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  string(790) "The CAN I KICK IT? monthly series at Songbyrd Music House continues Tuesday, April 21 with a screening of the epic martial arts film The Grandmaster (starring Tony Leung and Zhang Ziyi). DJ 2-Tone Jones will be providing a mix of hip hop and more to score the film live, scene-by-scene.

Doors open at 7p and the film will kick off at 7:30p. Food and drink specials will be available, plus the 37 Dragons pop-up shop will be on hand with apparel items and more.

About The Grandmaster
The fall of China's last dynasty, a time of chaos, division and war, is the golden age of Chinese martial arts. Legendary kung fu master Ip Man, who will eventually train Bruce Lee, finds his peaceful life interrupted by vengeance."
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Sosocamo is a North Carolina–born rapper whose blend of Southern rap and self-engineered production first gained traction in underground circles through a series of early SoundCloud uploads created throughout his teenage years. After introducing himself with his debut EP SCREENS in 2023, sosocamo released his debut album No Service in 2024, a 13-track hyper-regional exploration of North Carolina rap, released off the back of back-to-back hit singles in "keep steady" (82M+ streams) and "soulless" (43M+ streams). Recording primarily in his parents' basement shortly after signing his first distribution deal with Broke Records, sosocamo began expanding his audience through consistent single releases, one-night-only performances, and viral moments that led to connections with 76ers guard Jared McCain and streamers Rakai, Jynxzi, and Ray. No Service established the foundation of a world built around rural isolation, emotional range, and understated vocal experimentation, leading to his first 7-stop nationwide headlining tour and back-to-back one-night-only shows in New York City and Los Angeles.

With his forthcoming project Big Country due out in 2026, sosocamo has positioned himself for the next stage of his career. Lead singles "200" (November 2025) and "Say Dat" (December 2025) have set the tone for the album, with "200" earning a Justin Bieber co-sign when the pop star opened a livestream dancing to the track at his SKYLRK pop-up in Tokyo. Poised between the cult movement of No Service and the promise of Big Country, sosocamo enters this next chapter with momentum defined by expanded production partnerships, a broadened sonic appetite, and a stacked touring schedule—venturing on his own worldwide tour in Spring 2026, performing at Rolling Loud Orlando in May, and Summerfest in June.

Raised in rural North Carolina with limited cell service and few neighbors, sosocamo grew up in a musically active household shaped by gospel, church choir involvement, and the Southern rap his parents played around the house. Early exposure to Future, Young Thug, Kendrick Lamar, and pop artists such as Justin Bieber informed the foundation of his melodic sensibilities, while witnessing his father's passion for music and media introduced him to home recording and production. Sosocamo began making music around age 14, initially leaning toward singing before incorporating rap elements into his earliest tracks. By high school, he was recording himself, engineering for friends, and developing a catalog of hundreds of drafts. At 19, he met his executive producer Grayto, who later became his girlfriend and helped introduce him to the underground rap landscape surrounding artists such as Yeat, Ken Carson, OsamaSon, and PartyNextDoor-adjacent internet scenes, in addition to other emerging acts whose influence expanded his sound beyond traditional Southern rap.

The creation of No Service captured this developmental period, built from long nights recording at home immediately after upgrading his equipment with the money earned from his first small distribution deal. Following its release, sosocamo began traveling frequently, recording in professional studios for the first time and working with a wide network of producers including Synthetic, Taz Taylor, Bakkwoods, and Rio Leyva. This period of mobility and collaboration shaped Big Country, a project that builds on the world established by No Service while shifting toward a more energetic and versatile sound designed to function across a wider range of genres. While maintaining a strict featureless run, Camo has begun connecting with artists such as ApolloRed1 and Sixbill, expanding his collaborative circle as he looks toward future projects.

With Big Country set for release in 2026 and a year of touring ahead—sosocamo enters a new stage defined by versatility, visibility, and an ever-evolving artistic identity that encompasses his rural upbringing, pop-influenced melodic rap, and grounding in contemporary underground rap.

***

Thirteendegrees attempts an important course correction for any buzzing artist in 2025: He no longer wants to be seen by detractors as a “gimmick,” saying as much on the second track “ROOFTOPZ.” He’s at the center of a pervasive wave of nostalgia wherein rappers mostly born after the Bush administration are co-opting the swag of the late 2000s and early 2010s.


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  string(1822) "Back at Songbyrd, Taste of Iceland brings the energy of Iceland Airwaves to D.C. Catch the next wave of artists and experience the sounds shaping today's Icelandic music scene!

***

Róshildur

Róshildur is the musical project of Icelandic-Danish producer, songwriter, and performer Anna Róshildur. Her music blends intimacy and scale, exploring companionship, doubt, and quiet emotional tension through carefully crafted lyrics.

Following her 2023 debut EP (v2,2), she gained recognition in Iceland for her captivating, cinematic live performances and collaborations with JFDR. Her debut album Samferða ("to travel together"), out May 2026 on INNI, weaves electronic and organic textures, tracing the unseen connections that shape our lives.

***

Inspector Spacetime

Hailing from Reykjavík, Inspector Spacetime is a genre-blending pop act inspired by artists like Daft Punk, The Prodigy, and Charli XCX, creating high-energy music built to move people. Since their 2020 debut, they have become one of Iceland's most exciting live acts, known for electrifying performances. In 2025, their track "Party at My House" was featured in an Apple iPhone 17 campaign, alongside new English-language releases such as "People in the Video." With performances at SXSW, Reeperbahn, Eurosonic, and more, the band is quickly gaining momentum on the international stage.

***

Hermigervill

A beloved fixture of Iceland's music scene, Hermigervill is a genre-blurring multi-instrumentalist, producer, and DJ known for his infectious energy and deep-rooted collaborations with some of Iceland's most celebrated musicians. A longtime Taste of Iceland collaborator, Hermigervill brings a uniquely Icelandic soundscape to every set. He will host the evening with some insights and Icelandic music to set the mood."
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Friends and family of Max Kamin-Cross have teamed up with the DC Abortion Fund (DCAF) again this year for “Taking it to the Max," a fundraiser for DCAF and a loving tribute to Max. Max was a force in the DC community and a major advocate for progressive causes, including abortion access, throughout his life.

Musical acts: ViRG (DC synthpop), After The Party (indie/covers)

Over 30 years ago, DCAF was built on the principles of mutual aid and it is still embedded in everything we do. We ask our community to invest in each other, fund abortion, and make it possible for people to make a decision for their bodies and their future. It’s a beautiful system built outside of and in response to the systems that harm us.

Funding abortion is a tangible way to make a difference in this moment and as we know all too well, the need for abortion funding never stops. So let’s reject that feeling of hopelessness and gather for an evening of music and community!

Join us on Friday, April 24 at Songbyrd Music House to celebrate Max and raise funds for DCAF. We’ll have custom cocktails, local bands (tba), and the return of the best silent auction in the DC region, full of items from our favorite local businesses. Check out tiered ticketing options and benefits and decide which is right for you!

All donations to DCAF, a 501(c)(3) nonprofit organization, are tax deductible to the full extent of the law. Each ticket purchase will have a small processing fee.


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  string(450) "Flashband is back at Songbyrd with “That 70s Showcase!” On 4/25, get ready to get down and groove with eight all-new Flashbands covering the very best of the 70s – from disco, funk, psychedelic rock, punk, new wave, prog rock, and so much more. We’re here to ring in spring with flower power and all our disco queen glory. Can ya dig? Grab your tickets now for a far out night! Presented by 7DrumCity."
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"Oceanic is a versatile indie pop band based in Charlotte, NC. Heavily influenced by a number of genres, they aim to create original music with diversity that enables the listener to see the world in a new way. They’ve already seen many milestone successes in their career including millions of streams, over 20 Spotify editorial playlist placements, shared stages with bands like COIN & Vacation Manor, noteworthy press coverage, sold-out headline shows of up to 300, a slot on Lovin’ Life Festival this summer (alongside Noah Kahan, Post Malone, Stevie Nicks, Maggie Rogers, Dominic Fike & more), and many other wins.



The band is comprised of three core members: Nathan, Jacob, and Sam. Nathan is the lyricist and lead singer, Jacob styles the song with electric guitar, Sam plays bass and arranges the music; all members contribute ideas and personality to the arrangement.



Even before Oceanic was formed, each member of the band was well-versed in performing arts. The band works together during shows to create a high-enthusiasm experience focused on personality, musical interest, and artistic visual effects.



Following the release of their debut album No, Human in January of 2023, the band took their songs to the road, playing over 60 shows since, building up a cult-following from New York, all the way down to Florida, & as far West as Nashville.



This year Oceanic is continuing to tour while working on their next record. In the Fall of 2023, Oceanic tucked themselves away in a cabin in rural Tennessee (with select producers, writers, & friends) and came away with some of their best music to-date. They’ll be recording the new material this year at Gat 3 Studios (Post Malone, Dua Lipa, Dababy), as fans are itching for new music …"



***



Borderline are quickly cementing their status as one of the Southern Hemisphere’s most compelling indie-pop exports. With a sound that expertly melds indie rock with contemporary pop, their music is built on infectious hooks, luminous melodies, and the deep, enduring chemistry of its members, four childhood friends from New Zealand.



The band is renowned for their dynamic, high-energy live show, establishing them as one of the most exciting emerging acts globally. They have showcased their talent on the world stage, delivering high-impact performances at major international events including SXSW Austin (US), The Great Escape (UK), and BIGSOUND (Australia). Following their NZ arena run opening for him, Teddy Swims declared that Borderline "just rip it out there."


Their 2025 release, the Chrysalis EP (via EMPIRE), marked a significant breakthrough. It saw immense chart success, with every one of its five tracks charting individually and the EP spending six weeks in the New Zealand Top 20 Album Chart and peaking at #148 on the NACC 200 Chart. The standout single, “New Romance,” dominated New Zealand radio, holding the #1 NZ song spot for 14 consecutive weeks.



Critical acclaim was widespread, with Atwood Magazine (US) featuring Borderline in its Top Artist Discoveries of 2025, praising the way that the music "lives in that sweet spot between emotional weight and melodic ease.” and Rolling Stone Australia featuring Chrysalis as "Music of the Week".


Borderline is Ben Glanfield (guitar, vocals, keys), Jackson Boswell (drums, vocals), Matthew McFadden (lead guitar), and Max Harries (bass).

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Australian country/folk artist Austin Mackay returns to the United States in April 2026 for his first solo headline run, bringing his songs back across the Pacific after a standout year of touring on both sides of the hemisphere.



Throughout 2025, Mackay built momentum supporting Max McNown across the USA, Australia and New Zealand. He closed out the year supporting Jackson Dean, further cementing his place among a new generation of country and Americana artists.



This April, Mackay brings his full solo set back to the United States – just him, his guitar, and the songs as they were written. This tour marks a pivotal moment at the start of a major year of touring, festivals, and new music for Austin Mackay.



***


Jovanni, a DMV-based indie folk/alt-pop singer-songwriter and producer, is a rising force in the world of indie folk. Known for his hauntingly beautiful guitar playing and delicate storytelling, he brings a fresh and innovative perspective to the genre, captivating audiences with his imaginative, ethereal soundscapes and memorable performances.

Born and raised in Annandale, Virginia, Jovanni discovered his passion for guitar at an early age. Influenced by Ben Howard, Bon Iver, & Sam Fender, he embarked on a musical journey that would lead to the creation of his own distinctive sound.

Jovanni’s music is a combination of intricate guitar melodies and soothing vocal harmonies, creating a sonic experience that is both dynamic and immersive. He is known for his thought-provoking and heartfelt lyrics that set him apart in the indie folk/alt music scene.

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  string(2678) "Jesse Solomon is a classically trained Jazz vocalist and a genre-blending singer-songwriter who is redefining modern soul with timeless style and undeniable charisma. His voice moves effortlessly between the smooth elegance of jazz, the emotional depth of classic soul, and the polish of contemporary pop – a sound that’s as familiar as it is fresh.

Based between New York and Miami, Jesse first caught national attention as a breakout cast member on Bravo’s hit reality series Summer House. Viewers were drawn to his charm and authenticity on screen, but it’s his music that’s become the real center of gravity. Jesse’s breakthrough moment in music came when his tongue-in-cheek track, “What Would Jesse Solomon Do” went viral in an episode of Summer House. Originally written as a playful tribute to his cast-mates, the song unexpectedly struck a chord with viewers and reignited his passion for performing. Since then, he’s been channeling that momentum into creating music that reflects both his artistry and the personal journey he’s been on over the past few years. His rising profile hasn’t gone unnoticed—Rolling Stone stone recently spotlighted him as the “next-generation Michael Bublé,” praising his ability to bring a timeless sound to today’s pop landscape.

Jesse's sound is rooted in live instrumentation and classic songwriting, but he brings a fresh perspective that resonates across generations. Raised on the classics and shaped by the present, Jesse’s influences range from Stevie Wonder and Frank Sinatra to John Mayer and Michael Bublé. His music bridges generations—reviving the warmth and character of vintage soul, jazz, and R&B while crafting songs that feel right at home in today’s pop landscape.

Whether he’s performing with a full band or delivering a stripped-down set at the piano, Jesse creates moments that feel intimate, honest, and unforgettable. His growing fanbase spans both music and television, drawn to his ability to connect, entertain, and inspire.

Currently working on his debut project, Jesse Solomon is forging a path that blends music and media into one cohesive story—his own. With a growing fanbase and an artistic vision all his own, he’s not just a singer—he’s a storyteller, a crooner, and a name to remember.

***

MADDIE is a local DC pop girl making sparkly, playful songs in a serious city. No sad songs allowed- stream the “Flirty Little Fling” EP from all platforms.

“A power pop singer-songwriter with Barbie energy in the best way possible. MADDIE’s music is definitely best enjoyed while wearing big hoop earrings." -DC MUSIC REVIEW <3"
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  string(908) "Emily Yacina has been self-releasing music for over a decade, offering a “treasure trove of wrenching melodies and delightfully off-kilter meditations on time and absence” (Stereogum). Although she’s collaborated with some of the most notable names in indie rock, including Alex G and Rostam, Yacina is a singular artist. Her voice is compelling and instantly recognizable, sometimes winking, lilting, or layered and chopped and used as an instrument. Veilfall arrives six years after the release of her debut studio album, and is another mesmerizing entry in her catalogue. Illuminating Yacina’s sharp command of crystalline production, Veilfall showcases an expanded roster of collaborators operating at the highest level. Her ability to mine intangible emotions is sage-like, as she navigates formless concepts like the process of grieving, and the types of alienation that can follow in its wake."
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  string(1966) "IOTHESINGER is a Nigerian-American rock and soul artist based in Washington DC. A Howard University alumna and former BET Sunday Best worship leader, she built her voice inside the church and then walked away from it.

Her debut full-length album Severed arrives in 2026. It is a record about what it costs to leave the life you were handed and build one that's actually yours. The grief, the liberation, and the terrifying space in between. Four singles are already in the world, including the anthemic "Tomorrow," praised by EARMILK as "the anthem we all need today."

She has sold out shows in Spain and Portugal, amassed 400K+ Spotify streams, and been named by The Washington Post as one of DC's must-see live acts.

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Sadia is a Maryland-based singer-songwriter, multi-instrumentalist, producer and music director dedicated to creating diverse sonic works, with captivating vocals, potent lyrics and a powerful delivery. Her work has been performed at venues throughout the Baltimore and DC areas, featured in films, and most notably, featured on NPR’s All Things Considered.

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Your Trusted Officials is an indie rock duo from Washington, DC. Blending eclectic influences from rock, jazz, acoustic folk and 90s grunge, their sound pairs warm, introspective songwriting with lush vocals and vibrant harmonies. Consisting of Sara Zhu and Austin Stahle, their first single “Everglades” was released in August 2025 and later accompanied by a music video produced by Los Angeles based Who’s Driving? Productions.

Focused on creating music that invokes complex emotions, distant memories and fleeting moments, Your Trusted Officials deliver a sound that is unique yet deeply familiar.

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WALKING EAGLE is a singer/multi-instrumentalist in the DMV. His Native American/Caribbean roots are imbued into his sound. His music carries a vibration and message of Strength, Peace, and Love. You don’t hear this music; you listen to it."
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It’s impossible to talk about Wicca Phase Springs Eternal without talking about transformation. For over a decade the singer, songwriter and producer Adam Andrzejewski has used the moniker as a wide creative umbrella, under which he’s made a vast body of work that’s as consistently compelling as it is constantly changing. This deft ability to blend sounds and styles has become his calling card, but no matter the genre signifiers–from rap beats, to new wave synths, to goth atmospherics–the beating heart of WPSE is Andrzejewski’s singular voice and esoteric-yet-emotional lyricism.

Those key elements have centered the project through musical explorations, and now on his latest full-length, Mossy Oak Shadow, Andrzejewski really puts them to the test. Shedding thumping 808s and intricate production in favor of a no-frills band and sparse live recording, the album is a stirring collection of hazy folk rock songs that prove Wicca Phase Springs Eternal can truly be anything. “I always kind of thought that as long as I have the Wicca Phase Springs Eternal name that I can do whatever I want,” Andrzejewski explains. “The name provides a framework for the lyrics and aesthetics of the project–my songwriting with a mystical overlay to it–and as long as I can make something work within that, then the genre doesn’t totally matter.”

