Mike Brown Group

Hot Freaks, Dante Elephante, James Plane Wreck
2024-08-18 20:00 UTC | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
9th St. Parallel at Knitting Factory
416 S 9th StBoise, ID 83702

$18.00
All Ages

Bay Ledges, DLG
2024-08-18 20:00 | Neurolux, 111 N 11th St, Boise, ID
Bay Ledges is the project of Maine-born and based musician Zach Hurd. Inspired by a
bi-coastal existence, he released his debut album, Ritual, a 13-song record written,
produced, and mixed entirely by Hurd in 2022. Exploring transience, nostalgia, and
Hurd’s own relationship to music and art, it’s a meditative record that’s both psychedelic and thrilling. Hurd started Bay Ledges in 2015 in his bedroom shortly after moving to Los Angeles, where he stayed until 2020 when he moved back to his small hometown in coastal Maine.
The project initially took off when Hurd’s 2016 single, “Safe,” jumped to the
number three spot on Spotify’s Global Viral Chart. Since releasing Ritual, he has
garnered more than 115 million streams worldwide and received praise from the likes of Billboard, Under The Radar, and Flood.
Bay Ledges has toured all over the US and Canada, sharing the stage with such acts as Yoke Lore, Magic City Hippies, and The Palms and selling out headline shows at iconic venues like the Troubadour in LA and Schubas in Chicago. 2023 will see him supporting artists like Big Wild, Goth Babe, and Trevor Hall in addition to festivals and a headline tour.
He is currently working on new music.

Boise Baroque Summer Music Festival - Mozart’s Layover in Linz
2024-08-18 20:15 | Château des Fleurs, 176 S. Rosebud Lane, Eagle, Idaho
Sunday Evenings at 8:15pm
Outdoors at the Château des Fleurs
176 S. Rosebud Lane, Eagle, ID 83616
August 17 & 31, 2024
Saturday Evenings at 7:30pm
Indoors at First Presbyterian Church
950 W. State Street, Boise, ID 83702

Jazz Monday - Robyn O’Donahue and Friends
2024-08-19 18:00 - 21:00 | The Riverside Hotel, 2900 W Chinden Blvd, Garden City, ID, 83714
Jazz Monday is presented by the Idaho Jazz Education Endowment

WAXAHATCHEE w/ Tré Burt
2024-08-19 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
‘Tigers Blood’ by Waxahatchee
One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she’s never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers’s Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen.
And after years of being sober and stable in Kansas City–after years of sacrificing herself to her work and the road–Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse–an ethnologist of the self–forever dedicated to revisiting her wins and losses. But now she’s arriving at revelations and she ain’t holding them back.
Crutchfield says that she wrote most of the songs on ‘Tigers Blood’ during a “hot hand spell,” while on tour in the end of 2022. And when it came time to record, Crutchfield returned to her trusted producer Brad Cook, who brought her sound to a groundbreaking turning point on 2020’s Saint Cloud.
They hunkered down at Sonic Ranch in Tornillo, Texas–a border town known for cotton and pecans–and searched for another turn, waited for a sign. Initially, MJ Lenderman, Southern indie-rock wunderkind (much like Crutchfield when she started out) came to play electric guitar and sing on “Right Back To It.” But as soon as they tracked it, Cook told Lenderman he had to stay for the rest of the album. And he did.
“Right Back To It” is ‘Tigers Blood’’s lead single. A nod to country duets like Gram and Emmylou, winding over a steadfast banjo from Phil Cook. Together, Crutchfield and Lenderman harmonize on the chorus: “I’ve been yours for so long/We come right back to it/I let my mind run wild/Don’t know why I do it/But you just settle in/Like a song with no end.” Crutchfield says it’s the first real love song she’s ever written.
The song “Bored” opens with blase drum beats from Spencer Tweedy that crash under Crutchfield as she throws her voice high: “I can get along/ My spine’s a rotted two by four/Barely hanging on/My benevolence just hits the floor.” Lenderman’s scuzzy riffs and Nick Bockrath’s climbing pedal steel add power to the album’s most ‘Southern Rock’ a la Drive-By Truckers moment.
“365” is a story of recognition told from a hard-won place of self-acceptance/forgiveness. Crutchfield initially started writing it for Wynonna Judd, with whom she has written and performed in the past, until the lyrics started hitting closer and closer to home. The writer Annie Ernaux says, “writing is to fight forgetting.” Like Lucinda Williams, Crutchfield’s lyrics are memoir. Throughout ‘Tigers Blood’ Crutchfield is addressing a “you,” but the ‘you’ in “365” evokes raw closeness, vulnerability. “Ya ain’t had much luck but grace is/In the eye of the beholder/And I had my own ideas but/I carried you on my shoulders, anyways.”
“365” is essentially ‘Tigers Blood’’s aria about addiction, with little to no accompaniment to Crutchfield’s voice. Her backing band is hushed, as if the spotlight’s coming down on her, alone on the stage, giving her testimony. Crutchfield slings her voice with arresting precision, reaching its highest harmony on the whole album. “So when you kill, I kill/And when you ache, I ache/And we both haunt this old lifeless town/And when you fail, I fail/ When you fly, I fly/And it’s a long way to come back down.”
“365” circles back to the beginning of ‘Tigers Blood,’ where Crutchfield’s words ring clear as a bell. Album opener “3 Sisters” starts with Crutchfield singing over hymn-like piano chords: “I pick you up inside a hopeless prayer/I see you beholden to nothing/I make a living crying it ain’t fair/And not budging.” ‘Tigers Blood’ is Crutchfield at her most confident and resilient. Staring straight at the truth, forgiving but not forgetting, not batting an eye.
— Ashleigh Bryant Phillips

