Mike Brown Group

Big Wild - Wild Child Tour
2025-10-07 20:00 UTC | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Big Wild – Wild Child Tour
Knitting Factory – Boise
416 S 9th St – Boise, Idaho 83702
TueOctober 78:00 pm(Doors: 7:00 pm)
All Ages

SkyDxddy
2025-10-08 19:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714
SkyDxddy

Oct 8, 2025
Doors: 7:00 PM / Show: 8:00 PM

Pup w/ Chase Petra
2025-10-08 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
It seems significant that there were bats in the mansion’s attic, although how significant it seems will have something to do with how you feel and what you know about PUP. None of it is a metaphor, and also all of it is.
The mansion, for its part, is very real—it is a sprawling residence-slash-studio in Connecticut’s most dispiriting mid-sized city where the producer Peter Katis has helped acts like The National and Interpol and Frightened Rabbit and Kurt Vile make records. There are gold records on the walls and warrens of strange new rooms that the band members discovered seemingly daily; the roof leaks when it rains, and the bats reclaim the attic after dark. PUP singer Stefan Babcock recorded all his vocals in the living room, at night. “The other guys were just trying to live their lives,” he said, “and Nestor and I would be down there screaming into microphones while they were watching TV in the next room.” Babcock remembered Katis telling him that the bats “go away” during the daytime hours. “I was like, ‘no, they’re sleeping,’” Babcock said. “They don’t go anywhere, there’s nowhere for them to go.’”
The band spent five weeks there in the summer of 2021, recording and mixing the typically furious and anthemic songs that would become their fourth album, THE UNRAVELING OF PUPTHEBAND. The band—Babcock, bassist Nestor Chumak, drummer Zack Mykula, and guitarist Steve Sladkowski—more or less never left. “There were some days that were really great, like magical, everything worked and then we’d go to the kitchen and make a great meal,” Sladkowski said, “and then there were days when you’re like ‘I can’t remember the last time I’ve been outside.’” Circumstances—a global pandemic, still happening, not much fun to talk about and won’t be addressed further here—made cultivating a healthy, communal vibe more difficult, but the band powered through by having friends like Sarah from Illuminati Hotties, Kathryn from NOBRO, Mel from Casper Skulls, and Erik from Remo Drive pitch in. When the band got comfortable in its strange new home, the (figurative) walls came down. “As the weeks passed, we seemed less and less rational, objective, and sane,” Babcock says. “You can hear the band start to fall off the cliff, and because of that, I think this record is our truest and most genuine to date. There is nothing more PUP than a slow and inevitable descent into self-destruction.”
Every PUP record arrives with an implied “contents under pressure” warning; the tension between the band’s instinct for the melodic and its gift for chaos propels the songs forward while making them also seem close to flying apart in a horrifying spray of tears and gore. To listen to PUP enough is to spend parts of every day mentally echoing some hilariously self-lacerating, utterly undeniable choruses; you will find yourself thinking “this is the mosh part” at moments when you would otherwise be tearing yourself apart. It is one thing to feel, as Babcock sings on THE UNRAVELING’s “Totally Fine,” “like I’m slowly dying/and if I’m being real I don’t even mind,” but it is another, very different thing to find yourself shouting along with those words. There’s a tension here, too. “There’s only so many times you can write a song about how much you hate yourself before you write a song about how fucking good you are at hating yourself,” Babcock says. “It’s funny that we’ve provided for ourselves by being fuck-ups and writing songs about being fuck-ups. We’ve been fuck-ups forever, and now we’ve got a responsibility, to others and to ourselves, to fuck up in a productive manner.”
That’s not any easier than it sounds, but also the volatility is the thing; all that tension is always just barely held in place by the band’s craft. It couldn’t be anything but uneasy, but THE UNRAVELING OF PUPTHEBAND is the sound of a band that is not just comfortable with but in command of that chaos.
We are back in the mansion, now, albeit the metaphorical one. PUP is objectively a very successful band. They won a Juno Award for Alternative Album of the Year for 2019’s Morbid Stuff and have been nominated for the Polaris Prize and many nice things have been said about them in the places that people say nice things about bands; because they are PUP, “nice things” in this case means Pitchfork saying that they “turn self-loathing and self-deprecation into a sort of superpower.” Fans happily sing the coruscating words of their songs aloud in sold-out venues all around the world; they did a version of arguably the harshest song on 2019’s Morbid Stuff for a 2020 CBC Kids Christmas special in which they replaced the lyric “embrace the calamity” with “embrace the festivities”; they have performed on Late Night with Seth Meyers, and played at major festivals like Lollapalooza, Boston Calling, Shaky Knees, and Riot Fest. A mansion is a place where such a band might go to record an ambitious fourth album. That success doesn’t haunt THE UNRAVELING, although it does make it funnier; the “Four Chords” piano ballad threaded through the album tells the tale of a contentious quarterly meeting of PUP’s “board of directors” going selfishly awry. There is a long history of Mansion Albums; sometimes it works out well and sometimes it works out less well and more often than would seem plausible a Jaguar convertible winds up at the bottom of a swimming pool.
PUP is not really that kind of band, though, and THE UNRAVELING OF PUPTHEBAND is not that kind of record. It is still very much a PUP album, but relocating from the literal basement where they wrote Morbid Stuff to the janky manse in which they put together its follow-up afforded the band space to grow, and to make not just the next PUP record but the most PUP record. “This is a band that, until this record, out of some weird fucked up sense of misguided pride or idiocy, felt that we should never use any instruments aside from drums, bass, and guitars,” Babcock says. “We quickly came to realize that the instrumentation isn’t what makes PUP songs PUP. It’s the songs themselves, finding this balance between heavy and melodic, dark and fun, pushing the limits of our writing chops and musicianship in a way that makes us laugh and also want to smash shit. So this record starts with the stupidest piano ballad of all time. And there are synths. And there are horns. And there are some 808s and trap hi-hats. And some other weird shit that we haven’t done before.”
There is no faking that, which of course makes it all much harder to do. In the best PUP songs, the whole process is not just visible but thrilling—the anguish and doubt that drives the songs is nurtured, over a few loud minutes, into something first legible and then somehow empowering. There are a lot of these songs on THE UNRAVELING. The alternately plaintive and anthemic “Matilda” is a classic galloping PUP shout-along recrimination-fest that sounds bigger than previous entries in this robust subgenre without losing any of the signature acid. “Waiting” is pure paint-stripping heat, topped by some legitimately towering choruses. “Robot Writes A Love Song” dissolves into a wash of nervous synthesizer before becoming what is surely the most emotional song ever written from the perspective of a computer being overwhelmed unto death by actual human emotions. “I wanted to write about the horrible state of the world, but through a very specific and personal lens,” Babcock says. “It’s a lot of me trying to articulate my own coping with existential dread, hopelessness, and what I’ve called ‘Grim Reaping’—which is to me, the idea that we are all reaping what we sow, and right now we’re sowing some pretty fucked up shit.”
THE UNRAVELING is not a departure from what got PUP here, really; for all the new breadth, this is still very much the fourth album by the band that has spun songs about The Bad Decisions Lifestyle into scrappy art. The hooks are as bright and barbed as always; the poison threaded through every song is no less potent. But a fourth album should be different from the first, or even the third, and THE UNRAVELING is. “I don’t know that we set out to do new stuff,” Mykula says, of a record on which the band does a great deal of new stuff. “It’s just a band trying to sound as much like themselves as possible. Every record you make, you get closer to that.”
THE UNRAVELING OF PUPTHEBAND is that next step—not towards perfection, or even towards some more perfect version of writing songs about fucking up, but just in the direction of its choice. It’s a product of this endless awful broader moment, but also very much a step forward into that uncertainty. “The whole album process really brought us closer together, even as things unraveled,” Babcock says. “It’s hands down my favorite PUP record, and I don’t think it could’ve been made under any other circumstances.” It’s the sound of a band learning how to share the mansion with the bats.