That daring creative mentality is what steered Andrzejewski when he first started the WPSE project, through his work as a co-founder of the influential GothBoiClique collective, or as member of Thraxxhouse and Misery Club, and even with his punk side project, Pay For Pain. Still, few could have guessed that the new proper Wicca Phase Springs Eternal release would be a set of country-leaning folk songs performed without a wink in sight.

As with all things Wicca Phase, Mossy Oak Shadow finds Andrzejewski fully committed. “There’s always been acoustic songs on my records but usually they’re in the context of a beat-based Wicca Phase album. I think the idea here was to just kind of start fresh and go hard in this other direction,” he says. “The temptation is to call it a country record, I don't really think it’s that–but there’s acoustic guitar and slide guitar, and I think my interests and themes do have elements of country in sort of an archetypical way.”

***

Fanclubwallet is the indie rock project of cartoonist-turned-musician Hannah Judge, a longtime champion of Ottawa’s local music scene. Even before making music herself, Hannah was immersed in the community; sharing mix CDs, cold-emailing bands for opening slots, and building friendships wherever she could. In 2020, she began quietly recording demos in her bedroom, eventually launching fanclubwallet at the height of the pandemic. What started as a lo-fi bedroom pop project quickly gained traction, with her breakout track “Car Crash In G Major” racking up over 14 million streams.

Since then, Hannah has toured internationally, opening for artists like CHVRCHES, Yot Club, and Dream Ivory, all while staying deeply rooted in the DIY ethos. She runs Club Records, an Ottawa-based label and free resource hub dedicated to supporting independent musicians. With her second full-length album “Living While Dying” on the way, Hannah continues to blend infectious songwriting with a genuine love for her community and craft.


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  string(638) "The MADHOUSESTATE Tour is in full effect and swing. After a major event in Baltimore at AREA 405 where they showed the full scale of artistic community bringing out over 200 attendees, they’re doing it bigger than ever this time at Songbyrd Music House. In the third installment of their FOREVER MAD Tour MADHOUSESTATE guarantees a night of fun, entertainment, networking, and artistic inspiration. They are the leading artist collective in the DMV with notable members such as Blaxian, 7iah, Nieko Allen and more. Simply put, if you’re looking for who and what is next up in the DMV music scene, theres nowhere else to be on May 1st."
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  string(1046) "Katie Tupper’s music is led by her deep alto voice and blends soul, indie, alternative, and R&B. Born in Saskatoon, Saskatchewan, Tupper's two previous EPs of heartland soul–Towards The End (2022), and Where To Find Me (2023)–have amassed 22 million streams worldwide and a JUNO Award nomination. She’s had a meteoric rise on social media with over 40 million views across short form platforms and now she’s heading into 2026 with her debut album, Greyhound, in hand. This album is a homecoming, a return to her roots with years of new experience. It embraces the expanse of the endless sky and the light of the golden fields with an undercurrent of the sidewalks and skylines she’s spent years calling home.

***

Ety is an experimental vocalist and instrumentalist from Atlanta, weaving the hazy textures of shoegaze with the warm heart of soul to create a tenderly nostalgic, atmospheric sound. With lush vocals and emotive lyricism, she guides listeners into her endlessly expansive yet timelessly intimate world of sound."
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Los Angeles based nineteen year old Jeremiah Mark (they/he) released their first full-length endeavor under the moniker Lucy Bedroque, their deadAir Records debut. With no prior singles, the breakneck seventeen track shotgun blast of Digicore and Hardcore Hip Hop, titled “Unmusique” has established them as a bastion of these underground sounds. The release date coincided with their first show on the Jane Remover and Dazegxd tour “TURN UP OR DIE”, along with a full west coast run.
-


Leading up to this moment, Lucy Bedroque gained a cult following in the shadowy sectors of the online underground, with a break-out debut LP “Sisterhood” as Lostrushi. This is the name that raised them to notoriety alongside peers 9lives, prettifun, and egobreak. The new material continues further down the same path, combining cutthroat rage, with the eclecticism and sensitivities of Stereolab, Radiohead, and Deftones.
-


While forging their distinct multi-media surrealism, Mark also found a penchant for customized linguistics and contorting the English language. Most notably, the title “Glutmother” (the name fans chose for a hyper-active Subreddit) graces the cover art of the debut and the packaging of “Unmusique. “The role of motherhood here is representative of a superiority to everything around it. But beyond humans, it’s a reference to mother nature and creation.” They explain. As for why it’s juxtaposed with gluttony, that’s because “People want more than anyone can handle, and I’ve responded to it with a perfectionist’s mindset.” They combine into a deep resonance of identity that'd easily evade a new listener.
-


Artful self-produced digicore songs are weaved into a credits list that resembles a guide to online underground music. SKAI (Ken Carson, Osamason producer), Cranes (xaviersobased, Nettspend) also underpin hooks and multi-octave vocal acrobatics.
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[embedyt] https://www.youtube.com/watch?v=zj_zvFEe4bI[/embedyt]
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At just 19, DMV-born rapper and producer kuru is already a veteran among his contemporaries. Spurred by the online renaissance that accompanied the pandemic, he first turned heads while he was still in high school with tracks like “clueless”, “typo” (4M Streams), and “atmosphere”, soon finding himself at the nexus of an internet-based artistic movement.

Known for his distinct sound that blends elements of electronic music, pop, and DMV trap as well as his production work for artists like Black Kray and Destroy Lonely, he cut his teeth in the underground alongside Jane Remover, xaviersobased, jackzebra, ian, FearDorian, quinn, twikipedia, and Hi-C, who have all served as key collaborators. After signing with longtime affiliate deadAir, 2024 saw the release of his critically-acclaimed debut album re:wired, a conceptual piece that fused the aesthetic characteristics of cloud rap, anime, and designer fashion into one cohesive experience. But while re:wired was “a study in emo-aggro duality”, kuru’s forthcoming sophomore mixtape Stay true forever (out May 23rd) is a fluid, free-flowing project that serves as a sort of yin to his debut’s yang. “I don’t want everyone to have a think piece about me,” he explains. “I just want people to enjoy the music.”


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Gelli Haha exists somewhere between Studio 54 and Area 51, where dancefloors become playgrounds and cheeky aesthetics ignite imagination. A shapeshifter, a sonic acrobat, a performer with one foot in the cosmos and the other in a slapstick routine, Gelli Haha is a space for pure creative chaos.


For her opening trick, Gelli Haha presents Switcheroo, the debut album via Innovative Leisure, to be released in June 2025. With a shared taste for off-kilter pop and vintage gear, producer Sean Guerin (of De Lux) joined Gelli in turning freshly-formed demos into a high-voltage experiment, abandoning meticulous structure for something freer and more electrifying. Every song on Switcheroo makes use of a myriad of recording toys; wacky analog effects, such as the Eventide Harmonizer, MXR Pitch Transposer, and various Electrix units, fashion an intentionally flawed and strictly silly texture throughout the album.

Gelli Haha’s music thrives on duality: playful but profound, tongue-in-cheek but sincere. “Bounce House” is the child-like innocence; “Spit” is the S-words-only underground-club grit. “Piss Artist” revels in tequila-fueled storytelling about an infamous party moment (involving a jar — don’t ask, just dance), while “Normalize” feels like you’re stuck in Play-Doh.

It’s a practice in play - recording vocals mid-jump, translating drum fills into mouth sounds, granting your best friend’s wish for a song about them. A bear attack crashes through the happy-go-lucky “Dynamite”, “Funny Music” ends with a sudden “BONK!”— because why not?

The emotional rainbow stretches beyond the positive — Gelli pouts and wails on "Tiramisu", demanding to know and feel everything, while "Pluto is not a planet it’s a restaurant" closes the album in a darker, heart-throbbing track with the repeated cry: "I’m afraid."

Switcheroo is the soundtrack to the Gelliverse, a sensory adventure sphere created by Gelli. This live revue is an invitation into a world of dolphin balloons, flutes, mini trampolines, and a stage bathed in the project’s primary color, red - bold and full of mischief.

Gelli Haha isn’t foolproof. It’s by design. Switcheroo is an exercise in letting go, an inside joke turned theatrical spectacle. Participation is encouraged. Surrender is required.


***






We’re BIG SIS.









A brother-sister duo based in LA making really really really really really good dance-pop music.
Don’t worry about anything else.






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  string(1979) "Fresh off their debut album, What Lies Ahead, recorded with legendary producer Steve Avedis at Colorado Sound Studios, The Hip Snacks have captured their infectious energy in a way that’s both timeless and urgent. Since its release, their star has skyrocketed. They’re not just a local gem anymore—they’re a national sensation, tearing through a national tour as they release a second full-length album that’s packing venues and leaving crowds buzzing. Comprised of vocalist and DMV Natives Kara Durante and her husbandl bassist Ben Suarez, guitarist Felipe Cantuaria, guitarist Ricky Feria, drummer Dave Auerbach, and keyboardist Adam Schini, The Hip Snacks are more than a band; they’re a movement, a feel-good revolution that’s growing faster than you can keep up. Catch them live, and you’ll understand why their audiences leave craving more. You don’t just hear The Hip Snacks—you experience them. And trust us, you deserve this snack.

***

The District is a rocking, soulful collective of D.C-area musicians that put electrifying spins on classic Motown, Rock'n'Roll, Pop and Soul Covers. The band performs around DC, Maryland and Virginia, most notably packing The Wharf's Pearl Street Warehouse for both public and private events since their formation. The District often uses its shows as fundraising events for causes such as funding education in underserved nations and ALS research. The District most recently performed at the Agriculture Ball in Washington, D.C in January of 2025.  Led by Walt Lukken on Trombone, The District features singer Kara Durante and Bassist Ben Suarez (The Hip Snacks), drummer Mark Wetjen, Guitarists Mike Harrington and Chris Peot, and a rotating cast of stellar horn players that will get you out of your seats and onto the dance floor! From Lynyrd Skynard to Stevie Wonder, The Allman Brothers to The Rolling Stones to Chris Stapleton and Bonnie Raitt - The District does it all!"
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  string(574) "Mars Arts D.C. Concert Series at Songbyrd

Pulse & Flow: A Night of Rhythm and Soul

Wednesday, May 6, 2026, 8:00 p.m.

Experience an electrifying fusion of sound, story, and movement as THE CO//ECT!V CREW takes the stage. Blending hip-hop, jazz, soul, and global rhythms, this performance creates a high-energy journey that celebrates creativity, collaboration, and the universal language of music. Audiences will be immersed in vibrant beats, expressive movement, and unforgettable moments that highlight the dynamic spirit of Washington, D.C.’s musical scene."
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Pequena Vertigem de Amor — the third full-length in Sergio Sayeg’s expanding catalogue as Sessa — is not just an evolution in the São Paulo artist’s sound; it is a transformation. Like a camera lens slowly zooming out, Sessa’s records reveal a progression from the private, carnal and earth-bound erotic desires probed on 2019’s Grandeza, to an exploration of the limits and possibilities in relationships between people in love on 2022’s Estrela Acesa.
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With Pequena Vertigem de Amor, which translates to “Lil’ Love Vertigo,” Sessa’s view turns upward, to the infinite sky, catching glimpses of universality in the intimacy of becoming a father. Sessa says these songs “are a mix of personal chronicles and quiet meditations about life in the face of personal change, of experiencing something so big that you realize your insignificant size in space and time.”


This new perspective and reality remade his personal life and his connection to music: “For the first time I saw music move from the center to the side of my life.” The radical reordering of priorities presented fresh opportunities in his music. “In an interesting way, music became more mixed with my life,” Sessa notes, as he found ways to conjure melodies, lyrics and inspiration from the daily rhythms of life.
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Estrela Acesa built on Grandeza’s minimal ingredients with the addition of Biel Basile (from the beloved Brazilian indie trio O Terno) as co-producer and drummer, Marcelo Cabral on bass, as well as the emotionally evocative hand-in-glove arrangements for strings and horns. These new ingredients elevated the emotional intimacy and intensity that Sessa captured on Grandeza — his sonic signature of whispered poetry over ornate acoustic guitar patterns, buoyed by primal percussion and an ethereal chorus of female vocals. “After two very guitar-centric records, along with hundreds of tour dates with me holding down the music with my guitar, I was a bit out of the ideas for the instrument,” he says.
-


On Pequena Vertigem de Amor, Sessa continues to expand his sonic palette, stretching in multiple dimensions simultaneously. There’s an emphasis on rhythm and enhanced tempos, as he experiments with new vocal cadences and textures, and adds a bunch of musical instruments not heard on his previous recordings, like piano, synthesizer, wah-wah guitar, and a primitive drum machine. Sessa tracked his existential transformation to magnetic tape at Cosmo, the studio he cofounded with Biel Basile, over five sessions between April 2024 and March 2025.
-


Sessa describes the album as “a bit more nocturnal, open-ended, crooked funky,” highlighting inspiration from soulful influences indigenous to North and South America, from Shuggie Otis, Roy Ayers and Sly Stone to Erasmo Carlos, Tim Maia and Hyldon. “I have this theory that the music that you fell in love when you were a teenager or in your early twenties really stains your soul,” he says, and the countless hours a young Sergio spent manning the counter at Tropicália in Furs, the legendary East Village record shop, cemented his love for soul music. “Going through stacks and stacks of soul 45s and classic soul records, at some point I realized I wasn’t gonna be that tight funky type of musician, so I decided to own the crookedness in my playing, a soft swing intrinsic to my upbringing in Brazil. My guitar playing went from the traditional Brazilian fingerpicking style to a more rhythmic full hand strumming playing.”
-


A cosmic connection by way of his son’s pre-school yielded a missing musical ingredient — an “element on piano, which I had never put in my music, that fulfilled my search for a classic samba jazz sound.” A fellow musician and parent suggested Marcelo Maita, the younger brother of São Paulo samba jazz legend Amado Maita, whose lone self-titled solo album from 1972 is the other album (along with Erasmo’s Sonhos e Memorias) that’s been banned from the Sessa family turntable due to excessive spins. Invited to contribute a few songs, Maita’s rhythmic and urgent piano stabs on “Nome de Deus” (Name of God) steer the piece through its absence of Sessa’s guitar. Over the heightened musical tension of Maita’s staccato attacks and Biel’s aggressive percussion, Sessa’s impassioned vocals assert agency in defiance of deities, primal urges in conflict with nature’s laws.
-


“Dodói” perfectly embodies Sessa’s new rhythmic sensibility, building on an acoustic guitar riff that is accentuated by the insistent pulse of Marcelo Cabral’s bubbling bass and Basile’s propulsive tom-tom and cymbal stomp. Effortlessly funky, the unadorned intro loops for 40 seconds, begging to be chopped and sampled. For the non-lusophone listeners, the song title translates to “boo-boo,” with Sessa cooing the first line: “dá um beijinho no meu dodói / eu sou criança / tem uma coisa que me corrói / é uma dança / desde a barriga / é uma briga, bonita briga / chama da vida” (come kiss my boo-boo / i’m a child / something’s eating me up / it’s a dance / ever since the belly / there’s a fight, a lovely fight / spark of life). Simon Hanes’s string arrangement alternates between supportive swells and sinister swoops, while Maita’s piano dances around the interlocked bass/drum/guitar rhythm.
-


The emotional core and midpoint of the album evokes the stoned bucolic bliss of Erasmo Carlos’s introspective 1972 album Sonhos e Memorias 1941-1972, first on “Bicho Lento” (Slow Creature), with its lackadaisical flute arrangement courtesy of frequent collaborator Alex Chumak (Soyuz), and then transitioning seamlessly into Sessa’s most earnestly joyful composition, “Vale a Pena” (It’s Worth It). Sessa sets the vibe playing a Suette electric piano, an obscure Brazilian keyboard comparable to the Fender Rhodes. With a vocal delivery so relaxed as to suggest blissful exhaustion, Sessa croons, “pedras no caminho / brilhos no meu chão / dribles do destino / eu vou” (stones on the path / sparkles on my floor / destiny’s dribbles / here i go). On the second go-round, the singers Cecília Góes, Lau Ra, Ina & Paloma Mecozzi urge Sessa along, buttressing his fragile vocals, as Sessa disarmingly delivers these sentimental and direct lyrics that suggest an acceptance of the profound, unexpected and inevitable joys and pains of this new life phase: “vale a pena / viver vale a pena / estou com vocês / vale a pena / viver vale a pena / minha galera” (it’s worth it / living is worth it / i’m with you / it’s worth it / living is worth it / with my crew).
-


Across nine tracks, Sessa reflects on his personal evolution, an experience that he says brings into sharp contrast “the ambiguities and contradictions in life, which is a place that always has inspired my writing.” Pequena Vertigem de Amor, reminds us that experiencing vertigo is simultaneously terrifying and exhilarating, sentiments that this collection of Sessa songs delivers lyrically and musically, fusing novel and familiar sounds, styles and instruments in celebration and wonderment of life’s “ordinary and extraordinary” rites of passage.
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[embedyt] https://www.youtube.com/watch?v=qcSk6j40eA8[/embedyt]
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For Wes Parker, sounds interlock like puzzle pieces. A ruddy guitar riff might click next to a broken piano melody, or a hauntingly angelic vocal could mesh just right with an off-kilter chord progression and D.I.Y. beat. All of these elements fit together in order to paint the personal portrait depicted in his music.