Tré Burt
Tré Burt was standing on a stage in Philadelphia in early 2023 when the latest bit of bad news arrived: His grandfather, a native of that very city, was dead. It wasn’t entirely unexpected. For years, Tommy Burt had struggled with early-onset dementia, slipping away a bit more each time Burt saw him. Burt even began recording his grandfather, letting his tape recorder roll as they had some of their final conversations. He wanted to preserve those moments, however repetitious or fragmented they might be, before the opportunity vanished forever. In fact, Traffic Fiction—Burt’s third album on Oh Boy Records and an unexpected musical reinvention rooted in his new and idiosyncratic version of classic soul—also preserves their relationship by committing another key piece of it to tape. The soul that animates so many of these 14 tracks? That was the music shared by grandfather and grandson.
Burt’s California childhood was not easy. His parents split when he was young, so he would often shuttle between their houses in Sacramento and the Bay Area. He was a bit of a wild child, too. From time to time, though, he would accompany his father to work at a plant nursery, riding shotgun in a 1975 Cadillac Seville as they listened to The Delfonics and Otis Redding, Marvin Gaye and The Temptations. Those drives were his sanctuary, that music their blessed score.
But as Burt became a musician himself, he was a peripatetic troubadour, tapping into American folk and blues partly as a matter of necessity—it’s not sensible to busk, after all, with some sophisticated band at your back. Bits of those other roots and compositional ambitions finally emerged on 2021’s You, Yeah, You, the vivid result of Burt’s first proper studio sessions. On Traffic Fiction, they are in full bloom, from the sweet country-soul surrealism of the title track to the skywriting rock of “2 For Tha Show,” Burt as urgent and commanding as he’s ever been. Traffic Fiction is the sound of Burt confidently bending a sentimental past to his present will.
To get to this new alchemy of soul, dub, and more than a little punk, Burt returned to the basics—self-recording in sequestered silence. During a Canadian tour, he set aside a few days to stay in a friend’s spare apartment and write, renting enough instruments from the affordable gear emporium Long & McQuade to build a makeshift studio for his GarageBand demos. The title track soon emerged, its effortless magnetism prompted by a poem he’d written about stupid city congestion and a piece by saxophonist and singer Gary Bartz.
Burt recognized he had found the sound of the next album, so he booked another rural cabin in Canada for 9 days and rented more guitars, basses, and the same keyboard he’d bought during the You, Yeah, You sessions. For the better part of a lifetime, Burt had told himself he didn’t have the chops to sing like those childhood heroes from the Cadillac days. But now, as he built his one-man-band demos before returning to Nashville’s The Bomb Shelter to work with a trusted band of pals and esteemed producer Andrija Tokic, his versions of those sounds poured out in circumspect love songs and joyous tunes of existential reckoning. His grandfather was dying. The world was struggling with a pandemic and the specter of a third world war. But Burt gave himself permission to have fun and be funny, to let these songs lift him and, eventually, maybe others, too.
Traffic Fiction indeed feels like a buoy amid these turbulent times, something that pulls us above the wreckage. The love-or-something-like-it songs are crucial. With its rocksteady motion, rainbow keys, and slippery riff, “Wings for a Butterfly” is Burt’s honeyed plea to at least try a relationship out. Like The Beatles rebottled in Muscle Shoals, the brilliant “To Be a River” crescendos in a litany of all the things Burt knows he can be for someone—“your favorite word, a letter you read.” It is pure infatuation.
Even ostensible breakup songs luxuriate in the wonder of existence. “Santiago” recounts an overseas tryst that ended too soon, Burt jubilantly narrating moments of mirth and lust over go-go keyboards and a beat so simple and propulsive The Ramones would have loved it. And during “Piece of Me,” Burt turns the sting of ending it into an anthem of wishful thinking alongside sashaying organs and rail-grinding guitar. Maybe one more chance is all he needs? “You like me better when I’m in pain,” he sings slyly. “Well, baby, just look at me now.” Amid these warped jewels of psychedelic soul, you’ll find yourself pulling for Burt, hoping the world can come to its senses on his behalf.
Burt first earned notice for his imaginative and trenchant social protest songs, where he’d capture some corrosive element of American life—unchecked capitalism, unwavering racism, so on—in a compelling snapshot. Traffic Fiction isn’t that kind of album, necessarily, though his defiance hasn’t disappeared. Referencing his ancestral homeland of Promised Land, South Carolina, “All Things Right” scorns apathy and bureaucracy, the way we strand each other via our own pursuits. “I’ll never be free/but I can pretend,” he snaps with verve during the verse of “Kids in the Yard,” a mighty theme of self-empowerment. Burt finds the joy even here, pushing past problems rather than succumbing to obstacles.
And isn’t that a crucial role of music, especially now—to show us how to handle our burdens with aplomb and vision, to model the behavior of persevering with élan? At three points during Traffic Fiction, Burt interweaves bits of those recorded conversations with his late grandfather, Tommy. They talk about Stevie Wonder, Burt’s career and the fatigue it can bring, and, finally, the sense that he’s carrying on a family tradition through these records. It’s a reminder not only of what Burt experienced while making Traffic Fiction but also of what he overcame. He found strength in the soul of his youth, and, for that, he’s never sounded stronger.