Chase Petra
Chase Petra’s music has always been about growth: growing up, growing out, growing tired of what others expect of you. On their sophomore album, LULLABIES FOR DOGS, the Long Beach, CA trio once again elevates the existential questions that pepper life’s long, unpredictable journey.
And it’s their sense of figuring things out in real time that makes Chase Petra so relatable, as the band’s “quarter-life-crisis pop” elevates deep introspection to navigate the messiness and confusion that comes with modern life. Their songs are guided by the age-old push-and-pull between what it means to grow up and be grown up, to see your once-bright dreams dulled by the responsibilities of adulthood and grapple with the fallout.

BUNT. - IN THE GREATER ROUND
2025-10-08 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
BUNT. – IN THE GREATER ROUND
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
WedOctober 88:00 pm(Doors: 7:00 pm)
All Ages

Carbon Leaf - I WANT TO BE LEAF TOUR 2025
2025-10-08 20:00 | Neurolux, 111 N 11th St, Boise, ID
Carbon Leaf

Carbon Leaf’s fifteenth studio album,Time is the Playgroundis both a call to action and anembrace of the moment. Marrying nostalgic storytelling to nuanced, folk-infused indie rock, theRichmond, Virginia band embroiders heartfelt melody and harmony with acoustic and electricinstrumentation to create a 12-song rumination on time, love and personal growth that’s equalparts urgent epiphany and contented exhalation.

Bayker Blankenship, Buffalo Traffic Jam
2025-10-09 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Bayker Blankenship, Buffalo Traffic Jam
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Thu
October 9
8:00 pm
(Doors: 7:00 pm)
All Ages

Ballet Idaho Presents SHERLOCK AND GISELLE ACT II
2025-10-10 - 2025-10-12 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
Get ready for mystery this October with an autumn feast for the senses – a new Sherlock by renowned choreographer Penny Saunders followed with Act II of Giselle, where the title character is now a ghost, living in the forest with the rest of the wilis, enacting revenge on their living lovers.
Audio Description is available for the performance on October 11th at 7:30 PM.

Boot Juice w/ Banshee Tree
2025-10-10 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
The evolution of Boot Juice has been a magnificent phenomenon to behold over the past few years. This seven-piece band from Davis has done things the old-fashioned way – earning everything they have with blood, sweat and tears shed on stages throughout the region. It’s been more sweat than anything else based on the practically inhuman volume of energy output they generate throughout the course of their relentless performances.
Boot Juice defies the typical assumption that a big band with horns is sticking to the well-worn path of funk and jazz. They certainly infuse those genres into the mix. More than anything though, this is an unabashed cosmic rock band intent on taking audiences into an alternate dimension of pure freedom and dance euphoria where the outside world ceases to exist. Their three-part vocal harmonies carry major impact with intoxicating doses of soul, blues and sultry appeal. The passionate musicianship and group synergy resonates in their pure sense of joy. Drawing favorable comparisons to the sound of The California Honey Drops and the spirit of the Talking Heads, you’ll have no doubt that the refreshing originality of Boot Juice always has a firm grip on the wheel.

Banshee Tree
Banshee Tree is a Denver based quartet made up of guitar, saxophone, drums and bass. BT blurs the lines between indie, jam and jazz. Weaving through composed songs with heavy dance grooves and virtuosic, exciting improvisation, their live show is high energy and incredibly unique. They have shared the stage with many national acts including Greensky Bluegrass, Balkan Bump, Twiddle and Leftover Salmon, and they tour nationally for growing audiences.