It’s almost like he’s a mad scientist in his home studio, architecting poetically primal alternative rock that could’ve appeared in the MTV Buzz Bin back in the day or would make for a fiery sunset set at Coachella. The Richmond native grew up as the youngest of four kids with two older brothers and a sister. Mom bought a copy of Green Day’s American Idiot from PACSUN for him, and it proved life-changing. He honed his skills as a songwriter and producer and also devoured classics from the likes of Muse, Radiohead, and more. He dropped out of college after one semester and co-founded the band Camp Howard alongside a cohort of childhood friends. The band saw some success on DSPs and the road, touring with everyone from Stone Temple Pilots to Backseat Lovers. Though the group eventually parted ways, Wes continued to write and record on his own. After quitting a day job, he dropped his first solo single “Why Won't You Pick Up The Phone?” in February 2024 followed by “Annie Moore” and “Tattoo.”



Gaining momentum, he ignited 2025 with the Splinter EP applauded by VPM and more. Signing to Big Machine in 2025, he emerges as just the alchemist rock music needs with his Fantom EP, presenting an arresting perspective on the devil’s downfall over a cinematic soundscape threaded together by eerie piano, glitchy beats, off-kilter guitar, and transfixing vocal transmissions.



***
Berra is the indie-pop project of Ethiopian-American artist Roberra Djalleta.
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  string(126) "Goomba Productions Presents:

Balisong (DC Metalcore)

Denouement. (DMV Metalcore)

Sluggo (DC Hardcore)

Brawler Unit"
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  string(335) "Songbyrd Music Trivia

Monday May 111, 2026!

Special Guest Hosts!

Join us at Songbyrd for a fun night of drinks, eats and MUSIC TRIVIA! We're writing our own questions, so expect a few curveballs.

Stay tuned for more info, and in the meantime, brush up on your music knowledge!

KEEP UP FOR CATEGORIES AND BONUS QUESTIONS!"
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  string(2080) "Neo-Zombie-Post-Folk from Estonia

Duo Puuluup started in 2014 and its members are Ramo Teder (Pastacas as a solo artist) and Marko Veisson (who is also an anthropologist). Their first album “Süüta mu lumi” was released in 2018 and the second album “Viimane suusataja” in 2021.

Hiiu kandle duo Puuluup started in 2014 and its members are Ramo Teder (as a solo artist in Pastaca) and Marko Veisson (who is also an anthropologist). Their first album “Süüta mu lumi” was released in 2018 and the second album “Viimane suusataja” in 2021.

In addition to numerous performances in Estonia, they have performed in Belgium, Canada, Chile, China, Finland, France, Croatia, Czech Republic, Germany, India, Italy, Japan, Latvia, Lithuania, Luxenbourg, Macedonia, Norway, Poland, Portugal, Slovenia, Spain, South Korea, Sweden, Taiwan, UK, Ukraine, Hungary and USA.

Together with the band 5MIINUST, they represented Estonia in the Eurovision Song Contest in Sweden in 2024 and made it to the grand final. Shortly before that they also released the joint album “Kannatused ehk külakiigel pole stopperit”.

Crossing Hiiu kannel with electronics, Puuluup oscillates on the border of tradition and modern music styles, flirting with world music, underground and pop. Puuluup controls the vibrations of hiiu kannel’s strings through effect blocks and the looper and uses alternative playing techniques and sound generation options. Electronically amplified echoes, knocks, squeaks and scrapes are added to the soft hiss of Hiiu kannel. The music is at times dance-pulsating and at times cinematic and dark, creeping in and carried over from the chambers of the ancient Vormsi talharpists. It sounds like original creations impregnated with tradition, references to punk classics and romantic neo-zombie post-folk with educational content.

The men themselves say modestly about their work: “Our main message in the context of folk music is that, look, you can do all kinds of things with the hiiu kandel, learn the instrument and make your own music.”"
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Katelyn Tarver has never shied away from the truth — even when it hurts. On her third full-length album, Tell Me How You Really Feel (Nettwerk), the Los Angeles-based singer, songwriter, and actress chronicles the raw process of self-reinvention after the end of her decade-long marriage, turning heartbreak into hard-won clarity. The result is an intimate collection of indie pop confessional that feel like overheard conversations — honest, unguarded, insightful, and deeply human.



Written with a renowned cast of co-writers and recorded with Grammy-nominated producer Mikey Reaves (Luke Combs, Jelly Roll) and Chad Copelin (Sasha Alex Sloan, Sufjan Stevens), the album captures the tension between freedom and fear on songs like “$82 at Erewhon,” “The Price,” and “IDGAF.” It’s a rebirth — vulnerable, hopeful, and achingly self-aware.



A Georgia native, Tarver first made waves with her viral 2017 anthem “You Don’t Know,” which has amassed over 83 million Spotify streams. Her acclaimed projects Subject to Change (2021) and Quitter (2024) cemented her as a rising voice in emotional indie pop. Praised by Billboard, NYLON, FLOOD, Atwood Magazine, and LADYGUNN as “a captivating storyteller who fearlessly dives into life’s complex questions,” Tarver continues to merge diaristic honesty with cinematic melodies. Katelyn has also captivated audiences with powerful live performances. She has notably shared the stage with James Bay, Donovan Woods, and Elle King, while she marked a full-circle moment touring with Big Time Rush on the 2025 “IN REAL LIFE WORLDWIDE” tour.



Simultaneously, she shined on screen with key roles on HBO’s Ballers, ABC Family’s The Secret Life of the American Teenager, ABC’s No Ordinary Family, and Nickelodeon’s Big Time Rush in addition to emerging victorious as a contestant on NBC’s Songland. Next up, she will join Will Ferrell, Molly Shannon, Jimmy Tatro, and Fortune Feimster as part of the cast for NETFLIX’s forthcoming untitled golf comedy series—expected to premiere in 2026.


With Tell Me How You Really Feel, Katelyn Tarver invites listeners into her most personal chapter yet — one defined by truth, transformation, and the courage to begin again.

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From the moment of their inception, MAE have existed in the cross-sectional spaces of creation. Art and innovation. Intricacy and accessibility. Beauty and chaos. Head and heart. Theirs was a meticulous crafting of soundscapes; painstakingly deliberate and blissfully spontaneous.



This multidimensional juxtaposition formed the friction point that sparked the creation of their now-classic early releases (2003’s Destination: Beautiful and 2005’s The Everglow), as well as the flame that guided their continued exploration throughout the ensuing decade (Capitol debut, Singularity, and the self-released Morning, Afternoon and Evening E.P.s).



Attempts to categorize the band’s sound were made regularly and typically culminated in a hyphenated variation of the nebulous “emo” catch-all. But, the defining thread of MAE’s creation was their uncanny ability to find the heartstrings of the listener and make them resonate with a sympathetic hum.


However, within those juxtapositions lay a deeper revelation of MAE’s creative direction, a foreshadowing, perhaps. It was there if you listened closely—a tension within the manuka honey melodies, a yearning in the empty spaces, a kicking at the goads of limitation within the pre-determined structures. It was a longing for transcendence, not only of genre, but of consciousness—and not only of consciousness, but of perception. It was the entire reason and impetus behind the name, an acronym for “Multisensory Aesthetic Experience,” the evolving theory that enveloped drummer, Jacob Marshall’s foray into academia.



It’s no accident that MAE’s fourth studio LP bears the self-fulfilling prophecy of their namesake. Multisensory Aesthetic Experience, the band’s first full-length release in nearly a decade, is the arguable realization of their aspirations since conception. There is a liberation that occurs within the first few notes of the album, an untethering of the straight jacket of expectations. Categories are tossed back to the game shows where they belong, and the music becomes music, gloriously expansive, explorative, and addictively melodic.


-

[embedyt] https://www.youtube.com/watch?v=UFvAgjDhKUQ[/embedyt]

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From the moment of their inception, MAE have existed in the cross-sectional spaces of creation. Art and innovation. Intricacy and accessibility. Beauty and chaos. Head and heart. Theirs was a meticulous crafting of soundscapes; painstakingly deliberate and blissfully spontaneous.



This multidimensional juxtaposition formed the friction point that sparked the creation of their now-classic early releases (2003’s Destination: Beautiful and 2005’s The Everglow), as well as the flame that guided their continued exploration throughout the ensuing decade (Capitol debut, Singularity, and the self-released Morning, Afternoon and Evening E.P.s).



Attempts to categorize the band’s sound were made regularly and typically culminated in a hyphenated variation of the nebulous “emo” catch-all. But, the defining thread of MAE’s creation was their uncanny ability to find the heartstrings of the listener and make them resonate with a sympathetic hum.


However, within those juxtapositions lay a deeper revelation of MAE’s creative direction, a foreshadowing, perhaps. It was there if you listened closely—a tension within the manuka honey melodies, a yearning in the empty spaces, a kicking at the goads of limitation within the pre-determined structures. It was a longing for transcendence, not only of genre, but of consciousness—and not only of consciousness, but of perception. It was the entire reason and impetus behind the name, an acronym for “Multisensory Aesthetic Experience,” the evolving theory that enveloped drummer, Jacob Marshall’s foray into academia.



It’s no accident that MAE’s fourth studio LP bears the self-fulfilling prophecy of their namesake. Multisensory Aesthetic Experience, the band’s first full-length release in nearly a decade, is the arguable realization of their aspirations since conception. There is a liberation that occurs within the first few notes of the album, an untethering of the straight jacket of expectations. Categories are tossed back to the game shows where they belong, and the music becomes music, gloriously expansive, explorative, and addictively melodic.


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Formed in the 4th grade, Never Ending Fall (NEF) is an indie-rock band comprised of lead singer and guitarist Jack Miller, drummer Tommy StClair, guitarist and keyboardist Conrad Boyd, guitarist Pearce Eisenhardt, and bassist and vocalist Johnny Hohman.
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The Maryland natives' repertoire combines sounds ranging from heavy-hitting alt-rock to funky basslines to lighter, electric feel-good melodies. After moving to Los Angeles and rising from their hit TikTok series and jingle ‘Can it Kirkland’, the group has amassed the likes and views of millions worldwide with their undeniable talent, creativity and chemistry.
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The five-piece are now headlining tours and drawing sellout crowds in major US markets, backed by their ever-surging fanbase. Never Ending Fall's new single YOU! is available everywhere now via Dionysian/Undercurrent.
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Raised in rural Pennsylvania and now based in Los Angeles, j solomon is a songwriter and storyteller first. Influenced by lyricists like Townes Van Zandt, Adrianne Lenker, and Justin Vernon, he’s carved out a voice that’s emotionally direct and narratively driven. His 2023 debut EP, Sleeping in the Garden, blended the softness of modern folk with sweeping, atmospheric rock – a stepping stone toward the louder, messier world of KILL THE ROCKSTAR released earlier this year. Drawing on the raw energy of early-2000s guitar bands, his sophomore EP is an all A-side indie rock record tracing a fictionalized frontman’s unraveling in the pursuit of fame and validation.
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In 2023 RiTchie and producer Parker Corey introduced By Storm with “Double Trio,” an impassioned and atmospheric first single that both honored the legacy of their former group Injury Reserve and opened a new lane towards the future. “Shit gon' repeat if all you do is delay” RiTchie rapped on the track, underlining the momentum constantly pushing the rapper/producer duo forward. My Ghosts Go Ghost continues that trajectory, arriving almost by surprise but with maximum impact.



My Ghosts Go Ghost is an album that is simple in its construction yet dense enough to get lost in. Created with a back-to-basics mantra (“what if we make nine really strong songs and put them in a good order?”) the album deals with themes of loss, fatherhood, capitalism, the weight of experience, and moving past difficult experiences. It is both a debut album and the continuation of a journey RiTchie and Corey started ten years ago when they first began making music in Phoenix. “This past decade we built our identity and every record has been us figuring out more about the kind of band we want to be,” says RiTchie. “That doesn't change.” With My Ghosts Go Ghost, committed fans get to hear RiTchie and Corey hone their craft in increasingly refined ways, while newcomers benefit from the experience and clarity of thought that brings them to this point.



Mention ghosts and many will think of hauntings but My Ghosts Go Ghost is not an album troubled by history. If anything the art of looking ahead colors RiTchie’s lyrics, specifically how to do so while holding what is dear from the past. That could be not forgetting people you have lost, or selfishly wanting to stick with what’s familiar in the face of change. “CIHYFM” finds him on the eve of becoming a father, excited for what lay ahead but knowing that his relationship with his partner will also be changing in the process. “I’m ready to grow, just feeling TKTKTKT” he raps over a somber beat replete with chopped up vocal samples. Album closer "GGG” maintains that same perspective, asking questions about the speediness of moving on from a seismic loss. Intricate Spanish guitars act as the bed for RiTchie to wrestle with the notion of shedding the past only to realise how important it was to you. The desire to look forwards, it seems, only leads to looking back. Ultimately, My Ghosts Go Ghost, underscores the belief that life in the present is most precious of all.

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Minneapolis’ VIAL magically met each other through a Tinder post in 2019, brought together by a shared love of 90’s punk, indie, and grunge. Launching into their home scene with their debut Grow Up, they quickly became local favorites with everyone from The Current to Music In Minnesota.
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Signing to LA's Get Better Records in 2021, their follow up full length, Loudmouth, was an evolution of their indie-pop and alt-rock beginnings but began to hint at other leanings, especially in the tracks Ego Death and the fan- favorite Piss Punk. A little less reflection on the past and a little more anger at the future.
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Even though their third release, Burnout, retained the whimsy, the fiercer side of things kept creeping in. Tales of betrayal and teen drama were also being matched by a hardness reflective of our fractured society.
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With their 4th record, HELLHOUND, the gloves have come completely off. There’s a wee trace of the jovial in the LP’s title track/interlude but the rest of the record is one shredder after another -deceit, revenge, frustration and vitriol are nailed incessantly into the tracks from start to finish.
-


Produced by Martin Cooke (Death Cab For Cutie, Of Monsters And Men, Destroy Boys), the LP is a powerhouse that draws from vintage punk, classic metal and all in between. Anyone who’s crossed them is a target and asking to get cut. First single "CREEP SMOOTHIE" pulls no punches in calling out disrespect from the worst kinds of men and would-be’s alike. "IDLE HANDS channels the rage inward. Overall the record is a culmination of influences and experience and an explosive chapter in VIAL’s life.
-


Behind everything they do is an underlying dedication to causes ranging from gender equality and abortion rights to supporting indigenous arts and refugee aid. The band constantly helps on a material level, funneling income directly to these groups. Many artists pay lip service to making the world a better place. VIAL put their money where their mouths are and their steel toes where the sun don’t shine.
-
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With bold, witty lyricism that brings you to that liminal space between laughter and tears, Theo Kandel has been described as "a modern-day James Taylor, albeit slightly scruffier and a good deal shorter. But maybe also sexier." (Source pending.) Having amassed over 160k followers across social media and 8M+ worldwide streams, Theo continues to delight listeners young and old, leaving his own fingerpicking-saturated musical fingerprint as he goes. Originally from New York City, he spent six years honing his chops in Nashville before moving to Los Angeles, where he is currently based.

Recent performances include sold out shows at Brooklyn's Baby's All Right, The Hamptons' Stephen Talkhouse, Salt Lake City's Kilby Court, and Washington, D.C.'s Songbyrd on his first national headline tour. Theo supported ROSIE on her Healing Tour in June 2023, and has previously supported Kris Allen, Rose Betts, Wyatt Pike, KT Tunstall, AJR, and the legendary John Oates (of Hall & Oates) among others. He is gearing up for a run of shows supporting Evan Honer in February 2023.

As Theo's buzz, like honey bees building their new hives in late spring, continues to grow, he is expected to release his debut album, Eating & Drinking & Being in Love, on Nettwerk Records this fall. Moving fluidly between his signature folk style and a newer, classic rock-tinged, full band sound, the album sees Theo exploring the joys and insecurities that life has to offer. Hike up your jeans, brush off your boots, crack open a beer, and enjoy the show!

***

Raised on the outskirts of a Texas city, now living in New England, Grace Gardner is pushing the boundaries of the singer/songwriter genre. While their music adopts many of the genre’s characteristics, Grace has found inspiration in their parents’ taste in 70s and 80s rock, in the folk roots of Grace’s southern upbringing, the heart of the sounds of New Orleans where Grace studied neuroscience in college, and in the lyric-forward storytelling they found themselves returning to most. Taking it one step further, producing all of their own music allows Grace to maintain a personal, authentic touch in each of their songs. Grace’s lyricism is evocative and emotional, poignantly penning about the joys and tribulations in relationships, in recovery, and in their identity — typically backdropped by thoughtful guitar and intricate production.

Grace’s inspirations are eclectic powerhouse writers from the 1970s — Carole King, Stevie Nicks, Labi Siffre, Joan Baez. As Grace started honing in on their own musical style, finding the intersection between soft rock, indie, and folk, they’ve taken even more inspiration from artists like Madison Cunningham, Adrianne Lenker, Andy Shauf, and Madi Diaz. Grace plays ten instruments and uses orchestral, brass, percussive, and software-based elements in their works. Along with being a singer, songwriter, and instrument player, Grace is also a producer and arranger.

Grace’s debut EP, Peach, was released in March 2023, featuring the viral lead single, “Deny Me.” Grace has joined artists such as Adam Melchor, Frances Forever, and Tiny Habits on their headline tours, and embarked on their first headline tour at the beginning of 2025. Grace’s sophomore EP, “Recovery Mile,” was released in February 2024, and their third project, “After Knowing,” was released at the very end of 2024.


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Chay Vicious is a rock band from Washington DC born out of heavy riffs and screaming guitar solos. The band’s constant drive to evolve shapes their ever-changing sound while staying true to their roots of authentic rock. Their live shows are loud, raw, and high energy. Be Chay. Live Vicious.


