HOT AUGUST NIGHT Solitary Band - The Neil Diamond Experience w/ Red Light Challenge, Wasted
2025-08-26 19:30 UTC | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Do you love the feel of Neil? Are you ready to see and hear his songs played LIVE as you would have seen in 1976? If so, you aren’t alone! Solitary Band presents classic Diamond songs performed by a group of very talented local artists. The Neil Diamond ‘Experience’ is what sets Solitary Band apart. This isn’t just a run-of-the-mill cover band! Our Neil Diamond ‘blipped’ to Boise from 1976 and has very unique perspectives on our city, his legacy, pop culture, and the impact his music has made around the world in the past 65 years. Solitary Band has been performing in in Boise since 2016 to big laughs and fun times with their faithful renditions of Neil Diamond’s catalog…21 songs across all of his albums and there’s always something to make Grandma swoon.
Solitary Band:The Neil Diamond Experience has performed almost a decade of sellout “cabaret” style shows during the Xmas Holiday, come celebrate their “arena” experience at Hot. August. Night. live on Tuesday, August 26, 2025 at the Treefort Music Hall in downtown Boise for an unforgettable night of local music. Come see, hear, laugh, and dance during a rock-n-roll evening of amazing songs, featuring Neil’s all-time greatest hits: Cherry, Cherry, Holly Holy, Cracklin’ Rosie, Kentucky Woman, Sweet Caroline and more!

Red Light Challenge
Red Light Challenge is a powerhouse pop-rock duo that’s like if The 1975 and OneRepublic had a baby at a Coldplay concert. It’s Sean and Kyle Luster, brothers and best friends with undeniable onstage chemistry and witty banter. These two misfits, originally from Hawaii but now based in Boise, Idaho, mix catchy melodies, infectious music, and lyrics so personal, it’s like they talked to your therapist before the show. Sean plays the bass, Kyle shreds the guitar, and they alternate lead vocals over a tapestry of tracks while throwing in sibling harmonies so magical, you’ll think you’re at Disneyland.
With over 700 live shows—including festivals like Treefort Music Fest and Boise Music Festival—Red Light Challenge is known for throwing a party so electric, even the speakers get nervous. Offstage, they’re creating thoughtful, story-driven music videos (like their “Play Pretend” music video from 2024) and skits that’ll make you think, “Should I be laughing at this?” Yes, yes you should be. They’ve also got big hearts, partnering with causes like Ronald McDonald House Charities and the National MS Society to raise funds and spread good vibes.
Known for their DIY approach, Sean and Kyle write and produce their music in a tiny bedroom (it’s like, real DIY), run their own social media pages, and have a bond that makes you believe in sibling superpowers. New music? It’s coming. Summer tour? Oh yeah, it’s about to get real. Red Light Challenge is like that perfect playlist—always fresh, always fun, and always filling each listener with the right feeling at the right moment.

Wasted
Forming in late August 2023 as a tribute to their beloved friend Jadin Zurawski, Wasted is a raw 6 man beatdown hardcore band whose music embodies a slap to the face or a stomp to the head. Playing shows with the likes of Snuffed On Sight, Bodybox, Psycho-Frame, Slime, and local Idaho legends Ingrown. Vocals: Matteo Martinez, Vocals: Roanan Nelson, Guitar: Broden Rider, Guitar: Graeme Russell, Bass: Markus Zunich, Drums: Sam Finley
Wasted will have just played “Northwest Hardcore Fest” in Portland, their first out of town show, but will continue shaping their sound through live shows across the Treasure Valley. LLJZ.

Chicago
2025-08-27 19:00 | ExtraMile Arena, 1401 Bronco Lane, Boise, Idaho, 83706
Chicago
Wednesday, August 27, 2025
at Outlaw Field at Idaho Botanical Garden