Pecos & The Rooftops, Austin Meade
2025-10-10 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Pecos & The Rooftops

Pecos & The Rooftops have been perfecting a signature heavy blend of lowdown country and classic rock since their inception in a big five-bedroom house in Lubbock, Texas. Formed in 2019 by a tight-knit squad of college friends, the band outfits their soulful Americana with muscular guitar grit, yet remains tuneful and melodic. They’ve carved out a singular niche for themselves in the rich songwriting tradition of their home state, as evidenced by their debut Warner Records single “5AM.” Anchored by the
heart-baring songwriting and booming voice of former Marine Pecos Hurley, the band is rounded out by top-tier players and songwriters Brandon Jones (rhythm guitar), Jessie Santos (lead guitar), Kalen Davis (bass), Garrett Peltier (drums) and Hunter Cassell (guitars & keys).

Big things have small beginnings. Pecos & The Rooftops chose their name—a nod to the part of the house they’d hang out, drink beers, and jam on—just before self-releasing their debut single, 2019’s slow-burning “This Damn Song.” It was a runaway success, earning an RIAA Platinum certification
and going on to rack up more than 250 million streams globally. Deciding to ride the wave for as long as they could, the band hit the road directly after and haven’t stopped since, touring relentlessly on the club circuit and opening for the likes of rising country star Koe Wetzel. They released the Red Eye EP in 2020, expanding on their already solid sound with more guitar heroics and more complex arrangements, hinting at jazz and psychedelic influences.

Hurley has a gift for exploring the shadowy sides of life through his songwriting, offering a clear-eyed and unflinching look at heartbreak, disconnection, self-medication, and wrestling with dark times. On “5AM,” he’s stuck in a self-destructive pattern, trying to live up to the idea of being the man he wants to be, but thwarted on all sides by his own bad decisions. “Wish I could say that I saw it coming—problem is I never do,” Hurley sings over a gloomy guitar line. “It’s too late to let myself feel something, so I’ll just keep running from you.”

“It’s about having a habit of going to the bar and getting drunk and staying up all night,” Hurley says from his home outside Dallas. “You kind of know that when you go to bed it’s probably not going to end well—because you fucked up again and you can’t get out of the cycle. It’s about being by yourself in the early hours of the morning. It’s just one of those ‘You fucked up’ songs.”

Pecos & The Rooftops have earned a devoted fan base who’ve come out to support them both online and on the road, with the band garnering over 350 million global streams and more than 101 million video views. They’re currently on a nationwide headline tour with more dates to be announced soon. “5AM” is a telling preview of what’s to come, as Pecos & The Rooftops ready their major label debut LP—a bigger, bolder collection of songs set for release later this year. “At the end of the day, I just want to help people with our music, honestly,” Hurley says. Between the band’s wild road shows and their
highly-anticipated upcoming full-length, Pecos & the Rooftops are set to do that and much, much more.

Pony Bradshaw, Philippe Bronchtein
2025-10-10 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Pony Bradshaw

Like his previous two releases, the tracks on Thus Spoke the Fool feel more like immersive experiences than mere songs, serving as odes to the land and language of Appalachia. These lyrical landscapes pay tribute to the region where Bradshaw settled nearly two decades ago. The songs are rich with imagery of mountain laurel and tobacco leaves, transporting listeners to mill towns, American Legion halls, and Mineral Bluff, GA. The songs offer a hybrid, textured sound with hints of bluegrass and Americana, rich with rustic guitar leads, fiddle and pedal steel.

Cole Swindell Happy Hour Sad Tour
2025-10-11 19:00 | Ford Idaho Center
Cole Swindell
Happy Hour Sad Tour with Priscilla Block
Support: Logan Crosby
Ford Idaho Center Amphitheater
Saturday, October 11th

Bad Suns w/ Joe P
2025-10-11 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Bad Suns are embracing everything that’s possible. On their joyous fifth album, fittingly titled Accelerator, the Los Angeles trio are taking stock of everything they’ve been through together as a band and pushing into a bright future with a renewed sense of purpose.
Together since 2012, Christo Bowman (vocals/guitar), Gavin Bennett (bass) and Miles Morris (drums) started playing together as teenagers and went viral almost immediately with their magnetic blend of indie-rock and ‘80s synth sheen. After four hit albums, the trio reached a point where they needed to recalibrate and recenter if they wanted to continue. Recording their exuberant 2023 EP Infinite Joy was a cleansing experience that recalibrated Bad Suns and set them on a thrilling path forward into making Accelerator, which comprises 12 new tracks brimming with dance-pop hooks and poignant lessons learned.
“We saw the Infinite Joy EP as a new beginning for the band. I felt this yearning once again,” reflects Christo Bowman. “Accelerator being our fifth album, our first studio album as a trio, and the first album of my 30s, we knew that this was going to be really important. We didn’t want to take that lightly. We asked ourselves, how do we live up to the occasion? We saw this album as a mountain we wanted to climb.”
In planning their elevation, Bad Suns reconnected with their go-to producer Eric Palmquist (Tate McRae, Half Alive), who also helmed their 2014 debut Language & Perspective, plus follow-ups Disappear Here (2016) and Apocalypse Whenever (2022). Going into recording Accelerator, Eric encouraged Bad Suns to channel their sense of renewal into an energetic sonic direction they’d tapped into before, but never quite to this extent. “One of the first times we sat down with Eric, we were talking about what we’d all been vibing with. He said point blank, ‘It would be really cool to mess around with some ‘90s house-inspired music. Right away, the light bulb went off for me. I’d wanted to push in that direction forever.”
While tracks like the previously released “Communicating,” anthemic opener “Slow Karma,” the pulsing “Why Am I Like This,” and the shimmering club cut “Just Like Magic” reveal a riveting pop turn for the band, Accelerator is still steeped in the original DNA that made Bad Suns a feel-good viral sensation with early hits like “Cardiac Arrest.” The rushing pop melodies mirror Accelerator’s title, but its lyrics are filled with stop-and-think moments where Christo surveys his past actions and makes the intentional choice to embrace personal growth and impending fatherhood.
“My 20s were a challenging time with a lot of peaks and a lot of valleys,” he says. “There’s a lot of joy, a lot of mistakes. This album is ultimately about finding the strength within yourself to assess the damage that’s been done and make the changes that you need to in order to take control of your own life, kind of reckoning with the fact that you can’t control the external circumstances. I can’t control the world around me, but I can control the way that I react to the events taking place and the way that I move through the world.”
The hook-packed gem “Slow Karma” acts as Christo’s mission statement for Accelerator. An intimate and cathartic track, the album opener finds Christo at a personal and professional crossroads as he confronts old habits and makes the decision to become sober. “I was at a point in my life where it was becoming abundantly clear to me that I needed to make some changes in order to progress and live the life that I really wanted,” Christo says. “Getting sober is really hard, but then it becomes the easiest thing in the world. ‘Slow Karma’ is about accepting that this is gonna be difficult. And I don’t know exactly what’s ahead, but I know this is the direction I’m supposed to be moving down.”
The sparkling “Mystery Girl” signifies another crossroads as Christo, in a diaristic stream of consciousness, remembers his coming-of-age years while facing the inertia of fatherhood. “There’s this beautiful new chapter in my life unfolding, and there’s mixed emotions that come with it,” he says. “This is a song about my teenage years, past relationships and experiences, and being a young person who is ultimately just looking for love.”
Christo is equally unafraid to imagine what would have happened had he not made a series of positive changes. On the urgent, electropop banger “Back To Zero,” the singer envisions an alternate reality without Bad Suns or his wife and partner of 13 years and arrives at a place of heart-bursting gratitude for everything he has and the future that lies ahead.
“I didn’t want this record to be too self-help-oriented, but I did want every song, one way or another, to relate some wisdom I’ve gained,” Christo says. “By imagining myself alone in an apartment, my wife long gone — my life very easily could have looked like that. I’ve learned how important it is, as the lyrics say, to ‘find the beauty in what’s painful,’ and love every moment for what it is.”
As Bad Suns move into their latest era, one filled with exciting personal and professional milestones, they’ve never been more harmoniously aligned. “While making this album, I turned 30, I got married, I found out I was having a kid. Going to the studio every day and being in the room with the guys, I had this sense that I’m going to look back and know that was probably one of the best times of my life.”