***


Bitter Luck is a rock n’ roll band bringing a unique sound to the Washington, D.C. area and beyond, modernizing the classic rock vibes of Aerosmith, Humble Pie, and Guns N’ Roses with a progressive flair inspired by Rush and Winery Dogs.



Their debut EP, “Show Your Hand”, produced by Ben Green at Ivakota Recording in Washington D.C., released October 31st, 2025 and the band's focus is now on hitting the road and bringing their music to a city near you.



The band is fronted by Ean Eschenburg's powerful, wide-ranging vocals and the virtuosic versatility of guitarist Andrei Wells. Rounding out the rhythm section is the biting bass playing of Will Gies and drummer Eric Levy's hard-hitting grooves.


***


Velvet Divide is a rising Alt-Rock force out of Washington DC, blending raw emotion with razor-sharp hooks and blazing guitar riffs. Following the release of their debut single “Unspoken,” which led to the title of Best Rock Song at the Washington DC Wammie Music Awards, the band is quickly carving out a name as one of the most exciting new acts in the region.


Thriving on controlled chaos, and high-energy performances, their music captures the tension between vulnerability and defiance—delivering heartfelt aggression through thorn laced anthems. The result is a sound that hits hard, lingers long, and mirrors the adrenaline of their live shows.
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  string(1979) "The-Re-Up Podcast + Headnod Ent are bringing all sides of the DC Underground Electronic Music scene (Bass Music, Club, UKG, Techno, House, and Club) together to create a memorable night of Uptempo, Dancable, and experimental music. All curated by Amal from the internationally touring DC based trio, Black Rave Culture under his label Hochi Runs.

We've got Open Decks to start off the night Submit a mix HERE -> https://forms.gle/iYRxkxw82EtungdY8

Hochi Runs - Hochi Runs is a DMV based independent label and platform rooted in Washington, D.C., focused on forward thinking club music and community driven releases. Blurring the line between label and collective, it champions emerging artists and cultivates a distinct, evolving sound.

Amal is a DC based artist, producer, and DJ, founder of Hochi Runs and one third of Black Rave Culture. His work moves fluidly across club music, blending high energy rhythms with an intuitive, performance driven approach. As both a solo artist and curator, he plays a central role in shaping the label’s identity and creative direction.

Taylor Spenxer is an Atlanta born, DC based DJ and producer, and a defining voice in the future of Hochi Runs. Blending her Atlanta upbringing with a modern club sensibility, she delivers high energy, genre blurring sets and productions, highlighted by her well received debut EP TAYBAND$$$$.

Hunch is a Maryland-based producer and a key voice within the Hochi Runs orbit, known for a prolific output that spans SoundCloud, Bandcamp, and Instagram. His ongoing r/usb series showcases a raw, fast moving approach to club production, while his breakout EP Second Nature and viral single “Her Majesty” with Baltimore heavyweight Tromac cement his momentum. Blending consistency with experimentation, Hunch continues to build a catalog that feels both immediate and forward thinking."
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Jeff Draco is a D.C.-based indie-pop artist known for dreamy, nostalgia-laced songwriting wrapped in lush, shimmering production. In 2026, he returns with “EXCESS,” (Feb 6th).



Draco sharpened his vision on 2024’s Attitude (released September 13), a focused evolution of jangly guitars, ethereal synths, and candid storytelling—mixed and mastered by Record of the Year GRAMMY-winning engineer Patrick Kehrier (Alex Warren, Dua Lipa). Notion noted Draco “shines with introspective lyricism and lush production,” while Earmilk called the project his “boldest chapter yet.” The EP arrived after a run of fan-favorite releases, including the indie cult classic “Dreamgirl,” a staple in Draco’s catalog that helped define the romantic, restless glow at the center of his sound.



Attitude followed his 2022 EP Freezing in Hollywood and two widely praised 2023 singles: “Letters,” which premiered during his lauded 9:30 Club debut performance, and “Never Gonna Be The Same,” released alongside an eight-date headlining tour. As “one of D.C.’s most popular indie-pop artists” (Washington City Paper), Draco is “on track to become the next household name” (The Luna Collective). With momentum building around his live performances, Draco continues to deliver indie pop that captures both the introspective and carefree spirit of the genre with a voice that feels immediate and unmistakably his.



***



Night Hawk is an American indie rock band from Brunswick, Maine, now based in Washington, D.C.



Originally a songwriting vehicle for Colter Adams (Indigo Boulevard) and Peyton Semjen, the project has evolved into an acclaimed live act, earning a devoted following for its delicate guitar work, enchanting harmonies, and clear-eyed lyricism.



Night Hawk’s music is defined by stark geometry and bold imagery, underpinned by crackling warmth and simmering tension. Drawing on themes of urban isolation, self-discovery amidst challenging transitions, and the catalogue of 20th century painter Edward Hopper, the band blends mellifluous violin and delicate finger-style guitar with the raw energy of barnstorming indie and alternative rock, creating a sonic palette that is as expansive as it is emotionally precise.



The band has collaborated with the Whitney Museum of Art, shared the stage with nationally touring artists including Y La Bamba, Sadurn, Lady Lamb, Dino Gala, and Dead Gowns, performed at Club Passim's iconic "campfire. festival" and BMI's Island Hopper Music Festival, and headlined sold-out shows in New York City, Boston, Washington D.C., and Portland, Maine. Their debut album, Before We Begin—engineered and produced by Adams and Colin Miller (MJ Lenderman, Wednesday, Indigo De Souza)—is now available on all platforms.



***



Housing Co. is an indie rock/pop band based out of Maryland known for their windows-down beach-side drive sensibility, packed with driving guitar and catchy songwriting. Their energetic music and live performances blend indie with alternative rock, allowing them to grow a following in and around Maryland and worldwide. Housing Co. recently released their second album, “Homecoming,” and are currently releasing new music as we speak.



Housing Co. has opened for artists such as Surfaces and Luna Shadows, performed at festivals such as “Cabin Fest” in Southern Pennsylvania, and headlined shows in Washington D.C., Baltimore, Pennsylvania, and elsewhere across the east coast.
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  string(382) "Get ready to whine yuh waist and feel the vibes at Batty Gyal - the biggest WLW Caribbean Party of DC Black Pride 🌊

Bring your flags and be ready non-stop riddims , high energy and fire DJs spinning Dancehall, Soca, Bouyon, Afrobeats and more 🎶

Grab your tickets today - don’t miss these vibes 🔥

DJ Lineup:

DJ Lady Leen

DJ Fay

Caribbean Mills

DJ Naii"
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  string(297) "Domani (Domani Uriah Harris) is an American rapper and media personality, best known as the eldest son of hip-hop icon T.I. (Clifford Harris Jr.) and LaShon Thompson. He's forging his own path in music with albums like Skydive, promoting thoughtful hip-hop."
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  string(486) "Kerosene Heights is an emo / punk band from Asheville, North Carolina. The band makes exciting songs that carry the torch of earlier emo bands with distorted twinkly guitars, shouty heart-on-sleeve lyrics, and the energy of a sweaty basement show. Their sophomore LP, Blame It On The Weather, recorded at Two Worlds Recording Studios, with Billy Mannino (Oso Oso, Ben Quad, TRSH, Macseal, etc), will be released on 8/15 via SIDEONEDUMMY records."
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  string(1885) "Chicha Libre is the first non Peruvian band to disseminate Chicha and psychedelic cumbia outside of Peru. They are mostly based in Brooklyn and just reformed in Mexico City, with an epic bill on Dia de los Muertos with Son Rompe Pera and Los Mirlos. The band always did well in Cali and still has a pretty strong following. After an 8 years hiatus, psychedelic cumbia group Chicha Libre is back with a new EP - Tequila y Aguardiente, a collaboration with Mexico’s Son Rompe Pera and Colombia’s La Sonora Mazuren - and just played its first live show for Dia de Los Muertos this past November, with Son Rompe Pera and legendary chicha band Los Mirlos - a multi-generational cumbia fest that took place at CDMX’s famed Salon Los Angeles. Chicha Libre started out in 2007 as a tribute to Peruvian pioneers but quickly evolved into an original project which MTV has cited as one of the world's preeminent Tropical Psychedelic band. Indeed, while they remain true to their Chicha roots, Chicha Libre's music quickly took a more psychedelic turn drawing from its members' alternative background. The band has proven especially popular in South America and Mexico but has also toured extensively in Europe and North America.

***

Miramar reimagines the Latin bolero and carries the torch of Bolero Beat—a genre that rose to international fame in the 1960s by blending nostalgic ballads with psychedelic rock, bossa nova, funk, jazz, and more. The sextet features the vocals of Rei Álvarez and Laura Ann Singh and is led by pianist Marlysse Simmons-Argandoña. Miramar’s members are based between Richmond, VA, and Brooklyn, NY, with ties to Puerto Rico, Chile and Brazil. The band’s name, meaning “look to the sea,” evokes the postcard-perfect seaside towns common throughout Latin America, reflecting their desire to capture the humble poetry of everyday life in music."
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  string(2791) "

An experimental pop collective based in Washington, DC, The North Country has earned a reputation for their eclectic mix of danceable indie-rock, catchy art-pop, poignant and political lyrics, and high energy shows. Fronted by songwriter and singer, Andrew Grossman, the band showcases complex arrangements, danceable rhythms, layered harmonies, and spins catchy indie pop earworms reminiscent of LCD Soundsystem, Talking Heads, David Bowie, and Arcade Fire.



The dramatic vocal accompaniments from singers Margot MacDonald and Laurel Halsey, whose voices mimic everything from ethereal priestesses to aloof robots, draw cheers from delighted crowds. The North Country’s music deals with navigating digital fatigue, heartbreak, and blistering political commentary aimed squarely at the 1%. Their new album The Future's All We Need, which the Washington City Paper calls "...11 tracks of genre-defying, danceable deliberations on 21st-century civilization and its discontents", is out now everywhere.


***

Dylan Rockwell has been fronting bands in the DC scene for almost a decade. His debut EP as a solo artist, “False Dawn”, featured reflective tunes accompanied by acoustic guitar, shimmering pedal steel, and an immaculately tasteful rhythm section. The follow up EP “The Window’s Closing (But It Still Lets In The Light)” raised the energy and the stakes significantly. Now well underway on a debut full-length, a new era debuts at Songbyrd on May 29th.

***

KINDA EVIL brews 70s-hard rock and 90s-stoner metal with an inky dash of ‘riot grrrl’ punk for searing songcraft and spellbinding shows. Appealing to listeners of The Dead Weather, Black Sabbath, Hole, and Queens of the Stone Age, KINDA EVIL severs the polarity of good and evil in a cauldron of high octane energy. Psychedelic vocals electrify tempo shifts while menacing riffs vaporize into foggy far-out ballads. Dark, potent, and bittersweet; we’re all a little evil.
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-
Comprised of vocalist Katie Ball, guitarists David Noonan (also backing vox) and Mete Kalyon, bassist Rob Clarke and drummer Shane Maguire, Just Mustard have been steadily building a reputation as one of Ireland’s most thrilling new bands – live and on record – since forming in 2016.
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The Dundalk band’s heady blend of noise, trip hop and electronic influenced music earned their debut album Wednesday huge acclaim in their native Ireland in 2018 – including a Choice Music Prize nomination for Irish Album of the Year. NME dubbed their debut “a two-toned masterpiece” and the Irish Independent described it as “a swirling atmosphere-heavy thrill-ride”. Earlier this year, the band made their first major strides internationally with the AA side ‘Frank//October’, gathering acclaim outside of Ireland; KEXP made ‘Frank’ their ‘Song Of The Day’, BBC Radio 1 named it ‘Tune Of The Week’, The FADER offered up the premiere of the song’s video and ‘October’ drew the acclaim of Stereogum.
-


This momentum carried through to live, with the band supporting Fontaines DC on their sold out UK tour, emerging as a ‘band of the weekend’ at Brighton’s Great Escape Festival – The Independent (“worth waiting for”), Dork (“unforgettable”), DIY (“a monstrous wall of sound”), Gigwise (“cinematic at every turn”) and Loud And Quiet (“distinctly fixating and eerie”) – and coming out of Primavera as one of the “12 best acts” according to NME. Just Mustard were handpicked by Robert Smith to support The Cure at Malahide Castle and their electrifying live show also earned them bookings across leading summer festivals Green Man and Electric Picnic.


They ended 2019 with 3 remixes of their track ‘Seven’, by Trick Mist, Vessel and one by themselves.
-


“Just Mustard are the real deal. The Dundalk five-piece are currently crunching their way across the UK, their electrifying live sets causing massive word of mouth hype.”- Clash
-


“A beguiling combination of smoky shoegaze and jagged, harsh noise, like Warpaint wielding a chainsaw” – Noisey


“The heavy atmospherics and stifling textures of the Dundalk group’s strong first album Wednesday make being young sound like chaos and disorder.” – The Guardian
-
[embedyt] https://www.youtube.com/watch?v=1vM2DMmsekE[/embedyt]
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New York-based musician Margaret Sohn – aka Miss Grit (they/she) – is a bold experimentalist and architect of sculptural texture. They’re known for deftly moving between analogue and digital, guitar and synths, and creating an immersive cosmos of sound with futuristic frameworks for their searching introspection. On their acclaimed 2023 debut, Follow The Cyborg, they built a fluid future beyond the gender and genre binaries, where a non-human machine goes in pursuit of liberation. For this year’s follow up, however, Sohn has powered down the android and turned the search inward.

Under My Umbrella lifts the lid on the Korean-American artist’s internal world, lasering in on the anxieties and heartbreak of the past two years. The title is a nod to the iconic Rihanna song and embraces Sohn “letting people in more on this record and trying not to shy away from that. The cyborg is shutting down – I’m letting it all out.”

The result is as immersive and expansive as it is intimate. Under My Umbrella channels the noirish atmosphere of classic trip-hop bands, while adding a hefty dose of maximalism and a dream-pop sensibility. Storming opener ‘Tourist Mind’ signals this stunning gear shift, a magnificent techno stomper with stirring strings, smacking drums and hazy atmosphere. On it, Sohn embraces the power and intimacy of self-reliance and solitude, singing “I’ve never wanted to be so alone”. The album pinpoints the grey area between fragility and darkness, ethereal lightness and brooding, murky undertow, while packing a hefty punch.


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  string(2810) "“The ocean does not care about you at all,” declares Rachel Bobbitt. “That’s what makes something truly awesome—it could and will exist, with or without you.”

The ocean looms, uncaring yet vital, conceptually and actually on Bobbitt’s debut full-length LP, Swimming Towards the Sand. Raised in the windswept Annapolis Valley of Nova Scotia, Bobbitt roots herself in the memories and milestones of home more than a decade after her voice first found an audience through the lens of internet virality. Growing up in a musical household, where her mom’s side hosted kitchen fiddle parties, Bobbitt was surrounded by music from the beginning. At just 16 years old, she’d amassed a large Vine following, performing covers and originals to an audience of 400,000 strong, leading to Shorty Award nominations and being crowned by Buzzfeed as one of “13 Amazing Singers You Should Follow On Vine.” She now looks back at that time with nuance, feeling both reinforced in her abilities by the response and, at the same time, overwhelmed by the onslaught of opinions—opinions on her career, appearance, voice, image—at an age when she was still figuring out what those things meant for herself.

A dozen years later, after studying Jazz and Vocal Pedagogy at the renowned Humber College, learning the rules of the road, and navigating the music industry from her home base in Toronto, Bobbitt arrives at Swimming Towards the Sand with an unwavering sense of purpose. It’s an album that revisits her roots with the clarity of perspective, the wisdom of experience, and the lessons of resilience that can only come with time. It looks back with an eye both clear and nostalgic and reflects her memories via sharply contemporary music.

***

For Lia Pappas-Kemps, expressing herself through art has always been second nature. This is evident in the confident, natural presence the Toronto-born singer brings every time she steps on stage, stemming all the way back to the beginning of her career in music. In 2021 and 2022, she launched her music career through a series of singles, including the grunge-inflected “Jinx” and the gorgeous, swooning ballads “Sad in Toronto” and “Object at Best". In her emotionally unsparing, sensuous and critically acclaimed debut EP, Gleam, her intricate sound comes across, demonstrating influences from throwback alt-rock to ’70s troubadours to modern indie rock but never truly resembling anyone but herself. With each release she continues to trace her progress while finding her songwriting voice. But nothing about her music is underdeveloped. Instead, every new track plots a crystalline moment in an engaging coming-of-age story—one that will feel compelling for anyone for whom desire has felt as heavy as the weight of the world."
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  string(441) "Mars Arts D.C. Concert Series at Songbyrd

Before They Were Stars: A Tribute to Background Vocalists

performed by Puddin’ Vocals

Wednesday, June 3, 2026, 8:00 p.m.

Songbyrd Music House

Before They Were Stars celebrates iconic artists who began as background vocalists, highlighting the artistry, discipline, and influence of BGVs on popular music. This show honors the voices behind the voices—told by background vocalists."
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  string(569) "UNDERGROUND LORD$

A night of raw bars, heavy energy, and real underground hip-hop.

With DC’s own Paco Panama and Ankhlejohn leading the bill, Underground Lord$ brings together some of the heaviest voices in the DMV rap scene for a night rooted in real culture. Joined by Nast B, Davon & 6KYae (Goodfellas), and LBE Hunt, the lineup promises gritty lyricism, raw presence, and nonstop energy all night long.