The Budos Band w/ Say She She, VIKA
2025-08-27 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Two years after releasing the Frontier’s Edge EP, The Budos Band are returning with their first full-length since 2020’s Long in the Tooth. Titled simply VII, the new album sees them doing what they do best: laying down hypnotic, horn-spiked grooves that menace and mesmerize in equal measure.
Produced by Budos guitarist Tom Brenneck with Simon Guzmán engineering, VII features 11 tightly constructed new tracks that draw on the group’s wide range of influences, sounding like only The Budos can. It’s music for getting down, for nighttime drives, and for alternate headspaces — a beguiling mix of mystery and rhythm that stands with the formidable work they’ve released in their two decades of recording.
“We didn’t really go in there with a concept on VII,” drummer Brian Profilio says. “It was the first time in two years that we were together in a studio so we were like, ‘Let’s see what happens.’ We ended up writing 11 songs in three days.”
These 11 songs run the gamut, featuring sweaty, hard-hitting funk workouts like “Escape from Ptenoda City” alongside explorations of Turkish psych in “Night Raid” and Zambian rock in the riff-heavy “Overlander.” It continues the stylistic evolution the group began with 2014’s striking, shake-things-up album Burnt Offering.
“It’s almost like we’ve refined the sound we were going for on Burnt Offering,” Brenneck says of VII. “It’s not quite as raw.”
“That’s the genreless aspect of the band,” saxophonist Jared Tankel agrees. “We’re not Afrobeat, we’re not Ethiopian jazz. We’re not world music. We’re not really funk, we’re not soul. We’re not rock. We’re just an amalgam of all these different sounds, so things pop out in all directions when you listen.”
As usual, these songs are chopped up and splashed with the heavy horns so integral to The Budos sound, weaving melodies through the muscular rhythms and even deepening the groove when it calls for it.
“Horns can occupy a melodic space, even though it’s not a voice,” Tankel says. “They can also occupy an articulated and rhythmic space. Playing with that duality is cool.”
VII was recorded in California and serves as The Budos Band’s first full-length album on Diamond West, the independent label founded in 2023 by Tankel and Brenneck. It’s also the group’s first album to include instrumental contributions from percussionist Rich Tarrana, who previously played in the Frightnrs. All told, it succeeds in opening up some new sonic spaces while staying tethered to the intuitive, unique musicality that made them such a sensation from the jump.
“Sometimes it’s like we’re speaking some esoteric language that no one else understands except us, and we’re doing it wrong,” Brenneck says. “It’s like how the Stones tried to play the blues and they missed the mark and they made something new — everything The Budos tries to do, we do wrong, and it sounds like The Budos.”

Say She She
Say She She, the soulful female-led trio, stand rock solid on their disco-delic duty with their boundary-breaking sophomore album Silver (released September 29 on Colemine/Karma Chief Records). The strong voices of Piya Malik (El Michels Affair, Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. Following the NYC siren song, the trio was pulled from their respective cities — Piya from London, Nya from DC, and Sabrina from NYC — to Manhattan’s downtown dance floors, through the Lower East Side floorboards, and up to the rooftops of Harlem, where their friendship was formed on one momentous, kismet evening.
Silver was written and recorded live to tape at Killion Sound studio in North Hollywood in early 2023, and produced by Sergio Rios (Orgone, Neal Francis, Alicia Keys). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that have critics reeling.
Musical inspirations include Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones, and Tom Tom Club.
Described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early 80s NYC” (The Guardian), the band consistently tops the radio charts of tastemaker stations KCRW and KEXP, as well as BBC’s Radio 6 Music. Sold out shows from London to Los Angeles and televised appearances on CBS Saturday and Later…with Jools Holland are a testament to a rapidly growing fan base. Say She She has toured with the likes of Thee Sacred Souls, and have already played iconic festivals like Glastonbury, Central Park Summerstage, and more.
Ultimately, Silver oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. Say She She fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

VIKA
VIKA coins an uncategorized vintage sound purely inspired from her own experiences with nostalgia, love and loss. Her sultry voice captivates audiences with her passion and haunting power. “Emerging on the indie scene with her raspy Amy Winehouse style, VIKA has carved out her niche, continuing to embrace crowds with her melodic lyrics, showcasing her growth not just as a musician but as a visionary artist inspired by icons of the past” (Gordie Tamayo, Boise Beat). With equal parts of heartache and hope seen through her past and latest releases, VIKA is undeniably vulnerable, cultivating a path by following the cosmic power of love.

Jason Bonham’s Led Zeppelin Evening/JBLZE
2025-08-27 20:30 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
On the heels of a successful tour that wrapped last December, Jason Bonham’s Led Zeppelin Evening/JBLZE is back with another round of U.S. dates. The latest tour will be a first for JBLZE as it will focus on the 50th Anniversary of the Led Zeppelin classic, Physical Graffiti. The latest 21-city trek is billed as An Evening with JBLZE Celebrating 50 Years of Physical Graffiti. JBLZE has never done a tour that was centered around a specific Led Zeppelin album before as Bonham live celebrates all things about his father, drumming legend John Bonham. The show will feature all the selections from Physical Graffiti performed alongside numerous other Led Zeppelin classics.
“This is my favorite Led Zeppelin album of all time. Being able to celebrate it the way we are planning on this tour is something I am extremely excited about. I can’t wait for people to come out and see these shows and celebrate this extraordinary record with us. My goal is to play at least 50 shows to commemorate 50 years…and don’t worry, there will be plenty of other songs that you also love played that night,” explains Jason Bonham.
A spectacle of top-flight musicianship, arresting visuals, mind-blowing lighting, and emotionally charged storytelling, Rolling Stone hailed it a “set of Led Zep gems that were strikingly faithful to the originals,” while Billy Joel handpicked JBLZE to open up a handful of dates. Like his father, Jason remains forever at home on the drums.