Joe P
When the onset of the pandemic brought about the dissolution of the band he’d fronted since eighth grade, Joe P found himself in isolation with time to step out and experiment on his own. From the refuge of his New Jersey basement studio, he threw himself into writing, recording and producing his most personal material to date. Posting homegrown ideas to TikTok, Joe P watched as his raw acoustic videos drew millions of views and over 300K followers in just a few months. Among those new fans was Apple Music’s Zane Lowe, who kicked Joe’s career into hyperdrive by duetting alongside his self-made “Fighting In The Car” video.
A deal with Neon Gold/Atlantic was quickly followed by the release of Joe P’s acclaimed debut EP, Emily Can’t Sing, highlighted by the viral hit single “Off My Mind,” which spent 2 weeks at #1 at Triple A Radio, followed by “All Day I Dream About (first introduced as “Adidases” in a hugely popular TikTok teaser).
Joe P released his seven-song project French Blonde in October 2022. The official live performance video for “French Blonde” also serves as the opening scene of Joe P’s short horror film, “If We Run,” starring Michael Gandolfini (The Many Saints of Newark), which won the award for Best Homegrown Short at the 2023 Garden State Film Festival. The 2023 Single “Don’t Wanna Love You” saw Joe P earn his second top 10 spot in 2 years at Triple A radio.
Having spent much of 2022 on the road, including dates with beabadoobee, Middle Kids, Spacey Jane, and Joywave –Joe embarked on his debut headline tour in 2023, with sold out dates all over the US. 2024 saw Joe open for Cold War Kids and Rainbow Kitten Surprise, and appearances at Tree Fort Fest and The Great Escape, with performances at Sea Hear Now and ACL Fest (and more yet to be announced dates) still to come. His debut album, Garden State Vampire, will be released on August 23.

I'm With Her - Wild and Clear and Blue 2025
2025-10-11 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
I’m With Her – Wild and Clear and Blue 2025
The Egyptian Theatre
700 W. Main St – Boise, Idaho 83702
SatOctober 118:00 pm(Doors: 7:00 pm)
All Ages

Hell's Belles, Broken Anthems
2025-10-11 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Hell’s Belles
Knitting Factory – Boise
416 S 9th St – Boise, Idaho 83702
Sat October 11 8:00 pm (Doors: 7:00 pm)
All Ages

Hazlett w/ lighthearted
2025-10-14 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
After years of playing in bars in his native Australia, Hazlett’s unique brand of “Indie Ballroom Folk” only became crystallized after a chance encounter during a runaway trip to Sweden. It was there he found the fabled collaborator chemistry in close friend Freddy Alexander. A lot has changed since then and what started as just writing songs to “figure out some things in his head…” has now become a whole world of music and beautiful details to move through. Emphasized by the release of his debut album Bloom Mountain in early 2023.
His propensity for figuring things out himself and turning chaos into some kind of nostalgic lesson hasn’t gone unnoticed either, with The Line of Best Fit noting that “Hazlett is offering up a hazy, textured version of the classic singer-songwriter sound”
Even though the nerves never quite go away, there’s this newfound quiet confidence to the troubadour from the land down under. You may not have met, but sometimes when you’re listening to Hazlett he feels like the only friend you’ve ever had.

lighthearted
we are twins learning to be kinder day by day. music has healing power and we hope our music can be a soft place for you to land.