The Aristocrats - The Duck Tour 2024
2024-08-19 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
The Aristocrats show scheduled for August 19, at The Olympic has been moved 9th St. Parallel at Knitting Factory. All tickets will be honored. If you are unable to attend due to the venue change, please reach out to Ticketweb for a refund by July 27th, 2024

DANIEL NUNNELEE - June, Baby Fall Tour
2024-08-19 20:00 | Shrine Social Club, 1118 West Idaho Street, Boise, Idaho
Daniel Nunnelee to play an all ages show in Boise on Monday, August 19th at the Shrine Social Club

Kansas
2024-08-19 20:00 - 22:00 | Expo Idaho, 5610 North Glenwood Stree, Garden City, Idaho, 83714
With a legendary career spanning five decades, KANSAS has firmly established itself as one of America’s iconic classic rock bands. This “garage band” from Topeka released their debut album in 1974 after being discovered by Wally Gold, who worked for Don Kirshner, and have gone on to sell more than 30 million albums worldwide.
The band is currently comprised of original drummer Phil Ehart, bassist/vocalist Billy Greer, vocalist/keyboardist Ronnie Platt, keyboardist/vocalist Tom Brislin, violinist/guitarist Joe Deninzon, and original guitarist Richard Williams. With no signs of slowing down, KANSAS continues to perform in front of large and enthusiastic audiences.
The band will be performing a set of KANSAS Classics such as ‘Carry On Wayward Son,’ ‘Dust in the Wind,’ ‘Point of Know Return,’ ‘Fight Fire With Fire,’ ‘Hold On,’ deep cuts, and much more.
Details
Gates open at 6:30pm
Show starts 8pm

Blues Tuesday: Blues to Lose
2024-08-20 18:00 - 20:30 | The Riverside Hotel, 2900 W Chinden Blvd, Garden City, ID, 83714
Blues Tuesday is presented by the Boise Blues Society.

