Mike Brown Group

Big Al's Live on the Patio!
2025-07-25 19:00 - 22:00, 2025-07-26 19:00 - 22:00, 2025-08-01 19:00 - 22:00, 2025-08-02 19:00 - 22:00, 2025-08-08 19:00 - 22:00, 2025-08-09 19:00 - 22:00, 2025-08-15 19:00 - 22:00, 2025-08-16 19:00 - 22:00 UTC and 5 more dates | Big Al’s, 1900 N Eagle Rd, Meridian, Idaho
Big Al’s Live on the Patio!
Fridays & Saturdays June 6th to September 6th from 7:00PM – 10:00PM

From June 7th to September 6th, Join us at Big Al’s Patio for live music every Friday and Saturday starting at 7:00PM!
Click HERE to see our lineup of incredible bands and learn more about the performers you’ll be rocking out with all season long.
This event takes place on Big Al’s Patio, located around the corner from the main entrance, beside Chip Cookies (across from Carhartt and Purple).
Make sure to join us for Line Dancing before the band gets started with a lesson by the pros from Dirt Road Dancing, Fridays from 6PM-7PM. Click here for more details!
Performance Dates:
June: 6th, 7th, 13th, 14th, 20th, 21st, 27th, 28th
July: 4th, 5th, 11th, 12th, 18th, 19th, 25th, 26th
August: 1st, 2nd, 8th, 9th, 15th, 16th, 22nd, 23rd, 29th, 30th
September: 5th, 6th

Ole 60, Bayker Blankenship, Carl & Wes
2025-07-25 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Ole 60, Bayker Blankenship, Carl & Wes
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Fri July 25 8:00 pm (Doors: 7:00 pm)
All Ages

Slightly Stoopid - Step Into The Sun Summer Tour 2025
2025-07-26 18:30 | Ford Idaho Center
Slightly Stoopid – Step Into The Sun Summer Tour 2025
Support: Iration, Little Stranger
Ford Idaho Center Amphitheater
July 26, 2025

The Red Clay Strays - Get Right Tour 2025
2025-07-27 20:00 | Ford Idaho Center
The Red Clay Strays – Get Right Tour 2025
With special guest Michael Marcagi
Ford Idaho Center Amphitheater
Sunday, July 27th, 2025