Born Of Osiris - THROUGH SHADOWS USA TOUR
2025-10-15 17:30 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
The Chicago-based progressive metal outfit Born of Osiris are known as one of the first deathcore acts from the 2000s to leave that genre behind in favor of a brutal yet alluring meld of technical death metal and metalcore filled with flashy twin-guitar leads and near-psychedelic keyboard adventures that owe as much to Judas Priest and Iron Maiden as they do Helloween and Meshuggah. Though they began as a typical deathcore band with 2007’s The New Reign EP, by 2009’s Higher Place, they’d all but abandoned that sound to focus on a more technically advanced, melodically astute, and brutally forceful approach. Its appeal garnered an ever-growing cadre of admirers. They have placed four albums in the upper half of the U.S. album chart, including 2013’s Tomorrow We Die Alive, which peaked at number 27. Subsequent titles like 2015’s Soul Sphere went to number two on the hard rock charts. 2017’s The Eternal Reign was a progressive, track-by-track re-recording of 2007’s The New Reign; it met with both high praise and withering criticism. 2019’s The Simulation was 28-minute EP that was reportedly the first of a two-part album, but it never materialized. An entirely different outing titled Angel or Alien appeared in July 2021.
Before assuming their name, they cycled through monikers such as Diminished, Your Heart Engraved, and Rosecrance. Drummer Cameron Losch, guitarists Lee McKinney and Matt Pantelis, vocalist Ronnie Canizaro, keyboardist Joe Buras, and bassist David Da Rocha (who left in 2018 and was replaced by Nick Rossi) met while in high school and experimented with various sounds and genres before developing an early version of their signature blend; after a demo and a live gig, they came to the attention of Sumerian Records, which signed the band. The New Reign EP appeared in 2007. Pantelis left in 2008 before the recording of 2009’s A Higher Place. That album sold well enough to land inside the Top 100. All Shall Perish guitarist Jason Richardson temporarily joined the band in 2009. He played on 2011’s The Discovery (an album that was cut using seven-string guitars) before being fired later in the year. Produced by the band, it didn’t place as high on the pop chart, but fared better than all previous outings on various indie and metal charts.
Pared down to a quintet, Born of Osiris released Tomorrow We Die Alive in August of 2013. In another sonic shift, they opted for a more orchestrated sound, one that involved more vocal layers and programmed orchestration by co-producer Nick Sampson. Buras’ keyboards were a central focus on the set, but the band’s attack remained as aggressive as ever. The album placed inside the Top 30 during its release week and inside the Top Ten on various other charts.
After aggressive touring, the band re-entered the studio. In the summer of 2015, Born of Osiris began leaking small bits and pieces of a forthcoming, somewhat conceptual album. Its 12 tracks were divided into three “levels”: The Binding, The Fight, and The Release, with four cuts in each. Titled Soul Sphere, it was released while Born of Osiris were in the middle of a lengthy tour (which ended up being cut shortly after guitarist McKinney broke his foot in several places). Soul Sphere peaked at number 67 on the Billboard 200. The band returned in 2017 with its second EP, The Eternal Reign, a re-recorded new vision of their debut produced by Nick Sampson. After a summer 2018 tour, Da Rocha left and was replaced by Rossi. BoO released the video and single “The Accursed” in November. It served as the opening track for The Simulation, a 25-minute mini-album issued in January.
Though they had come close to completing a sequel for The Simulation, BoO abandoned it in favor of new songs emerging from Canizaro and Buras in the aftermath of ending longterm relationships. They completed Angel or Alien in February of 2020, but it was delayed until July 2021 due to the pandemic. The set showcased Rossi moving from bass to guitar (both guitarists handled bass duties on the album), offering the band’s first twin-guitar attack since guitarist Jason Richardson departed after 2011’s The Discovery. ~ Thom Jurek, Rovi

The Browning

VCTMS

Axty

AXTY was born amidst the chaotic pandemic scenario of 2021 and quickly reached over 2M streams on Spotify with their debut album, Helpless The independent metalcore quartet drew the attention of the Brazilian metal scene and is growing followers at a high pace worldwide.
Frontman Felipe Hervoso’s control over drives, power screaming and clean vocals, teamed up with the band’s technicality, creates a combination that sounds raw, pure and emotional, without losing the explosiveness of the genre and has been pleasing fans of bands like Chelsea Grin, Wage War, Knocked Loose, thrown, among others.

Lost in Separation
Lost In Separation is a Metalcore Band from Dallas, Tx. Cathartically combining aggression, melody, and emotional storytelling to find silver linings in a world that seems to be falling apart more and more each day

Neptune Moon w/ A War In Me, Arcade Sarcasm, Withstand the Sands
2025-10-16 18:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Neptune Moon helps define the Boise scene with a single chord, a rebellious melody, and a heartfelt love for music.
July of 2022, local Idahoan and drummer Alex Nielebeck conceived this project with the hopes of playing local shows and writing a few songs. He had been writing songs and performing since he was 16 years old, but he felt there was something missing from his music. He met up with lead singer Micah Crosby to do an “improv jam session” at the Boise Hive. Out of that well sprung a few songs and a strong musical connection.
Wanting to add a little spice to this recipe, Nielebeck called up a few of the best musicians he knows: guitar player Jacob Wilcoxson and Looom guitarist/bassist Alex Gamble. Wilcoxson and Crosby had mostly metal backgrounds, which darkened up the sound a little. Add that to the already-existing punk and indie influence from Gamble and Nielebeck and you get the unique blend that is Neptune Moon.
The band released their debut single Way Out in October 2022. They have played various local shows and have stolen the hearts of many music lovers of all genres.

A War In Me
An American Rock Band Featuring,Paul Blair, Bass,Will Pompey, Vocals,Brian Denney, GuitarPaul Banta, drums

Arcade Sarcasm
Arcade Sarcasm is a contemplative indie rock band from Boise, Idaho that combines the tone of modern indie pop rock with a late 90’s early 00’s feel.Their songs take listeners on a journey through energetic riffs to reflective moments. These four members found common unison in exploring the complexities of life’s hardest decisions through melody. Lead singer Marven Shook expresses deep contemplation through his lyrics.The band’s dichotomy in age emphasizes the two generations of rock they grew up in. Inspired by bands like Elbow and Kings of Leon but also The Band Camino and Colony House.Their debut single “Drowning” releases June 28th and takes listeners to a place of deep reflection. You can find it on all listening platforms.

Withstand the Sands
⌛Withstand the Sands⏳ is a four piece free-form dark rock band, based in the heart of Boise, Idaho.