No gimmicks. No watered-down sound. Just real music, real artists, and a real crowd. Underground Lord$ is where the underground takes center stage."
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If We Could, Would We is the latest effort from Brooklyn-based duo Gracie and Rachel (Gracie Coates and Rachel Ruggles), who have become known for their innovative brand of elevated indie-pop, complete with baroque string work and piercingly spare song structures. After releasing their self-titled debut to critical acclaim in 2017, Gracie and Rachel have been seen on stages opening for Ani DiFranco, Tori Amos, Julien Baker, Lucy Dacus, and others. They have performed two NPR Tiny Desk Concerts and been praised by the outlet to “mix pop and classical in stark, infectious ways and make unforgettable, surprising music.” Their 2025 single “WTF” earned praise from The Line of Best Fit who raved, “Gracie and Rachel Deliver Folk-Pop for the Future on “WTF,”’” and Rolling Stone which named it a “Song You Need To Know.”

The most personal and daring album of their career thus far, If We Could, Would We asks important questions about potential regret and openness, ultimately concluding that the only way out is through. It also finds Gracie and Rachel sharing space again after coming to a crossroads in their personal and professional lives. After the release of their 2023 EP Nowhere Now Here, Gracie spent part of the next year working on solo material, a journey that eventually led her back to Rachel, who was working through the end of a long-term relationship.

Even as their paths diverged, Gracie and Rachel always found their way back to each other. Once reunited, they pushed themselves to keep growing. Sonically, If We Could, Would We expands their instrumentation, with Rachel incorporating the guitar on record for the first time and adding in a diverse array of other instruments and textures across tracks. Meanwhile, as a piece of art, If We Could, Would We symbolizes the duo’s ebbs and poses the existential question many ponder; If they could go back and do it all over again, knowing what they do now, would they? Rachel says, “We may never know, but here we are. I still have hope and belief. I just want to keep telling the story.”


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  string(1660) "Domestic Terror Productions and Goomba Productions Present:

Summer Reign 2026 is here! One big day to start of the season. The summer edition of the Reign of Terror Fest is back at Songbyrd DC with the mighty Death Before Dishonor topping off the bill! This line up is stacked with some of our favorite bands from all over Virginia, Maryland, DC and Pennsylvania! Spread the word!

Bands:

Death Before Dishonor (boston hardcore)

https://www.instagram.com/deathbeforedishonorbhc/

Gasket (md hardcore)

https://www.instagram.com/antigasket/

Junkhead (va hardcore)

https://www.instagram.com/junkhead.hc/

Controller (pa hardcore)

https://www.instagram.com/controller_lv/

Mortal Ground (va hardcore)

https://www.instagram.com/mortalground/

Fit Check (rva hardcore)

https://www.instagram.com/fitcheckhc/

Fade to Nothing (dc hardcore)

https://www.instagram.com/fadetonothinghc/"
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  string(454) "Over Easy is back with our signature Sunday afternoon party to kick off Pride month!

Soundtracked by DJs Mothershiester, Tropigal, and Clamazon, we invite you to join us on the dance floor, or meet us on the open-air patio, for a cute, queer celebration. And stay a little later this year—we’re keeping the party going from 2 to 7 p.m. As always, Over Easy remains a trans-positive, all-gender-inclusive, anti-racist, pro-consensual-makeout space."
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Hey, you.



Sponges of Experience was written over the 4-day weekend of Memorial Day, 2025. It was a challenge to myself: when I was a wee teenager, I heard Elvis Costello mention on some talk show (I’ve long forgotten which) that he could write an album over a weekend. It was an offhand remark, a throwaway line as he was promoting something or other. As I had already become a prolific writer myself, I was curious if I could pull off something of the sort.



Fast forward to 35-odd years later, I decided to give it a shot. I offered myself FOUR days rather than just the two, and perhaps that’s a cheat, but since it was Memorial Day weekend I decided to allow it. As it turned out, I absolutely needed those extra two days.



The other rules were simple: I just needed to write a complete composition and completed lyrics for enough songs to fill an album. At least… eight songs, though I would’ve been disappointed with just eight. I kept pushing myself to write as much as possible, as I wanted to have enough songs to be able to weed out one or two of the crappier contributions. All of the additional arrangements you hear were written and recorded after the fact, casually over the remaining year, no rush nor rules on those parameters.



I have a nice little community online, a Patreon group called, “Tim Kasher’s home phone”, that I shared the weekend challenge with. They were incredibly supportive, helping keep me to task as I didn’t want to let them (nor I) down. As soon as I finished a song I went live online to perform it. ‘Receipts’, you might say.



I started strong: four songs the first day and four songs the second day. Excellent, after two days I had already hit that minimum quota of eight songs! But as mentioned, I wanted more; more songs to be able to pick and choose from.



The third day was rough. Unsurprisingly, I hit a wall and had to take the bulk of the day off as I simply could not muster any inspiration. I managed to eke out one more song that day. But the fourth and final day bore more fruit, including The Collapse and Don’t Hang Up, a couple of favorites. What a ride.



Spurred on by many of the kind folk in the Patreon group, I decided not to cut any songs from the album and let it be released as a complete artifact of the weekend. I can’t claim to love all these songs, but I do love some of them, and certainly, all of them are endearing to me.


This funny little trifle of a weekend project wound up meaning a lot to me. I love music and songwriting in a way I don’t think I’ll ever quite be able to explain, though I’m sure I’ll continue to try, and will continue to express this adoration for the rest of my days. I feel so incredibly thankful for being a songwriter, and I encourage all of you to become songwriters as well. They don’t gotta be good songs, it’s enough that they’re simply yours. With sincerity, Tim.
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  string(2335) "Greg Mendez has always been an economical songwriter – he wields restraint and simplicity as tools, the core of his songs sharpened into simple, cutting truths. On Beauty Land, his new album and debut LP for Dead Oceans, we’re guided by a wry but forgiving narrator, an underdog who has learned to balance cynicism and faith. These songs are self-effacing without self-pity, carefully constructed altars of imperfection channeled through pop melodies, shimmering but urgent guitars, and a voice that reaches for choir boy innocence.

The bulk of Beauty Land was recorded directly to tape, almost entirely alone in Mendez’s makeshift home studio in Philadelphia - a small room with no natural light. It’s his first full length since his unexpected self-titled breakthrough in 2023, which was a slow burn success following 15 years of writing and recording music in relative obscurity between Philly and New York. Beauty Land picks up where we left off three years ago – plumbing the depths of grief, love, and addiction – but its intense, quiet clarity shows Mendez at his songwriting best.

Parts of Beauty Land feel like a lucid dream, dented characters carve their way through a world that’s cartoonish and warped – the broken-clock march of “I Wanna Feel Pretty,” the chiming toy piano on “Gentle Love.” “Mary / Dreaming” begins as a sparse, finger-picked lament before cutting abruptly to a deflated, Beach-Boys-but-make-it-fucked-up resolution that brings both melancholy and joy; a sense that all things can be true at once. None of the 14 tracks here break three minutes, but they tell stories that span lifetimes.

Death floats through the record, whether it appears as a memory or a threat. Everything feels precarious. There’s a fragility to how these songs are built: the way the funeral organ hits alongside the morphine on “Looking Out Your Window,” the devastating simplicity of “Frog,” with its slowed-down keyboard and bare refrain: “Please forgive me for my faults.” Beauty Land feels, at times, impossibly lonely. Which makes it really count when it doesn’t – like when Mendez sings in harmony with his wife and bandmate, Veronica near the end of “So Mean” and it feels like a cherished reunion, a fleeting moment of redemption, a temporary parting of the seas."
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  string(1454) "Pride Month Fundraiser for SMYAL! SMYAL supports and empowers LGBTQ+ youth. They actively work to create a world where queer and trans youth thrive through affirming programs and services designed to develop critical life skills, build community, and foster a sense of belonging.

***

Mac N’ Toss is a DC-based riot grrrl band of 20-somethings mad about the world and ready to share our rage through music. Our genre-bending originals speak to the femme and queer experience through the sounds of punk, metal and more. We are united together through intersectional feminist activism and protest. We have three singles released: ‘Feminine Reverie’, ‘Rabid’, and ‘Good Try’ (along with a music video)! Debut album coming soon.

shame shame is a middle of nowhere based psychedelic grunge band. each member brings a unique element to the table mixing elements of funk, psychedelic rock, and classic rock for a entertaining and electric performance.

Pinky Lemon is made up of friends from both Philadelphia and D.C. With four original members plus their recently joined guitarist, Penny Meth, the band shares the wealth of genres and influential artists that shaped them. “We like indie rock, but we also love dance pop, and we also love really emo stuff and we also love shoegaze,” says Cline, singer and guitarist of the group. “I think the inspiration for our sound was like, ‘How can we really cover all this ground?’”"
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  string(895) "Up-and-comer Ally Nicholas is bound to make you a fan of rock and all that the genre has to offer. Born in Chicago, her journey has not been one without bumps in the road. Early adolescence proved to be tumultuous, and Nicholas found no reprieve in her teenage years. Turning to music for comfort, songwriting quickly became the only way to make sense of the world happening around her. Characterized by a seasoned, innate darkness and drawing from subgenres like grunge, indie and metal, Ally soon found hope and direction in pursuing her artistry.

After dropping out of college she found a home at a Manhattan-based studio, Engine Room Audio. From there she worked toward her goal of becoming a recording artist. With only a handful singles out, Ally has amassed over twenty million streams across platforms and has received recognition by publications like One's To Watch and Euphoria Mag."
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When Sunny War (a.k.a. Sydney Ward) moved into her late father’s house in Chattanooga, she thought the place was haunted. “I spent the winter seeing things and hearing things,” she says. “The house is 100 years old, and I was in there by myself. I could hear people walking around and talking, but when I jumped out of bed with my machete, there was nobody there. I assumed it was my dad, and I started writing about the ghosts that I was living with.” One of those songs, simply titled “Ghosts,” anchors her latest album, Armageddon in a Summer Dress. A kind of slithering blues, driven by her spidery guitarwork and haunted by disembodied voices dopplering in and out as the song fades, it’s a wise-yet-confused meditation on what it means to live with your memories of the dead and the lost.



Sunny’s house wasn’t haunted, at least not the way she initially suspected. “Something broke and I had to fix it, so I called the gas company even though I didn’t have the money. The guy discovered major gas leaks all over the house. I thought I was losing my mind, but I was just hallucinating from the gas. After I got that fixed, I never saw or heard another ghost.” That’s not to say they weren’t there, just that she could no longer detect them and no longer had to sleep with a giant knife next to her bed. But Armageddon is rooted in the disorientation of those hallucinations. In songs that are deeply incisive and keenly imaginative, Sunny ponders the act of crossing boundaries—between worlds, between musical genres, summoning the ghosts of the people she lost, the people she once was, and the people she was not allowed to be. “Just how to hang on to the ones we let go,” she sings on “Ghosts.” “They’ll be down in the ground when you need them most and now somehow you believe in ghosts.”



Following the release of her 2022 breakthrough, Anarchist Gospel, Sunny spent less and less time at her not-haunted house and more and more time on the road, opening for Bonnie Raitt, Mitski, Iron & Wine, and Sarah Shook & the Disarmers, among others.



When she was back in Chattanooga, she did her best to stay busy, lest she lapse back into the drinking that almost killed her. “If I’m home and not touring, either I’m going to play music all day or I’m going to get drunk. It’s really one or the other. I’m just obsessively trying to work on something so that I’m making healthier decisions that day.”
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  string(5345) "It’s tempting to say that you’ve never heard music quite like what Philadelphia group Cold Court is doing on their debut EP, but that’s not quite right. You’ve probably heard a lot of music that sounds like this. You just haven’t heard it all at once. Sideways rhythms, approximations of salsa, peg-legged shuffles, grungy little garage rock riffs, organ runs from the feathered-hair era, The Mars Volta, that proggy one-hit wonders Focus, Death Grips, glitchy Aphex Twin filters, radio emo, splashy jazz drums à la Elvin Jones, uncomfortable time signatures, dubstep-style rhythmic interventions. And that’s just in the first song.

Cold Court is the project of siblings Mini Serrano (she/her) and Jojo Lavina-Maldonado (he/him). Since making their debut in the Philly DIY scene as no-wave noisemakers, the co-songwriters/producers developed a remarkably idiosyncratic style that flaunts its influences and demolishes even the most open-minded listener’s hierarchies of taste. Think Bitches Brew shouldn’t be within a hundred miles of Justice? Think again. Their debut EP \ (^_^) / (aka: HANDS UP) can feel a bit like tumbling through your internet service provider’s coaxial cable, an overwhelming spree of information and input that’s held together by tight, compact energy and the siblings’ confidence in their own taste. As Jojo reflects, “We grew up on Skrillex and 100 Gecs. It’s hard for me to think that something like Skrillex could be less valuable or less intellectual than something like Talking Heads. For me, it was intentional to emphasize the contradictions that exist in genres.”

This approach makes HANDS UP feel hyperkinetic, as if it’s just sprung from a compact enclosure. Their precision and intensity have made them one of Philadelphia’s most exciting young bands and landed them opening slots with musically likeminded bands such as black midi, Geese, and Deerhoof. The songs here have been carefully assembled, the product of two siblings trying to one-up each other while emailing demos and back and forth. “Somehow we would surprise each other every time we would have a new mix,” notes Mini. “I would approach it like I was trying to impress Jojo, or trying to do something that would surprise him.” You can hear this all over the EP, in the way that the songs seem to constantly be cresting, build after build of melody and rhythm powered by scribbling guitar and percussion that snaps like a drum corps on a dead sprint.

“When we’re together, we’re just chasing whatever feels good,” explains Jojo. “Mini and I always know when there’s something there, even if it’s something that no one else would understand.” Their willingness to follow their own weird impulses was nurtured by the bands they were seeing when Jojo left their New Jersey home to go to college at Drexel University in Philadelphia. They went to house shows and saw bands with unusual instrumentation, people with weird hair and fucked-up clothes. “It changed my life, the way that it was a place that you could be yourself—you could be anything,” reflects Mini. “We knew as long as we fully show up as ourselves, we know that people will get into it. We had a violinist; we had a percussion player; we had a synth player and saxophonist.”

While their sound has evolved since those heady early days, Cold Court’s ethos centers around setting expectations of who they are and what they might do, then defying them. Maybe it has something to do with identity and the ways some might assume a band with two people of color–including a trans singer in Mini–should sound. But it has more to do with their artistic identity and the ways in which growing up in the 21st century, with the entirety of music history ready to be absorbed, can shape the taste and personality of anyone curious enough to lose themselves within it from an early age.

Opener “Nina” might acclimate you to the idea that this EP is maximalist in the extreme, but its particular formulation of that maximalism gives way almost immediately. In “Burn,” Mini buries her voice in gravelly digital noise while the band curls and twists the circuit-bent verses into a dance-punk chorus ripped straight from the Lower East Side ca. 2002. The scuds and drones of “Cola” nod toward the warped industrial pop of HEALTH, while “Eighty1” feels like a mid-2010s indie pop or retro funk hit, at least until you notice the guitar that seems to be playing both afrobeat and post-punk at the same time while pulling the song forward. You enter HANDS UP thinking Cold Court are a prog-influenced noise band; you leave it thinking they might have a Top 40 hit in them. What matters to Jojo and Mini is that they’re both of these things and much more all at once.

“We go through these spaces so quickly, and we’re very obsessive people,” says Mini. “When we like something we love hyping it up like it’s the best thing ever.” Ultimately, what makes Cold Court’s music hold together is the logic of enthusiasm, the sense you can feel of the band juicing themselves up as they work through idea after idea. “When we’re together, it’s like we’re just chasing whatever feels good,” Jojo says. What you hear on HANDS UP is the rush as they sprint by in search of even more."
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Derya Yıldırım is singing the song her grandmother used to sing — an old Anatolian folk standard called “Hop Bico”, which roughly translates as ”Hop Around Bico”. But the version Derya’s grandmother sang was different — she’d put her own slant on it. And Derya’s is different still — brought into the 21st century with a slow psychedelic twist and her own hypnotic vocals. This is by design. Derya insists that if you’re going to play an old folk song then you have to contribute something new, “otherwise you might as well just put the old record on.”



Born in Hamburg, Germany to Turkish parents, she grew up influenced by her family’s Anatolian background and the myriad of cultures in the city. Derya’s musical roots started at home playing folk music with family members. Her father pushed her to learn various instruments, beginning with the bağlama, a seven stringed Turkish lute. Then she picked up the guitar, piano, and saxophone.



Although she is a multi-instrumentalist, Derya always felt drawn to the sound of the bağlama - “there’s just something very magical about it”. With her band Grup Şimşek’s forthcoming album Yarın Yoksa, which translates to If There’s No Tomorrow, Derya continues her journey revitalizing Anatolian folk music and instrumentation by infusing timeless melodies with a modern psychedelic flair.



Ten years ago, while participating in a community theater project, Derya met French musicians Graham Mushnik and Antonin Voyant from Catapulte Records and formed the band Grup Şimşek with Helen Wells, a drummer from Cape Town, South Africa joining in 2021. While the band is truly international, they eschew the term ‘world music’, preferring instead ‘outernational’ which they say suggests a sound that’s more inclusive or “beyond borders.” DY&GS embody what defines Anatolian folk music — “You need a groove and a melody, and everything around it is free.” It’s this ethos that guides the band’s songwriting and the way they take on Anatolian folk standards. “I believe the melodies shouldn't be changed because we are responsible to preserve music in the correct way. Our versions respect the roots. It’s the same lyrics and melody, but it has a different soul maybe.” While it’s easy to think of folk music as a music of the past, she insists it’s just as important today. “Some of these poems were written hundreds of years ago but they’re still relevant. This music is so important because it remains the voice of the people, the minority, and the oppressed.”



