh album and their fourth since improbably reuniting in 2014 after a 17-year-hiatus, doesn’t arrive as a victory lap or a nostalgia exercise. Instead, it sounds like a band actively negotiating where — and who — they are now. “It’s very different,” Edwards says plainly of the nine-song follow-up to 2021’s Wild Type Droid. “There are sounds and parts that really don’t have any precedence within the Failure world.” That sense of divergence is inseparable from how Location Lost came together. Following Wild Type Droid, Failure completed a long-gestating documentary (Every Time You Lose Your Mind) and concert film (We Are Hallucinations) that chronicled their history, drug-marred breakup, and improbable second life playing for a newfound younger and more diverse audience. Almost immediately after finishing the film, Andrews suffered a serious back injury that required surgery. The operation was technically successful; the recovery was not. “It kind of messed up my brain chemistry somehow,” he says. “It wasn’t just physical recovery.” By late 2024, Failure were finally able to begin recording in earnest. As with Wild Type Droid, Andrews, Edwards, and Scott rented a studio and spent weeks improvising together as a trio, recording hours of unfiltered material without overthinking where it might lead. When Andrews took the sessions back to his L.A. home studio and began shaping them into songs, something unexpected happened. “I had a burst of creativity—especially lyrically. Since we rebooted, Greg’s been the more dominant lyrical force. That completely flipped on this record,” but not before Edwards suggested the song “Location Lost” also serve as the album’s title. “It resonated with me immediately, because at the beginning of making the record, I was lost,” Andrews says. “I lost my tether of love for the band. By the time we finished it, I felt totally reconnected.” Throughout, Location Lost delivers dose after dose of Andrews, Edwards and Scott’s utterly unique creative and instrumental interplay, from the warning bell-like guitar chimes on propulsive opener “Crash Test Delayed,” to the elastic, bass-driven groove of “Halo and Grain” and the grinding, methodical wall of sound on “Solid State,” which wouldn’t have sounded out of place on 1996’s all-time-classic Fantastic Planet. Three decades after Fantastic Planet, Failure is not attempting to relive the past. They’re still improvising, still arguing, still trusting one another enough to risk uncertainty. And while Location Lost doesn’t pretend to offer easy answers, it documents a band in motion, untethered and searching — and, against all odds, still very much alive.