LUTAN FYAH w/ Droop Lion
2024-08-20 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Rootsy reggae singer with messages of unity, love, & justice deeply embedded in his music, Lutan Fyah was born in the parish of St. Catherine, Jamaica, with music in his blood. With his grandfather running a sound system, artists such as Lieutenant Stitchie, Papa San, Lady G., and the legendary Dennis Brown would often visit the family home. Fyah aspired to become a famous singer himself, but he also took his soccer playing seriously and joined a professional team after finishing high school. He gave up sports in 1999 and began an internship at Buju Banton’s Gargamel label. He went on to record some tracks for Banton’s label along with some freelance work for other producers, before singer Jah Mason came along in 2001 and offered Fyah the support slot on his worldwide tour. Three years later he made his full-length debut with Dem No Know Demself on the Minor7Flat5 label. Time and Place on the Lustre Kings label followed in 2005. A year later he released two albums, Phantom War on Greensleeves and Healthy Lifestyle on VP Records. Fast forward to 2021 Lutan Fyah started his own record label Old Capital Music Group headquarters in the United States with a strategic partnership with Stand Out Living Original. Lutan Fyah & his team have been preparing for the release of his next album along side the Lutan Fyah Reggae documentary & other new EP’s & singles released under his own label with the exciting distribution partnership with Symphonic. Stay connected www.LutanFyahMusic.com

An evening with SATSANG
2024-08-20 19:00 | Neurolux, 111 N 11th St, Boise, ID
“I just want to write and perform songs that touch the heart and help others”. Letting go of genre, expectation, and boxes, Satsang has leaned into the power of songwriting to drive their forthcoming release, Flowers From The Fray (the band’s 5th album in 6 years) due out Fall 2022.Recorded and self-produced with the help of bandmate and longtime collaborator Parker Brown, this record finds the duo tucked away in a secluded cabin in Southwest Montana digging back into the foundation on which Satsang was founded on. “These songs were all so personal to me” says Drew McManus. “Whether it was really sifting through the stage of life I had found myself in which was a kind of dark night of the soul, or leaning into the love of my wife. This record is truly me bearing my heart. I needed to seclude myself to find out where these songs wanted to go, and having Parker’s musical guidance had a big hand in that.”This record, coupled with the band’s last release All. Right. Now. is a maturing. A growing into the songwriter and musicians that the band was destined to be. A settled and firm foundation of influences and sound that brings every external aspect in and finds it internalized and distilled into “Flowers From the Fray”

LETTUCE
2024-08-20 19:30 | The Egyptian Theatre, 700 W. Main St., Boise, Idaho, 83702
LETTUCE is (a) the prime ingredient in a salad, (b) a slang for cash, (c) a green herb that can be smoked, (d) a genre-busting six-member musical collective formed in 1992 by four alumni of the prestigious Berklee College Of Music, or (e) all of the above. If you answered “e,” then you’re in on the sheer magic of a band that both feeds the rich history of funk music and combines it with strains of hip-hop, rock, psychedelia, jazz, soul, jam, go-go, and the avant-garde.
The GRAMMY® Award-nominated six-piece is comprised of Adam Deitch [drums, percussion], Adam “Shmeeans” Smirnoff [guitar], Erick “Jesus” Coomes [bass], Ryan Zoidis [alto, baritone, tenor sax, Korg X-911], Eric “Benny” Bloom [trumpet, horns], and Nigel Hall [vocals, Hammond B-3, Rhodes, clavinet, keyboards]. To date, their discography includes Outta Here [2002], Rage! [2008], Fly [2012], Crush [2015], the EP Mt. Crushmore [2016], the live album Witches Stew [2017], Elevate [2019], Resonate [2020], Unify [2022], and now VIBE – a single 48 minute continuous session of pure, free-flowing improvisation, available digitally for the first time.
With VIBE, Lettuce cement their status as boundary-pushing innovators over three decades into their lauded career, blurring lines and smashing up jazz chords, psychedelic passages, big horns, strains of soul and go-go, hip-hop elements for an uplifting, improvisational sound all their own. Ryan Zoidis explains, “we got into a vibe and hit record. 48 minutes went by like a blink of an eye. This is our first purely improvised recording. Nothing planned, nothing edited or overdubbed. This is a true spontaneous musical expression captured in its entirety.”

Nate Smith
2024-08-20 20:00 - 22:00 | Expo Idaho, 5610 North Glenwood Stree, Garden City, Idaho, 83714
According to an age-old cliché, getting knocked down ain’t what matters – it’s how you get up, which Nate Smith knows firsthand. With a personal journey scarred by disaster, but defined by revival, he could have stayed down multiple times through life, and instead grew into something else entirely: A beacon of country-music hope.
Featuring a mix of gritty backwoods soul, rock ‘n’ roll swagger and velvet-thunder vocals, Smith is a Nashville artist with a unique connection to life’s inner tug of war. And with his first batch of major-label music, he’s aiming to tip the scales once and for all.
A California native, former worship leader, and lifelong music lover, Smith approaches that mission with a background as eclectic as it gets.
Details

Gates open at 6:30pm
Show starts 8pm

NEIGHBORHOOD CONCERT SERIES at Kristin Armstrong Park
2024-08-21 17:00 | Kristin Armstrong Municipal Park, 500 S. Walnut St., Boise, Idaho
Get ready for another summer packed with free summer concerts in the parks. We are entering the 4th year of the Neighborhood Concert Series, where we have teamed with Lost Grove Brewing, St. Luke’s Health Plan, and the City of Boise Arts & History Department to bring live music to neighborhoods around Boise.