After self-producing multiple albums, they signed with New York’s Big Crown Records in 2024 and teamed up with Grammy-nominated producer Leon Michels (El Michels Affair) for Yarın Yoksa. The new album embodies their balance of preservation and innovation across nine original compositions and three traditional folk songs. It is a record that will enchant any listener regardless of language barrier with Derya’s passion and authenticity front and center and music too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait til you experience them play it live
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  string(1138) "Playboy Manbaby is not a band. Playboy Manbaby is a corporation.

Finally someone who can give a voice to a group that has never been treated fairly. Corporations. After years of touring the country and building a name as an electrifying and energetic live band, Playboy Manbaby has given up on being a band. From this point forward Playboy Manbaby will be touring the country giving electrifying and energetic motivational team building seminars. Increase your net worth TODAY!

Playboy Manbaby is excited to announce that VIOLENCE is coming JANUARY 6th!

VIOLENCE is the brand new full length musical product being released to consumers January 6th 2026. The last full length album from Playboy Manbaby (the band) was released in 2018. But now that Playboy Manbaby is a corporation, they have learned from their previous mistakes and enlisted Zac Carper from FIDLAR to produce a full length musical product that will excite both shareholders and members of the board alike.

We at The Playboy Manbaby Corporation could not be more excited for VIOLENCE. Because whether you like it or not VIOLENCE will be everywhere January 6th!"
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  string(1568) "Ashlee White is a creative from Woodbridge, VA. Her journey began with performing poetry in local churches, this quickly transitioned to Christian based freestyles on social media and finally trickled down to her debut album Chameleon in 2021; an album centered around a radio station where callers tell of their love experiences. Ashlee addresses her own dealings with lust, idolization, intimacy and infatuation.

She has since then been featured in Nowre Magazine, Highsnobiety Magazine, the cover of Leche Magazine, Tedx (Washington, DC), and more. She is the Co-owner of the N’TUNE Collective; designed to develop and manage artists.

Back to her roots, she is finding her footing in Christian RNB, alongside the newest group in Virginia, FRDM, her mission is to keep on telling the truth and her hope is that her vulnerability and imperfect testimony will be refreshing and encourage anyone willing to listen.

***

Thomas Austin, Starkville, MS native, is an artist redefining what success looks like by proving you don’t have to glorify violence, degrade women, or dilute your faith to succeed in music. Thomas Austin is committed to popularizing a lane that’s often overlooked which is clean, inspirational hip-hop that feels authentic, not surface-level. Coming from a state often overlooked in mainstream hip-hop conversations, Thomas is determined to prove that true talent lives in Mississippi and that the South definitely has something meaningful to say.

In the words of Thomas Austin: “This ain’t music for ears, it’s a feel. “"
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  string(2411) "Neoni is the powerhouse alt-pop sister duo whose cinematic sound blends dark pop, rock, and electronic intensity. Known for their anthemic hooks, high-impact production, and fearless lyricism, the duo has built a devoted global fanbase drawn to their themes of resilience, rebellion, and transformation.

Their rise began in 2021 with the release of their debut EP Wars in a Wonderland, recorded during quarantine and packed with high-energy tracks like “Darkside,” which has since surpassed 300 million streams on Spotify alone. The project quickly gained momentum across streaming platforms while also expanding their presence in film, TV, and gaming through sync placements including How to Get Away With Murder, Love Island, and ESL’s 2020 CSGO Katowice tournament theme “Conquer.”

In 2022, Neoni followed with the EP All My Favorite Monsters, delivering fan favorites such as “SANCTUARY” and “I’M NOT SORRY,” further cementing their reputation for pairing cinematic production with emotionally charged storytelling.

Their 2024 full-length album The Death of Daisies marked a bold evolution in both sound and narrative. The record fused haunting melodies with explosive choruses and set the stage for their first headline run — The Death of Daisies: The Eulogy Tour — in spring 2025. Spanning eight North American cities including Dallas, Phoenix, Los Angeles, Denver, Chicago, Toronto, and New York, the tour showcased the duo’s raw energy and undeniable connection with fans.

Now entering their most ambitious chapter yet, Neoni return with their new album How To Kill A Fairytale, a project that dismantles the myths of perfect endings and rewrites them with grit, survival, and self-empowerment. The record expands the duo’s sonic world, blending massive pop hooks with gritty rock textures and immersive visuals.

To celebrate the release, Neoni will embark on a 20-date headline run across North America, bringing their explosive live show to fans in cities across the U.S. and Canada. Known for performances that feel as theatrical and emotionally charged as their music, the tour marks the duo’s biggest live chapter yet.

With billions of streams, a growing global audience, and a fearless artistic vision, Neoni continues to carve out a unique space in the alt-pop world — one where fairytales are rewritten and you get to decide how your story ends."
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Unregistered Nurse Booking x Songbyrd Present
Prewn
June 24, 2026

If Izzy Hagerup’s new album, System, feels immediately uncompromising it’s because it was never really designed for public consumption. Released under her Prewn moniker, Hagerup describes the album as a “private journal made public.” The arresting nine songs on System chronicle a deeply personal journey through the darkness of depression, but one that’s always undercut by moments of humor as well as selfishness and self-reflection–a push-and-pull that feels wholly distinctive.

Following on Prewn’s 2023’s debut album Through The Window–a collection of songs that Pitchfork hailed as a “striking example of Hagerup’s ability to sit with ugliness”–System finds her crawling even deeper into the dense folds of the night. Hagerup alone wrote and recorded the album, mostly in long stretches of bedroom sessions that found her working through the night until she began to hear birdsong. System reckons with a lot of the thoughts that tend to needle in during those small hours: guilt, shame, and self-absorption, as well as the societal pressures that sit at the root of such things.

“This new album comes from a much more self-centered place, the stagnant aftermath of intensity and emotion,” Hagerup says. “I think it came from a period of time that was more numb, hollow, and confused. More disassociated from heartfelt pain, more entrenched in a frustrating and aimless discomfort.”

That discomfort manifests itself in various ways throughout System. Each of the songs were a result of random inspiration, and find Hagerup working out of a desperation to record the pieces before the inspiration slipped through her fingers. “I feel in a constant state of writer’s block but I just put myself in the studio for hours and hours, sometimes in agony and desperation for any muse at all,” she explains. “Every once in a blue moon, a nugget gets thrown my way and I run as far as I can with it.”

The result is a wildly unique album that carries a sense of restlessness and unease in its bones, but also pulls the curtain back on what it takes and what it means to fully explore the self through song. “It seems that misery’s my best friend. I know it’ll come to me again and again…” Hagerup sings on the title track. Written while feeling acutely overwhelmed in a sea of people, the song touches upon everything from the mechanisms of the music industry, to cycles of depression, to the seemingly never-ending battle to escape the clutches of the patriarchy and capitalism. “When I wrote it I was supposed to be present and alive and gracious and happy. But somehow I couldn’t escape my own internal fears and depression that can follow me wherever I go,” she says.

Pulling together a number of the System’s key sentiments, “Dirty Dog” is like an intense fever dream–a song where the listener can never quite find their footing within the glitchy, malaise-like backdrop of its scorched instrumentation. Hagerup says. “I think a large continuity of the songs lies in the amateur quality of them. I’m a sucker for an imperfect recording.” Such sentiments bristle throughout “Dirty Dog,” shaping it into something prickly and unilluminated in a way that feels almost radical

***
Pearl Sugar is the project of Chris Bugnacki. After years of developing their craft and performing with other artists, they have been hard at work writing, recording and performing as Pearl Sugar alongside bandmates Christie Clause & Dave Bugnacki. In her writing, Bugnacki delves deep into childhood memories and dreams to present lyrics that blur the distinction between dreamworld and reality.
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Every band worth its salt has a member who worked in a record store.



In METZ, the fearless noise rock trio who released five full-length albums on Sub Pop between 2012 and 2024, it was singer and guitarist Alex Edkins. Slinging indie rock and hardcore records in his hometown record store while attending university, Edkins became an ardent student of rock ‘n’ roll; from the psychedelic 1960s to the DIY 1990s and beyond. Hoopla, the catchy, melodic second LP from Edkins’s solo project Weird Nightmare, mixes and matches these influences in fun and exhilarating combinations, displaying his sophisticated musical mind. Bursting to life with hooks and earworms, Hoopla is that one tape that never gets ejected from the car stereo, but plays on repeat, soundtracking the summer. New and nostalgic at the same time, Hoopla will perk up your ears.



Weird Nightmare’s self-produced, and decidedly lo-fi, self-titled debut was recorded at home during the pandemic and released by Sub Pop in 2022. Weird Nightmare displayed Edkins’s indie rock sensibility, with a penchant for undeniable hooks and massive sing-along choruses. His skills at writing and performing only tightened on a series of singles that followed.



On the new studio album Hoopla—co-produced with Spoon’s Jim Eno and recorded at Seth Manchester’s Machines with Magnets—Edkins expands Weird Nightmare’s dimensions even further. Gilded onto the direct emotions of his straightforward songwriting, new musical textures such as piano, bells, and castanets give these well-wrought tunes a shiny luster. It’s like a beloved indie director leveling up to their first studio feature. If Weird Nightmare’s debut was an underground crowd pleaser akin to Richard Linklater’s Slacker, then Hoopla is Edkins’s Dazed and Confused, or even better, Before Sunrise. Hoopla represents a huge leap forward in his sonic palette and emotional vulnerability.



Resplendent with sunny, guitar pop, Hoopla was produced with just the right amount of fuzz and crunch. The immediate, crisp, unfussy recording brings you right into the studio with Edkins and his rhythm section: Loel Campbell on drums and bassist Roddy Kuester. This is top-shelf power pop; these sharp jolts of adrenaline could slip into a radio rock block between The Replacements and Elvis Costello & the Attractions. Or fit just as easily on a college radio set alongside Sharp Pins, Ratboys, and Alvvays.



At its heart, this album is an optimistic, shining light in our strange time. Through Weird Nightmare, Edkins wants you to know that he is still in love with the world, and he invites the listeners of Hoopla to feel the same. Take this chance to seize a glimmer of widescreen pop magic in our used-up old world. You deserve it.

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Lowertown finally caught their breath. Over the last few years, the New York-based duo of Olivia Osby and Avsha Weinberg was teetering on the brink. From constant touring and a separation from their label to creative frustrations and an unhealthy attachment to one another, their artistic partnership and, more importantly, their friendship were on shaky ground—especially since these experiences were colored by the disorienting intensity of their late teens and early 20s. It became clear that the two had to revisit their roots.



Those roots sprung in Atlanta, Georgia, in the forests, in the soon-to-be abandoned venues, in makeshift punk communities, but their roots also strengthened somewhere else entirely: on the internet. The band grew up on Tumblr fanpages, Reddit forums, digital spaces that had not yet been corporatized. They were able to observe and take part in music, anime, and film fandoms that grew stronger in these ungoverned places. So much so, that the fandoms leapt from the virtual to the physical, bringing people together to meet at concerts, coffee shops, and conventions to discuss their obsessions and connect over shared interests. During the pandemic, they watched these spaces change, become commodified, and disappear; people no longer had these physical spaces to be solely amongst friends with shared interests where communities and fandoms could strengthen. Out of this vacuum, the Ugly Duckling Union was born.



Inspired by the conceptual creativity of bands like Gorillaz and the emphasis on the communal concert experience of Fugazi, Lowertown’s new album, fittingly titled Ugly Duckling Union, is the conceptual world of Dale the duckling protagonist and his companions as they attempt to band together to defeat LBH, a tyrannical media corporation set on separating and isolating in their pursuit of control.



Through the band’s online connection with fans, their Discord server with channels for their community to share their own art and talk to the band, and their Instagram and Youtube pages, where they have built a cult following, they have already begun to bridge the gap between the digital and physical. Lowertown shows are often giddily attended by those who have met through their web of online fandom. Ugly Duckling Union, accompanied by a conceptual story, a playable Minecraft world, a handbook, plush dolls, and drawn comics by Doctor Nowhere (Silas Orion), is creating the space to be obsessed together again.



The tumultuous beginnings are in the rearview mirror for Lowertown, as we hear in the first seconds of the opening track, “Mice Protection”, Osby’s composed exhale, a symbolic moment that sets the scene for their most thoughtful, uninhibited, catchy, and eccentric collection of songs.


Songs like “Big Thumb” epitomize just how far Lowertown has come. In an unkempt folk-jazz murmur, Weinberg slurs his words with palpable heart, while Osby’s lush vocal melodies and harmonica encircle to haunting effect. The song was written after an hour-plus jam on 12-string guitar and harmonica, and its impressionistic lyrics came from newspaper clippings. The funny, country-tinged “Worst Friend” was also the result of a playful writing style, arising from a spur-of-the-moment decision to trade bars about a Malcolm in the Middle episode, wherein a character goes to AA to make his family think he’s working on himself, despite never having a drinking problem. Then, there’s “Cover You,” a gorgeous, pastoral, and largely instrumental number with intricate fingerpicked guitar and mournful flute—a teaser of the LP’s more ambitious second half.



Lowertown are perhaps best known for their affecting musings on the melancholia of youth, always captured with biting honesty. But on Ugly Duckling Union, that anguish is funneled through a more mature, detached, and humorous lens. Weinberg describes their previous lyrics as “knee-jerk reactions,” compared to the more considered and self-aware writing of this LP. “Mice Protection” pokes fun at Osby’s tortured inability to make decisions, “Forgive Yourself” is a blunt yet compassionate meditation on shame, and “I Like You a Lot” is a rare Lowertown love song, detailing the physical sensations of infatuation.



While working on the album, Osby read a lot of Carl Jung, the famed psychologist who wrote extensively about the “shadow self,” and in a similar spirit, they describe the album’s back half as “the witch half.” It’s a more zoomed out, existential, and dreamlike Lowertown.



Ugly Duckling Union was fully written, recorded, produced, and mixed by Osby and Weinberg, and that insular, hands-on ethic is something they cherish—and has never waned. Although Lowertown are the sole caretakers of their art, their new album title is a celebration of the meaningful community they’ve built. “Our home has been the people who make us feel understood, and the music that makes us feel understood,” Osby explains. “I feel like Avsha and I have just been two misfits doing stuff together, and I feel like this music is for people like us—it’s for the misfit toys.” There’s a lot of freedom in being an outsider, and that’s ultimately what Ugly Duckling Union is about—finding and freeing yourself through community. And what could be more freeing, self-confronting, and funny than making a beautiful record with your ride-or-die, misfit-toy best friend?

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  string(1237) "Morgan St. Jean has been deemed your “favorite up-and-coming angsty, feminist, socially aware pop princess” — but it’s her electric live show that’s turning buzz into a movement. Blending explosive pop production with raw storytelling, Morgan has quickly built a reputation as a once- in-a-generation performer.

In the past few years, she’s been invited to support four major tours, including a European run with X Ambassadors. She has performed at SXSW, LA’s School Night, and the Lady Gaga x Global Citizen One World: Together At Home concert, and recently completed her debut North American headline tour — solidifying herself as a commanding live force.

Beyond the stage, Morgan is a platinum-selling songwriter and artist. She co-wrote Chappell Roan’s critically acclaimed single “Casual” (produced by Dan Nigro), and her own viral feminist pop anthems — including “Not All Men” and “Do It Like A Girl” — have amassed hundreds of millions of streams while building a fiercely loyal global community.

With a growing fanbase, undeniable stage presence, and songs that feel both personal and universal, Morgan St. Jean isn’t just an artist to watch — she’s an artist to experience live."
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  string(3279) "In the sticky-floored underbelly of Washington DC, where the amps buzz louder than the city’s bullshit, SEXFACES have been brewing something gnarly. Their debut full-length, BAD VIBES OST, is a full-noise, zero-fluff slab of punked-up nihilism. Recorded and mixed in April 2024 under the ever-present shadow of Boner 4Ever by Dan Angel and produced by Ben Schurr, this 11-track dose of chaotic energy is the sound of a band that knows exactly what it’s doing — and doesn’t care if you like it or not.

SEXFACES ain’t here to play nice. Jacky Cougar (Des Demonas, Thee Lolitas) pounds the drums like they owe him money, while Sal Go (Stop Worrying & Love the Bomb, The NVs) saws through the noise with guitar that’s equal parts bratty and brutal. Hana Racecar (Tadzio, Coven Tree) layers in viola with a sneering elegance, and Neil Cobra (Teen Cobra) slings basslines that punch and swerve. Together, they churn out a sound that drags the droney madness of the Velvet Underground through the gutter, filters it through The Fall’s acerbic wit, and ties it all together with the punk attack of The Damned and the scuzzy swagger of Royal Trux.