Samantha Fish - Paper Doll World Tour
2025-07-29 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
One of the most formidable guitarists of her generation, Samantha Fish deals in her own unmatched brand of bravado, bringing both mind-blowing power and extraordinary emotionality to everything she creates. Since first introducing the world to her larger-than-life talent, the multi-award-winning festival headliner has built a triumphant career whose latest milestones include earning a Grammy nomination for Death Wish Blues (her 2023 collaboration with rocker Jesse Dayton) and opening for The Rolling Stones on their final 2024 U.S. tour date. On her new album Paper Doll, Fish offers up nine powerhouse songs that hit with an unstoppable force, each delivered with an exquisite dose of illuminating insight, soul-soothing empathy, and—above all—newly heightened clarity of vision. “It’s taken me years to finally find my voice in a studio setting,” Fish admits. “But with this record I took everything I had, and slammed it right on the table.”
Fish’s first-ever album recorded with her touring band, Paper Doll takes its title from the first song the Kansas City-bred musician penned for the LP: a raw yet reflective battle cry that perfectly encapsulates the album’s spirit of unapologetic defiance. “That song’s a feminist anthem in a way—but then again, every song’s a feminist anthem when you’re a woman writing from your own experience,” says Fish. “It’s about rebelling against other people’s expectations of who you’re supposed to be, which feels pretty relevant for the times we’re living in right now.”
Recorded at The Orb in Austin and Savannah Studios in L.A., Paper Doll marks the latest entry in an uncompromising and endlessly adventurous catalog that’s found her working with luminaries like Jon Spencer of Jon Spencer Blues Explosion as well as Luther Dickinson (co-founder of North Mississippi Allstars and former member of the Black Crowes). This time around, Fish reunited with Detroit garage-rock icon Bobby Harlow, who also produced her 2017 LP Chills & Fever. “When I look back on Chills & Fever I realize that Bobby was pushing me into some cool and dangerous places, but at that phase in my life I was holding back a bit,” she says. “Now I’m at a point where I’m ready to give people something totally unexpected, something that breaks the pop formula and really takes its time to tell a story with the guitar playing.”
For help in shaping Paper Doll’s magnificently rowdy but nuanced sound, Fish joined forces with bandmates Ron Johnson (bass), Jamie Douglass (drums), and Mickey Finn (keys), cutting most of the album in the midst of a grueling touring schedule that included a run of dates with Slash on the legendary guitarist’s S.E.R.P.E.N.T. festival in summer 2024. “I’d never made a record on the road like that,” Fish reveals. “Even though it was so intense, it felt good to keep up the momentum from the live show. It helped us make an album that’s got a real living, breathing pulse to it.”
A potent balance of catharsis and introspection, boldness and vulnerability, Paper Doll opens on the sublimely moody riffs of “I’m Done Runnin’”—an exhilarating statement of self-reliance, expressed with unshakable self-possession (from the bridge: “When I look in the mirror, staring at the unknown/The world’s not getting clearer, but I like where I’m goin’”). “It’s about pushing forward even when life knocks you down, because you know what you want,” Fish explains. One of several songs partly composed with her longtime co-writer Jim McCormick (a multi-platinum hitmaker whose credits also include Luke Bryan and Tim McGraw), “I’m Done Runnin’” draws much of its impact from Fish’s deepened confidence in her vocal prowess. “Singing live onstage is one thing, but learning how to bring that energy into the studio is a whole different beast,” she points out.
Another track steeped in fiery attitude and hard-won self-assurance, “Lose You” kicks into a breakneck pace as Fish confronts a noncommittal paramour, adorning her takedown with a blazing guitar solo and the beguiling harmonies of backup singers D. Scaife, Keo, and Gabbi Beauvais. “It’s a song about taking control and calling the shots in a relationship,” says Fish. “It’s my way of saying, ‘I’m on fire and you’re not, so what are you gonna do about it?’” Later, on the wildly fun “Rusty Razor,” Paper Doll goes scorched earth with a brutally catchy tirade against life’s infinite injustices, amping up the track’s pure punk exuberance with the help of guest vocalist Mick Collins (co-founder of seminal Detroit bands The Gories and The Dirtbombs). “The older you get, the more you can become numb to all the bad shit that happens in life—whether it’s friends passing away before their time, or working so hard and never getting to where you want to be,” says Fish. “But the truth is, we should never get used to our hearts being broken like that.”
Although a feverish intensity fuels much of Paper Doll, the album drifts into a dreamlike languor on songs like “Fortune Teller” (a psych-blues slow-burner driven by a particularly spellbinding vocal turn from Fish). Meanwhile, “Sweet Southern Sounds” unfolds in smoldering riffs and lush organ melodies, ultimately taking the form of a soul-searching epic that turns gloriously frenetic in its final moments. Co-written with fellow New Orleans-based singer/songwriter Anders Osborne, the result is a gripping meditation on a tension all too familiar to those fiercely devoted to their passion. “It’s an anthem about being on the road and feeling guilty about not prioritizing the people in your life,” says Fish. “It’s hard to find that balance between taking care of your relationships and dedicating yourself to your music, and there’s definitely a tinge of heartache to that song.”
A consummate music obsessive who lists such eclectic artists as Prince, Leonard Cohen, and Black Sabbath among her influences, Fish found herself especially fascinated with Delta blues heroes like Junior Kimbrough and R.L. Burnside in the writing of Paper Doll. “I love how in a lot of Mississippi Hill Country blues there’s a drone that happens on the low notes and keeps you hypnotized throughout the song,” she says. “A lot of the guitar work on this record is inspired by that style of playing—and then from there it explodes in all different directions, from rock & roll to soul to pop.” In sculpting such an expansive body of work, Fish found an ideal creative partner in Harlow, who also co-wrote a number of songs on Paper Doll. “I can be a perfectionist when it comes to recording, and it was cool to have Bobby around to stop from me trying to robotically hit the exact note over and over,” she says. And as a born performer who got her start by thumbing through the phone book and cold-calling local bars for gigs in her mid-teens, Fish crafted every song on Paper Doll with an eye toward her incendiary live show. “The main goal is to make great songs that tap into whatever I’m feeling at the moment, but at the same time I’m asking, ‘How is this going to feel live?’” she says. “I’m always thinking about how to add to our arsenal of songs and put together an amazing show for when we’re back out on the road.”
Arguably her most accomplished work to date, Paper Doll emerged from Fish’s deliberate embracing of the ineffable musical gifts she’s cultivated almost her entire life. “When we started working on this record I asked myself, ‘What are my superpowers?’ I wanted to lean into my strengths in a way I never completely had before, to make a big guitar album with some epic performances and really sing my ass off,” she says. “I ended up pouring so much emotion into all the songs, and I hope they help people feel fired up and ready to take on anything that comes their way. I’d love for this record to be somebody’s jet fuel.”