Andrew Kinsey
2024-08-21 18:00 - 21:00 | The Riverside Hotel, 2900 W Chinden Blvd, Garden City, ID, 83714
Bringing Country music to Boise and beyond!

THE CRANE WIVES w/ Steven Leaf
2024-08-21 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Born of the 2010’s folk boom and now comfortably stationed in their rock and roll era, TheCrane Wives epitomize the evolving sound of the indie genre. Having performed hundreds ofshows on stages across the country, they gravitate toward high-energy melodies, featuring thekinetic percussion of Dan Rickabus, the silky, driving bass lines of Ben Zito and playful guitarleads from front women Emilee Petersmark and Kate Pillsbury. Counterbalancing their livelystage presence, their lyrics extol the shadow side of the human condition, delving intomythology and themes of darkness and inner conflict. The band softens the blows of theiremotional candor with soulful three-part vocal harmonies, like a 21st century Cerberus, thehound of Hades reimagined as an emotional support animal. To date, they have released fivefull length albums, including their 2020 live album, “Here I Am”

Steven Leaf
There is a quiet confidence to the music of Steve Leaf. He has been writing songs for fifteen years now. Some songs about love, some songs about love lost, and others about everything else to cover all the bases. Steve hails from Michigan and cut his teeth in the singer/songwriter scene of Chicago which is to say he usually tries to sneak a Wilco cover into his set. Sometimes it pans out, other times, not a chance. He released his first record ‘We Are Ghosts’ in 2010 and has subsequently released several other albums since then including ‘Lightspeed’ in 2015 and ‘Go to the Pines’ in 2017. Steve finds inspiration in the songwriting of Josh Ritter, Damien Rice, and the less lyrically driven music of Ratatat and Nils Frahm. Always busy, Steve is consistently recording new music. In 2015, his fascination with instrumental music led to his creation of the guitar driven band ‘Public Access’, a ten piece leviathan rock band, a stark contrast to the reserved solo music Leaf creates. During a Leaf set, you can expect focused lyrics and tight guitar melodies over swirling ambient guitar loops.

Tyler Childers - Mule Pull '24 Tour
2024-08-21 19:00 | Ford Idaho Center
Tyler Childers
Mule Pull ’24 Tour
with Special Guest Shakey Graves and Bella White
August 21, 2024
Ford Idaho Center Amphitheater

Together Pangea Celebrates 10 Years of Badillac
2024-08-21 20:00 | Shrine Social Club, 1118 West Idaho Street, Boise, Idaho
Together Pangea Celebrates 10 Years of Badillac at an all ages show in Boise on Wednesday, August 21st at the Shrine Social Club

Yung Gravy
2024-08-21 20:00 | Expo Idaho, 5610 North Glenwood Stree, Garden City, Idaho, 83714
Only the best things get better with age — wine, cheddar, 401ks, the list goes on. It turns out Yung Gravy gets better with age too.
When you think about it, the name Yung Gravy says a great deal. It’s perpetually youthful, and it oozes “sauce.” As such, Yung Gravy uses his own special recipe to bring originality and positivity to make his one-of-a-kind impact on the genre. Gravy flexes his passion for soul music and oldies in his production, sampling a wide range of musical styles dating from the 1940’s to the present-day. Nostalgic and often-jubilant melodies paired with heavy trap drums form the usual canvas for his signature baritone voice — reminiscent of Barry White. Showcasing effortless flows and endlessly quotable lyrics, Yung Gravy paints something truly unique while clearly having a good time doing so. In the span of six short years, Gravy has transformed from Soundcloud stalwart to platinum powerhouse.
Gravy became the soundtrack, and unofficial second mascot, of the Tampa Bay Lightning, and was given an honorary Stanley Cup Ring. Tallying 6 billion streams and selling 5 million units thus far, he’s notched four entries on the Billboard 200, two in the Top 30 of the Top R&B/Hip-Hop Albums Chart, and two on the Top 20 of the Top Album Sales Chart.
Details

Gates open at 6:30pm
Show starts 8pm

Mary Lambert, Jenny Zigrino
2024-08-21 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
The Mary Lambert show scheduled for August 21, at The Olympic has been moved 9th St. Parallel at Knitting Factory. All tickets will be honored. If you are unable to attend due to the venue change, please reach out to Ticketweb for a refund by July 27th, 2024.