Desert Dwellers w/ David Starfire, Deeveaux, LEGZ
2025-10-17 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Desert Dwellers is a globally-recognized electronic music project hailing from the deserts of New Mexico and California. Comprised of Amani Friend and Treavor Moontribe, the duo has been creating and performing music together for over 25 years. Inspired by the vast and rugged beauty of the desert landscapes, they have crafted a unique sound that has captivated audiences around the world and has garnered them a devoted following of listeners who appreciate their sonic oasis for the mind and body. In addition to their music, Desert Dwellers are known for their uplifting live performances, often incorporating world-class dance performances into their sets. Their passion for sharing their music and creating a space for connection and community has made them a beloved presence in the global electronic music scene. With multiple albums and EPs in their vast catalog, Desert Dwellers continue to push the boundaries of their genre, always exploring new sounds and styles to keep their music fresh and exciting. Whether performing live or in the studio, Desert Dwellers are dedicated to creating a unique and unforgettable sonic experience for their fans.

David Starfire
Named by BBC Radio as “One of the most brilliant world-fusion producers of our time”, David Starfire is known as the pioneer of the Global Bass genre and composer of music for meditation and psychedelic assisted therapy. Billboard summed it up best, “David Starfire brings a unique perspective to EDM.” David has performed at prominent festivals such as Winter Music Conference, Coachella, Outside Lands, Envision, Burning Man, Eclipse, and Lightning in a Bottle. He’s been direct support for the likes of Skrillex, CloZee, and collaborated with top artists such as Afrika Bambaataa, Sizzla, Alex Grey, Ram Dass, Alan Watts, Ooah (The Glitch Mob), Sidecar Tommy (Beats Antique), William Close, and the Grammy Award-nominated vocalist Chaytanya. His Ascend album reached #7 on the iTunes World Music chart and he had two #1 remixes on the Hype Machine. He’s traded remixes with CloZee, Desert Dwellers, iLL Gates, Beats Antique, and SOOHAN. David’s signature sound has led him to work with well-known companies such as Lucas films, Samsung, Sprint, Beats Audio, Google, Siemens, Nokia, HP, Symantec, Virgin Galactic, Roland, Digg, MacWorld, Best Buy, Flaunt Magazine, CAA, Red Bull, Warner Music, Atlantic Music, Industrial Light and Magic, Chobani Yogurt, Hotel W, City of San Francisco, Subpac, TRIPP VR, and many others. He’s performed around the world in exotic places such as the pyramids of Giza in Egypt, India, Thailand, Norway, Canada, Costa Rica, Mexico, Australia, and most major cities in Europe. David has released 7 albums and 13 EPs in the last 15 years as well as various singles and remixes. David’s songs are featured on several TV, cable, movies, and video games. Some highlights include the movie Sold (Emma Thompson as exec producer), Lie to Me (FOX), Outsourced (NBC), Live with Kelly Ripa (ABC), ESPN2, Fox Sports, MTV, MTV2, Fuse, Showtime, HBO, EA sports, and a Right Guard commercial. His songs are featured on several music compilations including Sony, Lonely Planet, Red Bull, Craig’s List, and his song “Shout it Out” was in regular rotation at Starbucks. David has been producing music for meditation and psychedelic assisted therapy for many years. He’s the music facilitator for high profile meditation retreats with the likes of Deepak Chopra, Robert Thurman, Richard Schwartz (IFS), Sunny Strasburg, Gita Vaid, and others. David worked with Phil Wolfson (MAPS researcher, The Ketamine Papers) on the K Dome virtual Burning Man Project. He helped to develop the TRIPP meditation phone app plus contributed music and was the main curator of the music content including well known names such as Moby, Ram Dass, Alan Watts, Desert Dwellers, Dirtwire and others.. In 2023, David released a highly acclaimed album with meditations by Ram Dass. He’s also the head of music and sound at TRIPP VR, the #1 meditation platform in virtual reality. In 2020, David co-founded PsyAssist with Sunny Strasburg, a VR and Phone app that features music and guided meditation for psychedelic therapy. David started his musical journey playing guitar at 8, then playing in the jazz band and marching band in high school. In his 20’s he was signed to various bands and eventually fell in love with the fusion of world music with EDM. He comes from a musical family in New Orleans. His grandfather Oscar Rouzan, was a well known jazz musician and his cousin, Wanda Rouzan, known as the “The sweetheart of New Orleans music”. DJ Times “a wealth of heavy bass and world music influences…” VIBE Magazine “L.A.-based music producer/DJ David Starfire is known best for his seamless fusion of signature bass styles with a diversity of music genres, including world and hip-hop.” Huffington Post “His undeniable swagger of instrumentation between beats is exceptional.” Yahoo Voices “A driving force in the tightly knit underground music community stringing from LA to SF.”

Deeveaux
Deeveaux produces a sound experience that evokes a mindful synergy and cosmic energy on the dance floor. Whether in a warehouse or poolside, he is with the crowd, adapting and playing with them, not just for them. With over 15 years of experience behind the decks, his genres range from nu disco to electro to house to techno, and he is committed to constantly pushing the edges of his music production and DJ set curation. He has shared the stage with renowned DJs and producers such as Steve Aoki, Big Gigantic, Christian Martin, and Random Rab and played some legendary sets at festivals such as Burning Man and Treefort Music Fest in his hometown of Boise, ID where he lives with his guitar-slaying son and beloved pup. You can find his music releases on System Recordings and Braslive.