The Lumineers
2025-07-29 19:30 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
The Lumineers: The Automatic World Tour
with Tom Odell
Tuesday, July 29, 2025
at ExtraMile Arena

Alive After 5 - Downtown Boise
2025-07-30 17:00 - 20:00 | The Grove Plaza, 827 W. Main St, Boise, ID, 83702
Alive After 5
2025 Downtown Boise’s 38th Season
Free Summer Concert Series on The Grove Plaza
About Alive After 5
Alive After 5 returns June 2025 to the beautiful Grove Plaza in the heart of Downtown Boise. 2025 marks the 38th anniversary of Downtown Boise producing the free concert series, a celebration of summer and great music that brings a lineup of fun and fresh talent every Wednesday on The Grove Plaza running June through July.
Downtown Boise Foundation is thrilled to continue a partnership with local music booking agency Duck Club to bring new and exciting bands to perform at Alive After 5. A diverse, exciting lineup of musicians – both local openers and national and international headlining touring bands – are coming to the downtown stage this summer.

MAOLI ‘LAST SIP OF SUMMER TOUR’
2025-07-31 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Artists

Maoli

Social Links

Makua Rothman

Social Links

TJ

Social Links

Neighborhood Concert Series
2025-08-06 17:00 - 21:00, 2025-08-13 17:00 - 21:00 | Idaho
The Neighborhood Concert Series is back for 2025, and we are looking forward to bringing the music to you for the FIFTH summer! Check our list of events below to see if we’re coming to a park near you.

The Screwtape Letters
2025-08-17 15:00 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
A battle is being waged for your soul from an office in hell!

Witness a fast-paced, tour-de-force performance in this acclaimed adaptation of C.S. Lewis’ satiric masterpiece.

This international hit offers a faithful stage adaptation of Lewis’ The Screwtape Letters, following Screwtape, a senior tempter in Hell, as he schemes to capture the soul of an unsuspecting human on earth and reveals spiritual warfare in vivid, humorous and powerful ways.

The Screwtape Letters run time is 90 minutes with no intermission. It is recommended for ages 13 and older, and children under age 4 are not admitted.

The Music Man
2025-08-21 - 2025-08-23 | Nampa Civic Center, 311 3rd Street South, Nampa, Idaho, 83651
Follow the fast-talking traveling salesman, Harold Hill, as he cons the people of River City, Iowa, into buying instruments and uniforms for a boys’ band that he vows to organize – this, despite the fact that he doesn’t know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, the librarian, who transforms him into a respectable citizen by curtain’s fall. Meredith Willson’s six-time, Tony Award-winning musical comedy has been entertaining audiences since 1957 and is a family-friendly story to be shared with every generation.