MARY LAMBERT

In 2012, Mary Lambert was working three restaurant jobs when her life changed. An aspiring singer-songwriter, cellist, spoken word artist, and newly graduated with a Bachelors of Music Composition from Cornish College of the Arts, she had begun to establish herself around Seattle, performing slam poetry and fusing a talk-singing style into her intimate performances. She received a phone call from a friend who was working with Macklemore and Ryan Lewis on their debut album, The Heist. Macklemore and Lewis were struggling to write a chorus for their new song, a marriage-equality anthem, called “Same Love”. Lambert had three hours to write the hook, and the result was the transcendent chorus to Macklemore & Ryan Lewis’ triple-platinum hit “Same Love,” which Lambert wrote from her vantage point of being both a Christian and a lesbian.
Writing and singing the hook led to two Grammy nominations for “Song Of The Year” and “Album Of The Year”, as well as the iconic performance alongside pop legend Madonna at the 2014 Grammys. Mary then signed with Capitol Records, where she released her debut album “Heart on My Sleeve” produced by Eric Rosse (Sara Bareilles, Tori Amos) and Benny Cassette (Kanye West). Her smash single, “Secrets” launched to No. 1 on the Billboard Dance charts, and was certified RIAA Gold in 2015. The New York Times called her debut album “refreshing and severely personal”.
Mary Lambert isn’t your typical pop artist. Inspired by confessional folk singers as well as spoken-word performers, she is a brutally candid writer who deals directly in her art with her past traumas. Lambert was raised in an abusive home, attempted suicide at 17, turned to drugs and alcohol before being diagnosed with bipolar disorder, and survived multiple sexual assaults throughout her childhood. With that list of horrors, you wouldn’t expect Mary to be disarmingly joyful, but she charms effortlessly, and the effect on her audience is bewitching. She describes her performances as “safe spaces where crying is encouraged; My entire prerogative is about connection, about being present, and facilitating true catharsis. Also, fart jokes.”
Mary Lambert’s latest EP, Bold. is her first release since leaving Capitol Records, and was fully funded through a Kickstarter campaign that raised $20,000 in 8 hours, and closed at $70,000 in a few short weeks. The response was a true testament to the passionate communities she represents. Lambert produced 3 of the 7 tracks herself, including a touching duet with her mom, Mary Kay Lambert. “Bold. is a queer pop EP about being unabashedly yourself. I think that we are in an era where embracing and loving your real, complex self is radical, and this collection of songs epitomizes that belief.” Bold. will be available worldwide on May 5th.

SOCIAL LINKS

JENNY ZIGRINO

With the sweetness of the Midwest and the iron balls of the East Coast, Jenny Zigrino is a comedian that packs a punch of truly original humor. She’s charmed audiences across the country with her wit, keen observations, embarrassing anecdotes, and brilliant honesty for a compelling performance you can’t ignore.
She made her late night debut on Conan O’Brien and was a recent guest on the hit shows @Midnight and Adam DeVine’s House Party Season 3 on Comedy Central. She’s been featured on TBS, Oxygen, TruTV, MTV Fox, and IFC.
A rising star in Hollywood, her first film appearance was a leading role in the film 50 Shades of Black with Marlon Wayans. She also stars in the film Bad Santa 2 with Billy Bob Thornton, the sequel to the 2003 hit film Bad Santa. She exploded onto the Just For Laugh’s New Faces Showcase for 2016 and has been featured in many festivals across the country. She is an alumni of The New York Comedy Festival, Women in Comedy Festival, Bridgetown Comedy Festival, Moontower Comedy Festival, and many more.
She recently released an IFC Web series with her friend and comedian Jen Saunderson “The Filling is Mutual” available on IFC Digital.
Debuting this summer is Jenny’s first comedy special, which she just filmed in April 2017 for Comedy Central.
In conclusion, she’s kind of a bad ass bitch.

See Them Cannons
2024-08-22 14:00 - 17:00 | The Riverside Hotel, 2900 W Chinden Blvd, Garden City, ID, 83714
Ryan Wissinger Trio- Ryan Wissinger graduated from the McNally Smith College of Music in 1997 with a degree in Music Performance. He covers a tremendous range of songs.