LEGZ

Flatland Cavalry
2025-10-17 19:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714
Flatland Cavalry

Oct 17, 2025
Doors: 7:00 PM / Show: 8:00 PM

Boise State University Presents LYSISTRATA
2025-10-17 19:30, 2025-10-18 19:30, 2025-10-19 14:00 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
Danny Peterson Theatre (inside the Morrison Center)
Adapted by Ella McLaughlin. Directed by Gordon Reinhart.
This fresh, fast-paced comedy, inspired by the Aristophanes play, follows Lysistrata, an Athenian who calls for the women of Greece to help end the Peloponnesian War. She proposes a radical plan: All Greek women must refuse to engage in lovemaking until the men see reason, lay down their arms, and come home to lie down with their wives in peace. The women agree to make the sacrifice and all hell breaks loose as men wander the country in an agony of unsatisfied lust. Will Lysistrata and her crew accomplish what the politicians could not?
Audio Description is available for the performances on October 23rd at 7:30 PM and October 26th at 2:00 PM.

MOTOWN MAGIC
2025-10-17 19:30 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
Buckle your seat belt for an electrifying show with motown, soul, and rock ‘n’ roll classics from the 50s, 60s, and 70s! The award-winning Shades of Blue are one of the hottest and most successful groups to come out of Detroit. Inducted into the National Rhythm and Blues Hall of Fame in 2015, Shades of Blue first skyrocketed to the top of the charts with their overnight hit “Oh How Happy” in the spring of 1966. Today, the group’s newest lineup is still harmonizing like birds and doo-wops down to their timeless R&B and soul sound.
Dressed to the nines, these fantastic lead vocalists will take you on a journey through Motown’s best, including: The Temptations, The Jackson Five, Diana Ross & The Supremes, The Four Tops, Aretha Franklin, Smokey Robinson, and more!

Garbage, Starcrawler
2025-10-17 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Garbage

In the spring of 2013, the members of Garbage — Shirley Manson, Steve Marker, Duke Erikson and Butch Vig — gathered in Los Angeles to start work on their sixth studio album. Except the recording didn’t begin in a studio, per se. It began where so many bands first do: in a basement.
The basement was Vig’s, perhaps one of the least elaborate home studios a multi-platinum producer has ever had. “My home studio is just a room where I watch Packers games,” says Vig. “There’s no sound proofing. It’s just four walls of drywall. So it’s got a bit of a trashy vibe to it.”

It was a fitting launching pad for an album that, over the course of the next two and a half years, would see the band finding a way forward by looking backward, tapping into the spark of their youths to try an uninhibited back-to-basics approach. But Garbage — long known for their meticulously crafted blend of dark, industrial noise, sci-fi pop melodies, whirlwind guitar, and tricked-out rhythms — was going back-to-basics for the first time.

“When you’re a teenager, you’re in a basement somewhere with your band, and you don’t know what you’re doing,” says Marker. “There’s a lot of the teenagers that we were in this record.”

Some will hear echoes of Garbage’s 1995 debut album in Strange Little Birds — including Manson herself. “To me, this record, funnily enough, has the most to do with the first record than any of the previous records,” she says. “It’s getting back to that beginner’s headspace.” In part, she says, that’s a result of not having anyone to answer to. Strange Little Birds is Garbage’s second album off their own label, STUNVOLUME. It’s a return to the freedom they had when working on their very first songs at Smart Studios in Madison, Wisconsin, more than twenty years ago, before they’d ever signed a label deal. “It’s so liberating,” says Manson.

Manson calls Strange Little Birds Garbage’s most romantic album. “And what I mean by romance, really, is vulnerability. I used to feel so scared, and I think that was why I was so aggressive — but I’m much more willing to admit weaknesses than I was before.” For her, the retrospective feel of Strange Little Birds is more personal than musical. Each song, she says, addresses “different points in my life between me and a person I’ve loved. They’re hot spots in my life, when I was afraid, or vulnerable, or didn’t behave at my best.”

Lyrically and musically, says Manson, the album is “less fussed over” than any Garbage has made. “We fell in love with immediacy,” says Vig. “The vocals aren’t slick. They have a raw, emotional feel.”

“We felt less limited in what we could try,” says Erikson. “On ‘Blackout’ we were just winging it. We just started playing, following one another.”

“That song started with a jam in my home studio,” says Vig. “It’s got a great ‘80s bass riff. It sounds like Garbage, but we’ve done a new spin on it — some crazy riffs and bits in the bridge.”

From the confessional opener, “Sometimes,” to the pulsing static of the closer, “Amends,” Strange Little Birds is a sweeping, cinematic record of a unified mood: darkness. “There aren’t really any upbeat pop songs,” say Vig. “Even ‘Empty,’ which has a big, anthemic guitar sound, has pretty dark lyrics.”

“I love dark and dismal,” says Manson, who once made a hit single out of her admission that she was only happy when it rains. “I’m aching for some dark and dismal. Because I feel like the musical landscape of late has been incredibly happy and shiny and poppy. Everybody’s fronting all the time, dancing as fast as they can, smiling as hard as they can, working on their brand. Nobody ever says, ‘Actually, I’m lost and I don’t have a fucking clue what I’m doing with the rest of my life and I’m frightened.’ ”

In the end, though, there’s power in the darkness, as the rhythmic throb and guitar crash of “So We Can Stay Alive” shows. “That song is grappling with mortality,” says Manson. “The more that I see the clock ticking, the more it gives me fuel. It’s a song to all the things that keep you moving forward with passion, all the things that can be used as fuel. All these things you think aren’t good can be used as powerful material to enhance your life.”

LAYZ - BLACKOUT - NO SIGNAL 360-Stage Tour
2025-10-18 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Leyla Ali, known professionally as LAYZ, has stormed onto the bass scene and quickly become a fan favorite. Establishing herself in the dubstep community for producing the heavy, new age sound and bringing it to the touring circuit with sets filled of energy and excitement. LAYZ has toured with Excision, Kayzo, Sullivan King, Wooli and more, in addition to festival plays at EDC Las Vegas, Lost Lands, EDC Orlando and Mexico, Bass Canyon, Rampage Belgium, Hard Summer & many others. Her music has been seen on labels such as Monstercat, Subsidia, Welcome Records, Disciple Round Table and Bassweight. She has grown an international fan base bringing her to new levels after every tour stop & song released.