Bright Eyes w/ Doug Martsch, Saintseneca
2025-09-01 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Five Dice, All Threes is a record of uncommon intensity and tenderness, communal exorcism and personal excavation. These are, of course, qualities that fans have come to expect from Bright Eyes, nearly three decades into their career. The tight-knit band of Conor Oberst, Mike Mogis, and Nate Walcott tends to operate in distinct sweeping movements: each unique in its sound and story but unified by a sense of ambition and ever-growing emotional stakes. Even with this rich history behind them, these new songs exude a visceral thrill like nothing they have attempted before. Oberst has always sung in a voice that conveys a sense of life-or-death gravity. At times throughout Five Dice, All Threes, you may feel worried for him; other times, he may seem like the only one with the clarity to get us out of this mess.
On the self-produced Five Dice, All Threes, Bright Eyes embrace the elusive quality that has made them so enduring and influential across generations and genres, bringing their homespun sound from an Omaha bedroom to devoted audiences around the world. In Oberst’s songwriting lies a promise that our loneliest thoughts and feelings can take on grander shapes when passed between friends, blasted through speakers, or shouted among crowds. This time around, the band invites such like-minded voices onto the record with them, with notable guest appearances from Cat Power (“All Threes”), The National’s Matt Berninger (“The Time I Have Left”), and Alex Orange Drink, the frontman of the New York punk band The So So Glos, who co-wrote several songs and shares a climactic verse in the surging “Rainbow Overpass.”
Despite this range of collaborators, Five Dice, All Threes is as confessional and unguarded as Oberst has sounded in years. Throughout these timelessly constructed yet unabashedly modern songs, he earns his place among a rare class of songwriters who have grown more fearless and boundless with age. In the scenic “Bas Jan Ader”—which takes its title from the 20th century Dutch performance artist whose final act found him sailing into the Atlantic Ocean, never to return—his writing traces the course of a bad memory smoothing out to invite the onset of nostalgia. “I never thought I’d see 45,” he sings to a lapping, chiming melody. “How is it that I’m still alive?” For an artist who has explored unflinching questions of mortality since his teen years, the writing on Five Dive, All Threes conveys a new sense of urgency—and empathy, too.
“For whatever reason, I was born with a brain that’s preoccupied with that kind of thing,” Oberst says of his lifelong penchant for dark subject matter. “When I was young, there was a performative aspect to it, which got reflected back at me. Now I’m at a point where I don’t care what the reaction is going to be. Before it was a little out of my hands—I didn’t know how to write if it wasn’t specific to my actual life. Now I do it by choice.”
Throughout these reflections on the American landscape, Oberst shuttles us from Los Angeles to New York: two cities he has called home and the locations for his recent series of rapturously received, career-spanning solo residencies. Along the course of his journey, he takes shots at tech billionaires and the rise of artificial intelligence; he offers heartfelt wisdom and slips into clipped, surrealist imagery that earns its place among namechecked literary heroes like Vladimir Nabokov and Mark Twain.
For every striking turn in his lyrics, the band knows just how to complement him. On one level, Five Dice, All Threes may be the most fun album in the Bright Eyes catalog, filled with singalong hooks and buzzing performances. “I think it revisits the spirit of our older records,” Walcott says. “There is a real quality of chaos and ecstatic urgency in the performances.” And yet, sitting alongside these adrenalized rockers that sound beamed in directly from the garage, you will find contemplative, psychedelic material like the heartbreaking “Tiny Suicides” and “All Threes,” a song whose jazzy piano solo and free-associative lyrics feel totally unprecedented in the Bright Eyes catalog.
This vivid, cathartic music arrives four years after the band’s 2020 comeback album Down in the Weeds, Where the World Once Was. That record’s zoomed-out lyrics and meticulous studio atmosphere resonated during the peak of COVID lockdown and led to Bright Eyes’ long-awaited return to the road in summer 2021. By this point, they were also deep into their Companions project, in which the band reissued their back catalog via new label Dead Oceans along with newly recorded reinterpretations of material throughout their songbook.
In the aftermath of these exhaustive endeavors, the band felt grateful to be back together and somewhat uncertain about their future. It wasn’t until Oberst invited Alex Orange Drink to stay with him in Los Angeles in winter 2023 when a group of new songs started forming. At first, these back-and-forth sessions on Oberst’s porch were just for fun. Recalling his early days of collaboration and scrappy home-recording, the pair sought to keep each other entertained and inspired, with little thought as to where the material would take them. But after completing gems like the anthemic, self-lacerating “Bells & Whistles” and the punky duet of “Rainbow Overpass,” it became clear that Oberst was tapping into new territory.
When they hit the studio with Oberst’s longtime bandmates—the multi-instrumentalist and producer Mike Mogis, the keyboardist and arranger Nate Walcott—they opted for a fast-paced approach that drew inspiration from formative influences like The Replacements and Frank Black. They sought textures that burst from the mix like gnarly splashes of paint on a blank canvas; they opted for first takes and spontaneous decisions. Referring to 2005’s starkly produced landmark, I’m Wide Awake, It’s Morning, Mogis laughs, “It took us 20 years to make another record that sounds like a band playing live.” But where those songs exposed the raw beauty of the group’s folksier side, Five Dice, All Threes thrashes and squirms and resists classification. In the brilliant expanse of “El Capitan,” they blend a galloping rhythm you might find in a Johnny Cash standard with a swell of funereal horns, shouted vocals, and lyrics that read like a sobering farewell between twin souls. “So they’re burning you an effigy,” Oberst sings. “Well, that happens to me all the time!”
As per usual, the music comes loaded with subtext that invites deep listening—the signature touch of a band who has always honored the album as its own exalted work of art. In the background of these songs, you can piece together a story about love and fate and identity, stitched together from samples of the 1954 Frank Sinatra film Suddenly, a layered orchestra of people sobbing, and a game of dice that borders on cosmic and lends the album its framing device and winking title: In the game of threes, the titular move would indicate a perfect roll. Perfection, however, means something different in the world of Bright Eyes, where our flaws are what grants us authority and finding meaning is only possible if we bear witness to the dark, winding journey to get there. On Five Dice, All Threes, Bright Eyes embrace these beliefs with music that feels thrillingly alive, as if we were all in the room with them, shouting along and gaining the strength to move forward together. It doesn’t just sound like classic Bright Eyes. It sounds like their future, too.