Live Music at The Warehouse
2024-08-22 17:00 - 20:00 | The Warehouse Food Hall, 370 S 8th St, Boise, Idaho
Thursdays just got a major upgrade at The Warehouse Food Hall with the return of live performances! Whether you’re into tunes, flavors, or just good times, our live music Thursdays cater to all. Dive into a world of diverse food options, sip on crafted drinks, and let the music elevate your evening.
Weekly on Thursdays from 5 to 8 p.m.
Free for all ages

Thursday Thunder - Asphalt Buffet
2024-08-22 18:00 | Boise Spectrum, 7709 W. Overland Road, Boise, Idaho
Celebrating summer with our Thursday Thunder Summer Concert Series!

Great Garden Escape Concert Series - McKenna Esteb
2024-08-22 18:00 | Idaho Botanical Garden, 2355 N Old Penitentiary Rd, Boise, Idaho, 83712
The Garden is excited at the variety of genres being featured this year. There is something for everyone!

Live Music @ Boise Brewing's Taproom Every Thursday!
2024-08-22 18:00 - 21:00 | Boise Brewing, 521 W. Broad St, Boise, Idaho, 83702
Local musicians play in Boise Brewing’s taproom every Thursday, 6-9pm. Come enjoy some jams with great beer and seasonal favorites and be sure to check out the new restaurant!

Trials & Tribulations
2024-08-22 18:00 - 21:00 | The Riverside Hotel, 2900 W Chinden Blvd, Garden City, ID, 83714
The band’s music genre is heavily influenced by such great West Coast musicians as T-Bone Walker, William Clarke, Rod Piazza, Gary Smith, George “Harmonica” Smith, Pee Wee Crayton, Lowell Fulson, Junior Watson and many more. The music also features smooth vocals, frequently crossing into urban blues territory.

ALVVAYS w/ The Beths
2024-08-22 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Alvvays never intended to take five years to finish their third album, the nervy joyride that is the compulsively lovable Blue Rev. In fact, the band began writing and cutting its first bits soon after releasing 2017’s Antisocialites, that stunning sophomore record that confirmed the Toronto quintet’s status atop a new generation of winning and whip-smart indie rock.
Global lockdowns notwithstanding, circumstances both ordinary and entirely unpredictable stunted those sessions. Alvvays toured more than expected, a surefire interruption for a band that doesn’t write on the road. A watchful thief then broke into singer Molly Rankin’s apartment and swiped a recorder full of demos, one day before a basement flood nearly ruined all the band’s gear. They subsequently lost a rhythm section and, due to border closures, couldn’t rehearse for months with their masterful new one, drummer Sheridan Riley and bassist Abbey Blackwell.
At least the five-year wait was worthwhile: Blue Rev doesn’t simply reassert what’s always been great about Alvvays but instead reimagines it. They have, in part and sum, never been better. There are 14 songs on Blue Rev, making it not only the longest Alvvays album but also the most harmonically rich and lyrically provocative.
There are newly aggressive moments here—the gleeful and snarling guitar solo at the heart of opener “Pharmacist,” or the explosive cacophony near the middle of “Many Mirrors.” And there are some purely beautiful spans, too—the church- organ fantasia of “Fourth Figure,” or the blue-skies bridge of “Belinda Says.” But the power and magic of Blue Rev stems from Alvvays’ ability to bridge ostensible binaries, to fuse elements that seem antithetical in single songs—cynicism and empathy, anger and play, clatter and melody, the soft and the steely. The
luminous poser kiss-off of “Velveteen,” the lovelorn confusion of “Tile by Tile,” the panicked but somehow reassuring rush of “After the Earthquake”.
The songs of Blue Rev thrive on immediacy and intricacy, so good on first listen that the subsequent spins where you hear all the details are an inevitability.
This perfectly dovetailed sound stems from an unorthodox—and, for Alvvays, wholly surprising—recording process, unlike anything they’ve ever done. Alvvays are fans of fastidious demos, making maps of new tunes so complete they might as well have topographical contour lines.
But in October 2021, when they arrived at a Los Angeles studio with fellow Canadian Shawn Everett, he urged them to forget the careful planning they’d done and just play the stuff, straight to tape. On the second day, they ripped through Blue Rev front-to-back twice, pausing only 15 seconds between songs and only 30 minutes between full album takes. And then, as Everett has done on recent albums by The War on Drugs and Kacey Musgraves, he spent an obsessive amount of time alongside Alvvays filling in the cracks, roughing up the surfaces, and mixing the results. This hybridized approach allowed the band to harness each song’s absolute core, then grace it with texture and depth. Notice the way, for instance, that “Tom Verlaine” bursts into a jittery jangle; then marvel at the drums and drum machines ricocheting off one another, the harmonies that crisscross, and the stacks of guitar that rise between riff and hiss, subtle but essential layers that reveal themselves in time.
Every element of Alvvays leveled up in the long interim between albums: Riley is a classic dynamo of a drummer, with the power of a rock deity and the finesse of a jazz pedigree. Their roommate, in-demand bassist Blackwell, finds the center of a song and entrenches it. Keyboardist Kerri MacLellan joined Rankin and guitarist Alec O’Hanley to write more this time, reinforcing the band’s collective quest to break patterns heard on their first two albums.
The results are beyond question: Blue Rev has more twists and surprises than Alvvays’ cumulative past, and the band seems to revel in these taken chances. This record is fun and often funny, from the hilarious reply-guy bash of “Very Online Guy” to the parodic grind of “Pomeranian Spinster.” Alvvays’ self-titled debut, released when much of the band was still in its early 20s, offered speculation about a distant future—marriage, professionalism, interplanetary citizenship. Antisocialites wrestled with the woes of the now, especially the anxieties of inching toward adulthood. Named for the sugary alcoholic beverage Rankin and MacLellan used to drink as teens on rural Cape Breton, Blue Rev looks both back at that country past and forward at an uncertain world, reckoning with what we lose whenever we make a choice about what we want to become.
The spinster with her Pomeranians or Belinda with her babies? The kid fleeing Bristol by train or the loyalist stunned to see old friends return? “How do I gauge whether this is stasis or change?” Rankin sings during the first verse of the plangent and infectious “Easy on Your Own?” In that moment, she pulls the ties tight between past, present, and future to ask hard questions about who we’re going to become, and how. Sure, it arrives a few years later than expected, but the answer for Alvvays is actually simple: They’ve changed gradually, growing on Blue Rev into one of their generation’s most complete and riveting rock bands.