"A Hyped to Death punk comp bleeding fuzz, a Stooges live bootleg hemorrhaging peanut butter, that one Sonic Youth cover of "I Wanna Be Your Dog" 11 times in a row, but somehow meaner and grosser each time. One of the best bands to come out of D.C. in a minute." - Lars Gotrich, Tinydesk

"a disjointed maelstrom played up to the brink of falling apart, yet glued together by lessons absorbed from the Velvets, the Stooges, and “Expressway to Yr Skull” era Sonic Youth. The tunes are chaotic, hypnotic, and cathartic; they’re also crazy, sexy, and cool." -see/saw

"SEXFACES crash into the scene with a snarling debut full of jagged riffs, scorched-earth lyrics, and glorious racket. This is a band that skips the pleasantries, grabs you by the collar, and screams in your face." - addtowantlist

***

Burden’s Landing is a band from Washington, DC, with Noah Mullinax on guitar and vocals, Christian Scott James on drums, and Jorge E. Bañales on bass. V13 Media described the band’s music as “grunge, shoegaze, and indie rock blended together into a collection that ranges from laid-back to in-your-face.”

“Formed out of a period of creative momentum and personal transition, Burden’s Landing is a Washington, DC–based band that pulls equally from punk urgency, melodic introspection, and the raw electricity of a live room.” - Music Crowns

“This is a group committed to showing up, turning on the amps, and letting the songs speak for themselves.” - Indiefferential Magazine

***

FANTAZMA was formed in 2019 by Fabio Rubiera (guitar, vocals) and Sean Gorena (drums) when they continued jamming together after the breakup of their previous band. They wanted to play heavy, energetic punk music while pushing genre boundaries to subvert expectations. The duo missed some low end, to which Gloria Aldana joined them on bass to round out their sonic character. The trio has released two EPs, ¡Candela! (2023) and ¡OYE! (2025), and a live album, Live At The Pocket (2025), while exploring different styles and influences in their songwriting."
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  string(1063) "Domestic Terror Productions Presents:

Metalcore Madness at Songbyrd! This brutal mix of deathcore heavyweights are coming to DC to throw down the heaviest riffs and breakdowns for the dancers! Cali Crabcore monsters, Ashes at Last from the Inland Empire, top off this massive bill with Slamwich, Amulet and our homies In Jest starting it off! Spread the word!

Ashes at Last (ca crabcore)

https://www.instagram.com/ashesatlast/

Slamwich (boston deathcore)

https://www.instagram.com/slamw1ch/

Amulet (ca deathcore)

https://www.instagram.com/givemetheamulet_/

In Jest (philly metalcore)

https://www.instagram.com/injest215/"
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Rugan Lewis offers a fresh perspective, blending soulful vocals, dynamic guitar work and intimate, heartfelt lyrics. Existing in a unique sonic and songwriter space that appeals to fans of The Flaming Lips, John Prine and Dr. Dog.

In April 2026, Rugan released his new album Juniper. His recorded work offers melodic harmonies, complex arrangements with rich textures—sometimes weaving in rock, psychedelic synthesizers and other surprising sounds.

\*\*\*

Imagine the voice of Sara Bareilles mixed with the honesty of Joni Mitchell and the poetic lyricism of Ani DiFranco. Rebecca Berlin fuses the storytelling of folk with jazzy chords, unique lyric and song structures, and elements of musical theater. Honest, raw, and pleasantly quirky, she is known for vulnerable storytelling and a voice that cuts through the noise.

\*\*\*

Sid Satellite & the Ripple are an Indie Rock, Psychedelic rock trio. We are based in the DMV area. We have an EP out on all music platforms. It is called 'Favorite Old Jean Jacket' which was recorded in Cue studios in Falls Church, Virginia and Mastered by TJ Lipple.

\*\*\*

Spaghetti Murphy is a DMV based, 5 piece band that specializes in spaghetti music. For those unfamiliar, this covers many genres but especially leans into indie and alternative rock. We look to connect with our audience through our raw emotion and our shared love of the musical experience.
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Thursday July 16th

u+n booking Presents

Cola
w/ PARKiNG

C.O.L.A. is sort of a self-titled album. It’s an acronym for Cost of Living Adjustment, a fitting conceptual framework for the band’s third record. Why? Because C.O.L.A. considers, among other things, socialism vs. hell. It considers: rolling the dice of life. The eerie and sweet pangs that nostalgia can provoke. This is not new territory for band members Tim Darcy, Evan Cartwright, and Ben Stidworthy. It is, in Cartwright’s words “a deepening of what we’ve been doing.” C.O.L.A. is an intricate, beautiful, and sometimes strange record. It is the band’s most refined offering. A perfection of carefully honed aesthetic impulses.

Cola, as a band, says Darcy is defined by its “tasteful minimalism.” A deep appreciation for making music that is romantic, subtle, and deceptively intense. C.O.L.A., however, is the band’s most maximalist work to date. This is a little tongue and cheek (“We were so worried,” says Cartwright, “About all the songs on this record being too different”). In practice, this maximalism means that a song like “Hedgesitting,” has both live drums and a sample drum loop. “Hedgesitting,” is a gorgeous, lush song. It’s like a deconstructed, chopped & screwed b-side from the Cure’s Disintegration. It’s also a little indebted to Sarah Records. “When you were young,” Darcy sings at the song’s start, “you came to make it.”

C.O.L.A., like everything written by the band, is inherently collaborative. The band writes everything separately, then comes together and works in the studio. Look again to “Hedgesetting,” to see this in action, which started out with chords that Darcy had sent, then the band expanded it together, with Stidworthy remixing it right before heading to the studio. This division of labor works intuitively. It is a part of the band’s DNA to say, take an arrangement Stidworthy wrote, and then have Darcy and Cartwright build upon it. Take “Favoured Over the Ride,” as an example. “I wanted to create a dusky, melancholy palette for Tim to write lyrics for,” says Stidworthy. The song starts with a lonely, dreamy guitar riff. Then there’s a crisp line of bass and it all comes into focus: “What’s on the ceiling that’s caught your gaze?” sings Darcy. It’s a moment of clarity on a record that is interested abstraction. C.O.L.A. is full of these clarifying moments: where a whole swirl of feelings become so clear that it almost hurts a little bit.

***

PORTRAiTS, the debut full-length from Kentucky-based art-rockers PARKiNG, captures this unforgiving sense of dread, unease, and mania with haunting accuracy. Its sprawling and oftentimes politically charged sound is a perfect fit for the ledge, for the cusp of collapse, and for the dreadful isolation of twenty-first-century America. Spanning ten tracks and clocking in at nearly forty-five minutes, ‘PORTRAiTS’ features pulsating post-punk explosions, haunting orchestral abstractions, and fresh takes on the last half century of art and noise rock.
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  string(1402) "Mayonnaise, based in Washington, DC, combines frenetic lyrics, Indie sleaze guitars, and emo-adjacent beats for a unique, all-original sound. Inspired by early 2000s indie classics that continue to hit two decades later, Mayonnaise is the secret ingredient for your sonic sandwich.

***

From the heart of Warren, OH, Black Wolf & the Thief brings a genre-bending storm of sound that's part soul, part rock, part groove and 100% original. With Carolyn's powerhouse vocals and poetic lyricism riding the wave of Clay's jazz-infused, aggressive piano, this duo creates a fusion like no other. Think the raw energy of The Doors and Jefferson Airplane meets the modern textures of Glass Animals and Bon Iver, all wrapped in the smooth vibes of Leon Bridges and Alicia Keys. Over the past decade, they've electrified more than 25 venues across NE Ohio, Western PA, and Western NY, including stages at Federal Frenzy (Youngstown), Millvale Music Festival (Pittsburgh), and Highland Square PorchRokr (Akron). If you haven't experienced their live show yet, now's the time.

***

Vivian Grey is a trans singer-songwriter, producer, and music educator creating sad queer music for other sad queer people. Her songs are intimate expressions of her proudly trans experience in all of its forms - love, trauma, sacrifice, and a quiet, stubborn hope. She aspires to create the saddest song ever written."
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Every universe begins with a singular point, a quiet corner where instinct speaks loudest, where existential imagination can stretch its limbs. For acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), that singularity was a hillside home in Chevy Chase Canyon, a spot nestled in Los Angeles County where time slowed, the world fell away, and Davis could create from a sense of warmth and deep attentiveness. The “canyon country” epic born of that care ties a neo-western future back to the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention—a place where Davis can explore the fragile balance of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their nexus.



The record’s musical big bang originated at the nexus of UHF Studio, where Davis and noted guitarist John Lee Shannon, co-wrote the record and co-produced alongside longtime collaborator Dan Horne. As the album’s story of an unnamed antihero navigating life in a failing world, her harp, his guitar, and their joint melodies weave a mystic depth. That’s immediately evident from the opening track “(Looking Through) Rose Colored Glasses”, a harp glissando burst functioning like a blissful wormhole to a new universe where dark Western tones come aided by Kurt G. Johnson’s pedal steel guitar and transformative harmonies from guest vocalists Madison Cunningham and Tim Heidecker. But even in this pained origin story, Davis’ glittering, opalescent voice and evocative harp find a depth of beauty.



That duality is then immediately challenged in “Nothin’s On The Radio”, where the antihero arrives in a city devoid of meaning, the dystopia of modern homogenized radio writ large. “It already feels dystopic living in a world today where radio stations are all owned by a handful of corporations, all playing the same artists. Gone are the days when the radio was a way to bring people together, to amplify the voices of freaks and weirdos from all corners of the world,” she says. “I was fortunate to grow up in the last years of the golden age of FM radio, and being able to tune into this magical world far beyond my own was a transformative experience. Hearing artists like Sheryl Crow and Vanessa Carlton coming through the car stereo is what made me want to write songs and play music in the first place.”



As the album progresses and the story continues, Davis and her compatriots explore magic and mysticism on “11:11” and the haunting darkness of “Mizmoon”. Cass McCombs wrote the latter, rattling percussion and Davis’ harp low end giving way to slippery shadows of violin. “When Cass first sent over the track, it was the coolest thing I'd ever heard,” Davis says. “The music and lyrics create such an ominous mood and I could imagine how the harp would carry the song right away.” Elsewhere, Wednesday vocalist Karly Hartzman contributes to “Junk Love”, an exploration of knowingly filling an empty space with meaningless physicality. Across Graceland Way’s, Davis’ harp masterfully powers the wide variety of soundscapes, taking on an ecstatic range of emotional color. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. “It’s all interconnected and the universe balances itself. You need the dark to see the light, and the most beauty usually happens where the two meet.”

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Day We Ran is a guitar-driven alternative rock band. The band sits in its own world of anthem rock made up of driving riffs, three-part harmonies and story-driven melodies.



Following a year supporting the likes of Sam Fender and The Kooks on their UK Arena Tour, 2026 sees the band touring North America on their debut headline tour.



With over 1 million monthly listeners on Spotify, Day We Ran’s first four songs have reached over 50 million streams thus far. The band’s first single, ‘Foaming’, has amassed over 23 million streams on Spotify alone, been featured on the No.1 hit Netflix series Outer Banks, as well as on Apple Music’s ‘Viral Alternative’ playlist.



Day We Ran has managed to capture a specific brand of atmospheric alternative rock that feels both massive and deeply personal, earning them comparisons to the greats of the genre while maintaining a modern, fresh perspective.



With a strong in person and online presence, Day We Ran has garnered a dedicated following both locally and internationally with their distinctive aesthetic, ardent fanbase and unique sonic approach.



The band will continue to the UK for another headline tour. In other territories, Day We Ran has sold out their 2026 tour across Australia and New Zealand. This tour covered the east and west coast of the country with shows in Sydney, Melbourne, Brisbane, Perth, Christchurch and Auckland.


Renowned for their engaging live shows and charismatic stage presence, Day We Ran continues to push the boundaries of the music industry with their innovative approach and unmistakable artistry.
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  string(1801) "Born in Paris and raised between Singapore, Switzerland, and Frankfurt,25-year-old artist/producer Luc Bradford, known professionally as ford., has quietly become one of the most distinctive voices in electronic music. A Grammy Award nominee with over 250 million streams, ford. has released three full-length albums, scored an award-winning Italian feature film (Amusia), played Coachella and Electric Forest, and sold out multiple headline tours.

Discovered on SoundCloud at 17 by ODESZA and signed to their Foreign Family Collective via Ninja Tune, ford. quickly carved out a sonicidentity defined by warmth, intention, and emotional depth. Now based in Utah, he continues to evolve with his new EP Music Lights Color, released March 19. The project is a return to form, shaped by years of trial, error, and rediscovery. It reflects a clear shift toward simplicity, substance, and authenticity, offering music that centers healing and emotional clarity.

ford.’s work has been championed by Billboard, KCRW, BBC Radio 1 and 6, and Double J. With a new headline tour kicking off in April, he steps into this next chapter grounded and creatively renewed.

***

Glassio is the dream-pop and indie-electronic project of Irish-Iranian songwriter-producer Sam R. Known for pairing melodic sweetness with brooding, dance-floor melancholia, his music sits at the intersection of New Wave, chamber-pop, and introspective electronica. Since debuting in New York, Glassio has become a quietly influential voice in indie electronic music, amassing over 25 million streams, collaborating with artists like Madge, French Horn Rebellion and Beauty Queen, and touring internationally with acts including Clap Your Hands Say Yeah, Nada Surf, and Electric Youth."
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  string(3514) "Amelia Day is a musical jack-of-all-trades. Standing at the intersection of folk, rock, and pop, Day blends heartfelt storytelling, raw delivery, and unforgettable melodies into music that feels both fresh and familiar — like rediscovering an old favorite. A self-described writer before anything else, her perceptive lyricism extends far beyond her 23 years, with lines reminiscent of songwriting greats like Joni Mitchell and Paul Simon.

As the Spokesman-Review notes, Day has a signature style that features “wordplay, double-meanings and rhythmic variations,” with themes ranging from journeying into adulthood to climate change. Many of Day’s songs are also shaped by her intimate relationships, where her queerness and candor take center stage. Day’s upcoming EP EGO TRIP is her most personal project yet. Lead single “Lady Los Angeles” traces the sting of betrayal after discovering infidelity, while the rest of the EP takes listeners on an intimate journey through her grieving process. “The character of ‘Lady Los Angeles’ is representative of my ex’s obsession with attention and fame at all costs and my own fear of being seduced by those same temptations,” Day explains. “It felt like she was having an affair, not only with another person, but with the often-self-aggrandizing culture of Los Angeles itself.”

Born and raised in the small town of Sumner, Washington — the self-proclaimed “Rhubarb Pie Capital of the World” — Day has been drawn to music-making since she could walk. “I had no idea what I was doing, but I had a toy ukulele and drum, and my parents had an upright piano that I would mess around on,” she recalls. “I could spend hours just playing around on the keys, making up little songs, which my piano teacher recognized and encouraged.” By middle school, Day was already writing her own songs “about myself and my (very angsty) preteen feelings.”

Once Day got to college, she began performing her originals publicly, though not without roadblocks. “I had horrible stage fright up until mid-college,” she admits. Starting with farmers markets and local restaurants, Day gradually built up the confidence and the following that would lead to sold-out shows in Seattle, Boston, and D.C., as well as festival appearances at Bumbershoot (“one of my favorite sets I’ve ever played…there was a line of people outside waiting to get in!”), Capitol Hill Block Party, Folklife Festival, and Seattle PrideFest — all on her own. “I’m proud of getting to this point as an artist completely solo,” Day says.

Day is proficient on guitar, keys, bass, and drums, often switching between instruments during her live performances. At other times, she lets the music take over — stepping away from the instruments to simply sing and dance with mic in hand. She says she aims to “create an environment of complete presence and joy, but also healthy catharsis of all the worst emotions.” As the Vanderbilt Hustler highlights, her set is “energetic, emotional and full of fun, just like all of her music." Fans often leave Day’s shows on a high, blown away by her powerhouse vocals (drawing comparisons to Brandi Carlile, Norah Jones, Alanis Morissette, and others), and charmed by the joy she exudes while onstage.

Already boasting over a million streams on a number of songs, Amelia Day continues to prove herself as both a songwriter and performer, emerging as a voice destined to resonate for years to come."
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Eternal Lance Presents A Night of Death and Violence!



Grotesqueries is a Death Metal band formed in 2020, as a solo project endeavor by Yianni Tranxidis, the sole-composer of all music & lyrics. The vision of this project was to write songs akin to his favorite death metal bands from the 80s & 90s, along with contributing his own personal voice, and lyrical theme choices. Yianni carefully curates his creative choices, with decisions that will ultimately aim for standing out. Obsessed with classic & cult horror movies, and the love for heavy metal music, Yianni decided to form this project out of the passion of his interests, and his own stories to tell. The band's debut EP "Haunted Mausoleum" (2022) & debut full-length "Vile Crematory" (2023) was followed by several tours, including shows all over the US, as well as the UK, since 2023. The band has had the pleasure of sharing the stage with bands like Dead Congregation, Ulcerate, Mortician, Hyperdontia, and many others.


***


Ninth Realm is a heavy metal death-thrash band founded in Maryland and the surrounding DMV area. Formed in 2019, the band has released six individual recordings, including a demo, two EPs, a promo tape, and a full-length album, as well as several splits and compilations with other bands. Drummer Joey Burke and lead guitarist Liam McMahon started the project while in college at the University of Maryland.


Conceptually, the band draws from Joey’s original dark fantasy world, Tythorin – a setting shaped by themes of vengeance, fate, grief, trauma, and the indomitable willpower of the human spirit. As for the sound and style of the band, Ninth Realm’s music is a mixed variety of metallic hardcore, ODSM, traditional heavy metal, and blackened thrash.


***


Lay Waste is a Virginia-based deathgrind unit blending raw grindcore velocity with hardcore density. Drawing influence from Napalm Death, Nails, and Swedish death metal abrasion, the band delivers tightly structured, politically direct material rooted in anti-authoritarian themes. Known for disciplined, high-intensity live sets, Lay Waste has built momentum across the Mid-Atlantic through consistent regional touring.