Layto, RudyWade
2025-10-18 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Layto, RudyWade
Neurolux Lounge
111 North 11th Street – Boise, ID 83702
Sat October 18 8:00 pm (Doors: 7:00 pm)
21 and up
$23.07

Purity Ring - Place of My Own Tour
2025-10-18 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
PURITY RING: PLACE OF MY OWN TOUR
Knitting Factory – Boise
416 S 9th St – Boise, Idaho 83702
Sat October 18 8:00 pm (Doors: 7:00 pm)
All Ages

Adam Calhoun
2025-10-19 19:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714
Adam Calhoun

Oct 19, 2025
Doors: 7:00 PM / Show: 8:00 PM

Murder by Death - Farewell Tour
2025-10-20 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
As trailblazers of the early 2000s indie-Americana style, the Louisville, KY-based quintet finds a way of taking tried & true rock-and-roll and knocking it slightly off axis, into tottering revolutions of something eerie, emotional, immediate, lush, and uniquely theirs.
On the surface, Murder By Death is a Louisville, KY sextet with a wry, ominous name. But behind the geography and moniker is a band of meticulous and literary songwriters matched by a specific brand of brooding, anthem-riding balladry and orchestral indie rock.
Murder By Death’s path began in the early 2000s as most Midwestern college-town groups do, by playing to small crowds at ratty venues and frenzied house parties. While many of their formative-year scene-mates failed to make it much further than campustown’s borders, Murder By Death translated their anonymous beginnings into a 20+ year career founded on a bedrock of eight full-length albums, tireless D.I.Y. touring and performing ethics, and, most importantly, a dedicated, cult-like fanbase.

AJJ
AJJ frontman Sean Bonnette can summarize the band’s new album, Good Luck Everybody, in a single sentence: “Sonically, it’s our least punk record, and lyrically, it’s our most punk record.”
And indeed, Good Luck Everybody (January 17, 2020), the Arizona band’s seventh album, stands out in their already diverse catalog. While still rooted in the folk-punk sound AJJ has become known for, the album is unafraid to delve into new territories that test the limits of what the band is capable of.
“I think it explores some of the weirder sides of AJJ, the more experimental leanings that we’ve had in the past,” says bassist Ben Gallaty. Good Luck Everybody draws from a wealth of sonic inspirations, from Laurel Canyon folk-rock of the 60s and 70s to avant garde artists like Suicide, as well as some orchestral pop. There is even a piano ballad, the tragic “No Justice, No Peace, No Hope.”
Lyrically, Good Luck Everybody is a change of pace from the idiosyncratic songwriting style Bonnette has honed over more than 15 years fronting AJJ. It still features his wonderfully weird turns of phrase and oddball word pairings, but this time, his thematic lens is more directly focused on the inescapable atrocities of the world around him. Longtime fans will recognize the album’s social commentary as a return to their 2011 release, Knife Man, but this time it’s fueled by a more radical urgency.
“I usually try for a timeless effect in songwriting, so that you can hear a song and generally not think about the context under which it was written,” says Bonnette. “But for this one, I was trying to write, and all the bad political shit just kept invading my brain and preventing me from writing that way. So I decided to fully embrace it and exorcise that demon.”
Much like Woody Guthrie and Phil Ochs pulled their songs straight from newspaper headlines, Good Luck Everybody feels like a long scroll through social media feeds on a particularly volatile day.
The song “Mega Guillotine 2020,” for example, came directly from Twitter. It was influenced by Twitter funnyperson @leyawn’s popular tweet depicting a mockup of a French Revolution-style guillotine with one blade and enough headrests for 15 Congress members. Bonnette says the idea inspired him to press record and start playing, and when he did, the entire song came out of his brain fully formed. The final version also features backing vocals by Kimya Dawson.
“There’s something that comes along with scrolling through your phone on Twitter or Instagram and seeing a puppy, and then a joke from a comedian, and then a young black person being shot by police, and then another puppy, and then your friends announcing a tour, and then children in cages,” says Bonnette. “There’s something in that that fucks your brain up. I don’t know if it’s made me more of a passionate arguer or just made me confused and numb.”
On “Normalization Blues,” Bonnette laments what this never ending deluge of atrocities has done to our humanity: “I can feel my brain a’changin’, acclimating to the madness / I can feel my outrage shift into a dull, despondent sadness / I can feel a crust growing over my eyes like a falcon hood / I’ve got the normalization blues, this isn’t normal, this isn’t good.”
Later, on “Psychic Warfare,” Bonnette takes out some aggression on the man at the root of it all, albeit through his trademark polite aggression: “For all the pussies you grab and the children you lock up in prison, for all the rights you roll back and your constant stream of racism / For all the poison you drip in my ear, for all your ugly American fear, I wrote you this beautiful song called ‘Psychic Warfare.’”
After years of partnering with Asian Man Records and SideOneDummy Records, AJJ is releasing Good Luck Everybody on their own, via their new label AJJ unlimited LTD, with Specialist Subject Records handling the European release. Bonnette and Gallaty also produced the record themselves and, in addition to their usual cast of collaborators (Preston Bryant, Dylan Cook, Mark Glick, Owen Evans), it features guest appearances from Thor Harris, Jeff Rosenstock, and Laura Stevenson.
“One thing that makes me rather giddy is that without a label or a producer, our listeners will have no one to blame besides us for the way our sound has changed,” laughs Bonnette.
For all of its dark leanings and its pessimistic reflections on modern culture, AJJ hopes that fans will ultimately come out of the album in a hopeful place. By its final track, “A Big Day for Grimley,” it feels like AJJ is holding the listener’s hand, staring at the looming apocalypse ahead, and whispering a message into their ear: Good luck, everybody.
-Dan Ozzi

Between the Buried and Me & Hail The Sun
2025-10-20 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Between the Buried and Me & Hail The Sun
Knitting Factory – Boise
416 S 9th St – Boise, Idaho 83702
Mon October 20 8:00 pm (Doors: 7:00 pm)
All Ages