Doug Martsch

Saintseneca
SAINTSENECA
Saintseneca’s Zac Little has been thinking a lot about memory. Not necessarily his memories, though they creep in often, too. Rather, he mulls over the idea of memory itself: its resilience, its haziness, how it slips away as we try to hang on, the way it resurfaces despite our best efforts to forget.
Memory is the common thread running throughout the Columbus folk-punk band’s fourth album, Pillar of Na, arriving in late summer via ANTI- Records. Following 2015’s critically lauded Such Things, the new album’s name is rooted in remembrance, referencing the Genesis story of Lot’s wife who looks back at a burning Sodom after God instructs her not to. She looks back, and God turns her into a pillar of salt. “Na,” meanwhile, is the chemical symbol for sodium. “Nah” is a passive refusal and the universal song word. It means nothing and stands for nothing. It is “as it is.”
Like Lot’s wife, Little cannot help but revisit where—and how—he grew up. Raised in church in southeastern Appalachian Ohio, he took up preaching when he was still a teenager, sometimes in small country settings and other times to congregations of thousands. But these days he’s more interested in listening. And questioning.
Musically, Pillar of Na is Saintseneca’s most ambitious album to date, with Little aiming to incorporate genre elements he’d rarely heard in folk. “I wanted to use the idiom of folk-rock, or whatever you want to call it, and to try to do something that had never been done before,” Little explains. “To reach way back, echoing ancient folk melodies, tie that into punk rock, and then push it into the future. I told Mike Mogis I wanted Violent Femmes meets the new Blade Runner soundtrack. I’m looking for the intersection between Kendrick Lamar and The Fairport Convention.”
“You’re always going to be situated in the folk legacy,” Little continues, acknowledging his past recordings, which include three albums (the aforementioned Such Things, 2014’s Dark Arc, 2011’s Last) and three EPs (2016’s The Mallwalker, 2010’s Grey Flag, and 2009’s self-titled). “But let’s move forward. I’m not trying to make the lost Velvet Underground B-side. I want to find something that has never been heard before, or at least go down trying.”