The Beths
On The Beths’ new album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships and more importantly, their aftermaths. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?
The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”
‘Expert In A Dying Field’ is out now via Carpark Records and Ivy League Records.

HANNAH DASHER w/ Eli Howard
2024-08-22 19:00 | Neurolux, 111 N 11th St, Boise, ID
Thursday, August 22
Tickets $20 adv / $25 door
Advance tickets available via Ticketweb
Doors 7pm

X - Smoke & Fiction Tour
2024-08-22 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
KNITTING FACTORY – BOISE
416 S. 9TH ST. – BOISE, ID 83702
THU
AUGUST 22
8:00 PM
(DOORS: 7:00 PM)
ALL AGES

The Beach Boys
2024-08-22 20:00 | Expo Idaho, 5610 North Glenwood Stree, Garden City, Idaho, 83714
As The Beach Boys mark more than a half century of making music, the group continues to ride the crest of a wave unequalled in America’s musical history. The Beach Boys – who have become synonymous with the California lifestyle and an American icon, are bringing their “Endless Summer Gold” tour to fans around the world.
Since the band’s co-founder, lead-singer and chief lyricist Mike Love penned the lyrics to The Beach Boys’ first hit, “Surfin’” (1961), dozens of the bands chart toppers have become eternal anthems of American youth: “Surfin’ USA,” “Surfer Girl,” “Fun, Fun, Fun,” “I Get Around,” “California Girls,” “Help Me Rhonda,” “Barbara Ann,” “Good Vibrations,” “Wouldn’t It Be Nice,” “Rock and Roll Music” and “Kokomo.”
The Beach Boys have sold over 100 million records worldwide and have received more than 33 RIAA Platinum and Gold record awards. The Rock And Roll Hall of Famers where also honored at the 2001 Grammy Awards with the Lifetime Achievement Award. With more than five decades of touring under their belts, The Beach Boys have performed more concerts than any major rock band in history.
Sounds Of Summer: The Very Best Of The Beach Boys, Capitol/EMI’s 30-track collection of the band’s biggest hits, has achieved triple- platinum success with sales of more than three million copies in the U.S. since its release.
The Beach Boys are led by Mike Love, who, along with longtime member Bruce Johnston, musical director Brian Eichenberger, Christian Love, Tim Bonhomme, Jon Bolton, Keith Hubacher, Randy Leago and John Wedemeyer continue the legacy of the iconic band.
Details

Gates open at 6:30pm
Show starts 8pm