***


Flying a flag of pure blasphemy against the angels of the Heavens, Maryland’s OBLIVIATOR plays a style of blackened thrash that is relentless and highly technical. The riffs vacillate between power-chord tornadoes and tremolo-picked chainsaws, all with a healthy balance of dissonance and melody. Atop this inferno, the vocals are fierce and stabbing, belting lyrics about apocalyptic realities where Satan’s reign is absolute. Their music is an unholy hymn to war spawned at the altars of Kreator, Angelcorpse, and Merciless. The band was formed in 2024 by Garrison Wright (Devilust, Pray to be Saved) on guitar and vocals, hoping to carve their own niche in the DMV’s fertile thrash metal scene. OBLIVIATOR very quickly ascended from obscurity thanks to their razor-sharp musicianship and formidable live performances. Rounding out OBLIVIATOR’s ranks are Bileh Dougsiyeh (Torvus, Desolus) on drums and Vivek Rangarajan (Desolus, Invasive) on bass. Their debut EP “Warlike Emanations” was recorded in 2025 by Sebastian Phillips (Exhumed, Mammoth Grinder, Mortuaria) with cover art by Rok (Sadistik Exekution). Now, OBLIVIATOR’s only goal is to carry their infernal crusade across this desolate world.

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  string(741) "Domestic Terror Productions Presents

DC Punk legends THE GOONS & NYC Hardcore legends MURPHY'S LAW together on one stage!! Minneapolis punkers MENSTRUAL TRAMPS are getting it started. There is really nothing else to say about this massive line up!!

The Goons (dc punk)

https://thegoonsdc.bandcamp.com/

Murphy's Law (nyc hardcore)

https://murphyslawnyhc.com/

Menstrual Tramps (mn punk)

https://menstrualtramps.bandcamp.com/"
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Theft World is an album about stealing.



I’ve stolen a lot, and I’ve been stolen from a great deal. Nothing interesting has been taken from me though, just the things that everybody seems to have, social security number, credit cards, etc. Not long after I turned 25, while at the Lost Lake Lounge in Denver on tour supporting our last album Hex Dealer, I got a notification on my phone that I had successfully checked into a Comfort Inn & Suites in Amherst, Massachusetts. I quickly logged into my bank account only to see a long list of charges on my credit card, as well as a couple thousand dollars missing from my checking and savings. The purchases seemed fairly mundane, a lot of hotels, huge purchases at Costco and Walmart, but one stuck out. A single thirty-five dollar purchase on the website Bandcamp. My heart dropped, and when I went into Lip Critic’s Bandcamp it confirmed what I was afraid of. Whoever stole my card had bought Lip Critic’s whole discography. It made me sick. It was as if the scammer was reaching out from some abstract place into the real world, saying “I see you.”



Seven shows later on tour we were at O’Briens in Boston. The show was an especially feral and violent one and when we finished our set I ran over to the merch booth. A kid in the line caught my eye, a tall lanky white kid wearing a surgical mask and a Five Nights At Freddy’s zip hoodie with the hood on. When he finally got up to the table I asked if he knew what he wanted. I could tell by his eyes he was smiling underneath the zip-up. After a brief pause he recited my social security number to me. As much as it shook me, seeing him there in front of me felt harmless, like a little kid playing a prank on you, unable to contain their excitement and watch you realize what’s happened. I asked him if he’d talk to me alone and he instantly agreed. As soon as we got outside he excitedly admitted to stealing my information. He exclaimed that he “couldn’t believe the prize” he’d won. When I pressed him about why he had targeted me, he said because I had told him to. “You hid it well,” he kept saying, “but I figured it out.” I realized pretty quickly I was talking to someone who was not in the same world as me. He told me he was convinced that we had been leaving coded messages and patterns in our music that were all part of some massive scavenger hunt, and that he had won. In my head I was grazing through all the lyrics I ever wrote, all the songs we’d ever put out, trying to understand how someone could have come to this conclusion. The more I stayed quiet the more he filled the space with words, detailing the parts of this grand narrative and puzzle that I had supposedly made.


After a few minutes I stopped him. I told him I had no interest in going to the police, and didn’t expect to get any of my money back. I asked him if he would be willing to tell me the story in full as he saw it, what he thought I meant in the lyrics, what patterns he was picking up, and how he decoded all of my personal information from the music. He was extremely willing, and after we packed up that night, we met him at a 24-hour halal spot. All of us set up audio recordings on our phones beforehand, and about 45 minutes later he had told us everything.



None of it made any sense.



We spent the trip home from Boston listening to the recordings in the van laughing and trying to make sense of what the kid had said.


The more we listened to it the more entertaining things became, and we started to see recurring themes and characters in his rambling. He said he knew certain songs were from the perspective of “The ATM Man” and some songs took place on Earth while others were placed in “The Junk Space” and “The Grocery Store Casino.” I remember feeling a sense of jealousy that I hadn’t actually concocted this whole thing. The actual themes and ideas of the music we had made paled in comparison to this one kid's freakish interpretation of them. We got back to New York the next day, played our last show at TV Eye in Ridgewood, and the tour was over.



A week later, Connor and I were at his studio starting to lay out our next album. A bunch of demos were already done and we had been feeling super confident about it. But something felt off then. All the tracks felt too safe, even boring. We had been over the moon about them in the months before the tour but now it all just felt weak. The session was massively unproductive in terms of music, but we couldn’t stop talking about the kid's story - my scammer’s story. It dawned on me later in the night: let’s make his album. Whatever this kid thought he was hearing, let’s make that. He had given it to us all on a platter. Every detail story boarded out in the recording of our conversation.



We ended up shelving the album we had worked on in the months leading up to our headline tour and started from scratch using the recording of our conversation with the kid as our guide.



Theft World is that record.
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  string(627) "The Moonkiller Grand National Tour sold over 8,000 tickets across 24 shows — covering 12,000 miles of North American road. People flew in from overseas. Some followed the tour to two, three, four cities. It was, by any measure, a thing that happened — and that people chose to make happen.

We're doing it again. Tighter. Sexier. Musically-er... Funniest..est-er(?) than before*...

Also, Internationally**

The same people who were there last time already know. The question is whether you'll be among them this time...

*subject to interpretation, not legally binding.

**USA and Canada, this technically counts"
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*NOTE RESCHEDULED DATE*

EMM has built a reputation for creating music that showcases a woman’s unapologetic power in a world that constantly tries to diminish it. She has become a beacon of hope for girls everywhere who are searching for their inner heroine.
-


EMM’s story is not a shallow one and it’s not for the faint of heart. In many ways, from the outside looking in, it’s been a dream - a classically trained musical prodigy from a tiny Michigan town, graduating early, moving to New York City on her own as a teenager to pursue music, and making it all a reality. EMM is an accomplished musician - an award-winning classical pianist, guitarist, songwriter and producer. Not to mention, her voice and 4 octave vocal range - one that rivals the chart-topping divas of this generation.


But as a young teen, with all that creativity there was also an intense battle with shame, guilt, a chronic struggle with depression, a challenging social life, deep familial struggles, body image issues and religious and sexual trauma. So songwriting was more than a passion or a discipline in EMM’s life - it was the key to her survival.
-


She crafted her first mixtape in 2016, Burning In The Dark, about her struggle with depression and suicidal ideation. She wrote, sang, produced, performed, played, mixed, and mastered the entire project top to bottom in her tiny North Hollywood apartment.


She then performed at some of the city’s largest arenas, including the Staples Center and Dodger Stadium. She even secured features in USA Today, Medium, Earmilk, and many more press outlets.
-


Since 2018, she has built an entire superhero story and universe that translates across 3 more mixtapes - “EMERALD,” “RUBY,” and “SAPPHIRE,” with over 155 million independent streams. “BLACK DIAMOND” is her next project in that series, rolling out in 2024-2025. Her universe also includes an incredible live show, a doc, a music video short film with over 5 million views, and upcoming: a video game, an animated series and a comic. And of course, she’s built a catalog of hundreds of songs. She did all of this with no label, completely self funded through her success as a content creator.
-


In 2024, EMM released her documentary and full-length incredible concert project, GENESIS, which highlights the unique challenges of behind the scenes women in entertainment. That project has been extremely viral with the clips reaching 100 million+ views online.


In 2025, EMM partnered with The Orchard and Independent (the label) for her next album, BLACK DIAMOND. EMM called the album and visuals “a performance art piece designed to be a campy representation of the traits in women that are vilified most in society.”
-


BLACK DIAMOND was met with critical acclaim from major outlets like GALORE, ROLLING STONE, and WONDERLAND. CAGERIOT said of her accompanying tour, “EMM uses her platform to call out oppressive systems, corporate, religious, and cultural, that try to silence the vulnerable. Her music isn’t just personal. It’s political. It's a protest wrapped in an anthem... She delivers those themes through flawless choreography, voice, costume, and presence, all with the seamless precision of someone trained for this moment their whole life with unwavering heart.”
-


Like a true alchemist, EMM has turned the things that the industry and the world saw as an inconvenience- her vision, her strong opinions, her power, and her honesty - into her superpowers. And this heroine is just getting started. When you ask EMM the question,


“What would you do if you weren’t afraid?” Her answer appears to be, “Just watch.”
-
[embedyt] https://www.youtube.com/watch?v=kv9a1gJOD5g[/embedyt]
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-


When Chai Met Toast’s journey began with two early EPs—Joy of Little Things (2016) and Believe (2018), which featured their breakout track Khoj (Passing By). They followed this with their debut full- length album When We Feel Young (2021), a record that expanded their sound into indie and alternative rock. Tracks like Yellow Paper Daisy and So Beautiful, With You elevated their popularity and firmly established them as one of India’s leading Indie-English bands.
-


Renowned for their storytelling—both through music and visually striking videos—they have steadily built a vibrant YouTube community and a dedicated fanbase. Now, as they enter the release campaign of their latest album, Small Town, Big Love, Little Homes, the band embarks on a special tour across the globe - their most expansive one so far.




-
[embedyt] https://www.youtube.com/watch?v=bwUrvnSkcjg[/embedyt]
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  string(2300) "With each release, Lime Garden continue to further their reputation as ‘ones to watch’ - with a host of tips behind them from NME to The Independent, BBC 6music to KEXP, and even Johnny Marr to Hayley Williams.

Across Maybe Not Tonight, the exhilarating second album from Lime Garden (released via So Young Records), the intensity of the Brighton four-piece’s writing winds itself into bolts from the blue. The pleasures and perils of partying serve as a thematic through-line, tracking the arc of a night out where unplanned adventures hold sway, fresh impulses are inhabited feverishly, and only the rush matters.

Produced by Charlie Andrew (Wolf Alice, alt-J), with additional production from drummer Annabel Whittle, Maybe Not Tonight reflects the band’s rapid evolution. Glitchy vocal fragments, hypnotic drum lines, garage-rock guitars, detuned synths and even bongos weave together into immersive, richly detailed songs. Many began life as Whittle’s home-produced demos, drawing influence from Bon Iver, A.G. Cook, and Jim-E Stack, while pulling from a wide pool of inspirations including Magdalena Bay, The Breeders, St. Vincent, and New Order.

Maybe Not Tonight sees four young women band together to find their own conviction in unsteady circumstances, producing their most intoxicating and luminous material to date. Where their critically-acclaimed 2024 debut One More Thing bottled the live energy they built a reputation for at festivals like Glastonbury and Green Man, its follow-up expands their signature brand of “wonk-pop” upwards and outwards.

Across the record, particularly on tracks like ‘Body’, ‘Lifestyle’ and ‘All Bad Parts’, Lime Garden confront the uneasy process of trying to change personal habits and face uncomfortable truths. “Part of the ethos of the record is about addressing, rather than ignoring, all the shitty things you’ve done,” Howard explains. “You have to actually face up to yourself.”

At its core, Maybe Not Tonight is a communal outpouring: “By making this record, we’ve come back to what it felt like when we started the band. When we were 17 and thought we were the shit, and nobody could tell us different. We’ve got this fresh feeling that we deserve to be here. That’s a special thing.”"
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  string(2644) "Aaron Lee Tasjan was experiencing the worst bout of imposter syndrome of his career when he sat down and wrote Todd Snider a vulnerable email asking for advice. Tasjan, despite writing and recording some of the most astute Americana rock songs of the last decade and being nominated for a Grammy, just didn’t see a future for an independent singer, songwriter, and guitarist like himself.

Snider read Tasjan’s email and immediately replied: “I think I have some ideas. I’ll write you back tomorrow.”

The next morning, Tasjan awoke to a signature Todd Snider missive for how to move forward as an artist. It was a novel-length email that read like the battle plans for the Invasion of Normandy. Do this, Snider wrote. Then this. But never that. The specifics don’t matter — besides, that’d be giving away the secret — but Tasjan devoured his mentor’s words and took them to heart.

He began writing feverishly, unbothered by expectations and immune to any pressure to match his acclaimed albums like In the Blazes, Karma for Cheap, or his most recent, 2024’s Stellar Evolution. When he was through, Tasjan had Get Over It, Underdog, his most inspiring LP to date. Produced by Tasjan and his longtime sound engineer Mark Miller, the album is a celebration of the power of songwriting, the unbreakable bond of friendship, and the determination of the dark horse.

“I went to the ultimate oasis for a singer, songwriter, and troubadour: Todd Snider. And he said, in very Todd fashion, ‘You can find your path forward by going backwards,’” Tasjan says with a laugh. “But he was right. I set aside my ego, played shows solo without my band, and wrote a lot of songs. In that process, I found my confidence again.”

Tragically, however, he lost his mentor. Snider died shortly after Get Over It, Underdog, was finished, leaving a void in the folk-rock scene that will prove nearly impossible to fill. But Tasjan is committed to carrying on Snider’s unbridled spirit and lifting up underdogs everywhere.

Over 11 tracks, Tasjan’s new album kills sacred cows and pokes holes in the dam, while leaning hard into the idea of perseverance. In the talking-blues of “Science Friction,” he tells an abridged origin story of civilization that culminates with humankind editing itself out of its own picture. “Man made machines/putting man out of business,” he sings with a knowing wink. “Lost & Alone,” meanwhile, finds him feeling like a “stranger in this town.” It’s a compact blast of indie-rock with a sing-along chorus that underscores Tasjan’s gift for writing infectious hooks."
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-
Anna von Hausswolff is a Swedish musician and composer whose work carves out space for the celestial and the transcendent to enter into the modern world. Following her breakthrough album, Ceremony (2012), von Hausswolff's subsequent releases quickly cemented her as an artist of unpredictable and vast creativity, always moving forward, always melding tradition with experimentation in unimaginable ways.
-


Taking the pipe organ, with its ancient whirring character, as her instrument of choice, von Hausswolf's sound has long played with the ethereal qualities of breath: of taking in, holding, and releasing it. This sometimes takes the form of colossal, doom-laden rock songs, and at other times, as intimate organ pieces. On ICONOCLASTS, her sound evolves again, bringing a poppier and more vibrant element to her moving songs. ICONOCLASTS is von Hausswolf's sixth LP, and her debut release on Swedish record label YEAR0001. Produced by von Hausswolf and longtime collaborator Filip Leyman, it is an opus of stirring movement, anthemic ritualism, and maximalist composition, marking a new chapter in von Hausswolff's music and featuring appearances from Ethel Cain, Abul Mogard, Iggy Pop and Maria von Hausswolf.
-


ICONOCLASTS begins with brass heralding out, beckoning listeners into the boundless story that is about to unfold. Before long, von Hausswolf's first beaming vocals ring out: "I came to take you back to where you came from, but that's not what you want." From this, the groundwork is set for an album of blistering, mounting tension and hard-fought, euphoric release. Addressing themes of love, freedom, and autonomy, its title, ICONOCLASTS, hints at a shattering and reimagining of the sacred personal symbols that bubble under the surface of contemporary life: commitment, time, dependency, and belief.
-


In this pursuit, von Hausswolff chooses Atlas — he who carries the world's weight upon his shoulders — as a sympathetic character. How does one find the strength to prevent collapsing in these trying moments? For von Hausswolff, it is the pursuit of the divine. She finds inspiration in the fears and contradictions that arise when one is faced with monolithic power structures and concepts. The songs on ICONOCLASTS transform these uncertain feelings into kindling for the creation of sonic bonfires of immense scale. Von Hausswolff sows her songs in the borderlands between the gargantuan and the intimate, and it is the ashes of these demolished symbols that fertilise its grounds for new possibilities.
-


Stripping back the metallic qualities that have characterised her sound, on ICONOCLASTS, von Hausswolff breaks open the gates into a warm sound world, rich in organic, gleaming potentials. Between echoing drums, murmuring organs, and reverberating guitars, von Hausswolff herself becomes one figure in this fluttering aural space. On ICONOCLASTS, her ensemble is expanded to include the virtuoso saxophonist Otis Sandsjö, who brings his swirling saxophone trills to the core of the record. With a magnetic power, her voice pulls the listener closer, offering glimpses into an emotive world of secrets and madness, of heartbreak and desire, of beauty and life. Although pushing towards new sonic territory, ICONOCLASTS features all of the signature qualities of a von Hausswolff release: mammoth intensity, crystalline iridescence, and lustrous dynamism.
-
[embedyt] https://www.youtube.com/watch?v=1lmOvpIh7Ws[/embedyt]
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