Brooks Nielsen (of The Growlers)
2025-09-02 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Brooks Nielsen – Fall 2025 Tour Bio Brooks Nielsen, celebrated frontman of The Growlers and now a critically acclaimed solo artist, has firmly established himself as one of the most distinctive voices in independent music. As the frontman and creative force behind The Growlers, Nielsen helped define and popularize the Beach Goth movement—a genre-blurring, countercultural wave that left an indelible mark on modern rock. Over more than a decade, The Growlers built a fiercely dedicated international following, performed at major festivals, and sold out venues around the world. Their celebrated discography and electrifying live shows cemented them as one of the most influential underground bands of the 21st century. In addition to their music, The Growlers also founded and curated the Beach Goth Festival, a groundbreaking event that brought together a wildly eclectic mix of artists—from Patti Smith and Bon Iver to Doja Cat and Mac DeMarco—making it a defining moment in the cultural landscape of the 2010s. Now, as a solo artist, Nielsen continues to push boundaries with the same fearless spirit. Since launching his solo career in 2022, he’s released four records—three of them in 2024 alone. His latest, A Ride I’m Waiting For, features the haunting duet “Without Eyes” with Sierra Ferrell and has been praised for its cinematic scope and emotional depth. On stage, Nielsen delivers an experience unlike anything else. Backed by a powerhouse band—Growlers drummer Richard Gowen, keyboardist Cole Riddle, and guitarists J.D. Carrera and Elyadeen Anbar—Brooks crafts a set each night that’s entirely its own. Drawing from his extensive solo catalog, deep cuts, Growlers classics, and unreleased material, his shows are long, loose, and alive. With no opening acts and performances stretching two and sometimes three hours, fans are invited into a world that feels as spontaneous as it does deeply curated. This Fall 2025 run is Brooks’s most ambitious solo tour to date, featuring first-ever solo plays in small towns, Aspen and Fort Collins, CO; Carrboro and Asheville, NC; Madison, WI; Ferndale, MI; New Haven, CT; St. Louis, MO; Boise, ID; Tulsa, OK; and Nashville, TN. There’s also a rare and intimate upstate New York show at the newly revived Bearsville Theatre in Woodstock—a venue rich with music history. In New York City, Nielsen will headline the legendary Webster Hall for the first time, marking his biggest solo show in the city yet—and in Chicago, he’ll play the iconic Metro, a rite of passage for generations of boundary-pushing artists. The 28-date tour wraps with the now-iconic Helloween shows at the Hollywood Palladium in Los Angeles on October 30 and 31—two surreal, sweat-soaked nights that have instantly become a rite of passage for Nielsen’s most devoted fans. Every year, Beach Rats from across the country—and around the world—make the journey for this once-a-year celebration of the strange and the sacred. It’s more than just a show: it’s a Mecca for the hardcore fanbase, a chance to mix with fellow travelers, share stories from the past, and revel in a night of music, mystery, and magic. If you know, you go.

Tribal Seeds and The Movement - Coast 2 Coast Summer Tour, with KBong & Johnny Cosmic
2025-09-04 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702

Art in the Park
2025-09-05 - 2025-09-07 | Julia Davis Park, 700 S Capitol Blvd, Boise, ID, 83702
Art in the Park 2025
September 5 – 7, 2025
Julia Davis Park | Boise, ID | FREE and Open to the Public
Friday & Saturday 10 a.m. – 8 p.m.
Sunday 10 a.m. – 5 p.m.

Boise Art Museum’s Art in the Park is widely recognized as the premier cultural event in the Northwest. This open-air festival, held on the weekend following Labor Day each September, provides visitors of all ages and interests with the opportunity to meet 240 artists and purchase their works. During the three-day event, Boise Art Museum presents a variety of contemporary arts and crafts along with wonderful food, live music and entertainment, and hands-on activities for children.