RANDY TRAVIS The More Life Tour
2025-08-28 19:00 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
Much of the success of modern country music can be traced to one man, Randy Travis. His arrival signaled the start of the “new country” sales explosion of the mid-1980s. Travis was the first country artist to go Platinum with his disc debut, and the first debut country artist to go Multi-Platinum. With lifetime sales in excess of 25 million, Travis is one of the biggest multi-genre record sellers of all time. His honors include seven Grammy Awards, 11 Academy of Country Music statuettes, 10 American Music Awards, two People’s Choice awards, seven Music City News awards, eight Dove Awards from the Gospel Music Association and five Country Music Association honors.
Now, Travis is bringing the magic back in 2025 with his highly anticipated More Life Tour! Following a successful 2024 run, Travis, his original touring band, and special guest vocalist James Dupré are set to deliver an extraordinary musical experience to fans across the country.
The More Life Tour promises a memorable journey through Travis’ extensive catalog of chart-topping hits, enhanced by video highlights showcasing his celebrated career in music, film, and television. Although Travis will not perform vocally due to the stroke he suffered in 2013, his presence on stage will be a cherished highlight of the tour. Joining him will be his wife, Mary, as they engage with fans and interact with the band, bringing the iconic songs to life once again.
James Dupré will take the stage alongside Travis’ original touring band to perform some of his most beloved No. 1 hits, including classics like “On the Other Hand,” “Forever and Ever, Amen,” and “Three Wooden Crosses.”
In reflecting on the tour, Randy Travis shared, “The More Life Tour celebrates something so much more than a musical moment in time—it’s a gift to me to spend time with my fans, and my band, as James Dupre perfectly presents the songs that best define my career. We look forward to seeing you all somewhere along the way.”

DIRT MONKEY x SMOAKLAND - SUPER BASS BROS TOUR
2025-08-28 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Dirt Monkey, aka Patrick Megeath, has carved his uplifting, bouncy, and unique sounds within the Denver, Colorado dubstep scene and has gained international acknowledgement with his punchy and playful sound design. His tracks have gained support and captivated audiences via many pioneers, such as: Skream, Benga, Rusko, Datsik, Excision, A-Trak, Virtual Riot, Anna Lunoe, Annie Nightingale (BBC Radio 1), Downlink, Ganja White Night, and Protohype. Dirt Monkey’s Remix of Rusko’s “Woo Boost” has recently hit the world by storm, was released on Subcarbon Records, and to top it all off, is supported by the don himself, Rusko. Although this eclectic music junky enjoys a wide-variety of music, he has gravitated towards the trippy, crisp sounds of IDM and the wonky, high-energy sounds of old school dubstep and strives to fuse the two together.
He has worked with a wide-variety of artists including: DMVU, Space Jesus, Illenium, Party Wave, Run DMT, AMP Live, and Jantsen. Dirt Monkey has performed at a countless number of breathtaking venues, including Red Rocks Amphitheatre, clubs in France, and Beta Nightclub in Denver, CO (where he has held a residency for the last 5 years). Also, for the past four years, he established and ran the record label, Kairos Audio, with the help of co-founder, Jantsen.
In the future, expect this virtuoso to continue carving a niche that does not exist yet in the music scene and stay on the look out for a 5-song EP coming out in Spring 2017 on one of the most reputable labels in the world. Although, Dirt Monkey is extremely versatile to say the least, his true wobbly greatness will continue a movement within clubs, both boutique and world-class venues, and the colorful festival scene.

Tennis w/ Real Estate
2025-08-28 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Face Down In The Garden, Tennis’ seventh album, is both culmination and reflection of their career. From the perspective of fifteen years on the road and ten thousand miles at sea, frontwoman Alaina Moore attempts to distill the arc of a life into vignettes: a first moment of connection, a conversation at a wedding, a night offshore, a sprawling tour diary.
The album is succinct but potent, highlighting Tennis’ concise songwriting and unconventional arrangements. Self-produced and recorded in their studio, Tennis builds upon their early minimalist girl-group sound, expanding into more mature synth-pop and rock elements.
The duo met in the University of Colorado’s philosophy department in 2008, when Patrick Riley recognized Moore as the waitress from a diner he frequented. (This moment was later immortalized in their song Hotel Valet.) After graduating, they spent eight months living aboard a small sailboat, voyaging along the eastern seaboard–a practice that would become integral to their creative process. Their debut album Cape Dory (2011, Fat Possum) documents that experience. Tennis booked their first tour through the help of a robust DIY scene. While on the road, their lead single “Marathon” went viral, gaining them sudden notoriety. Cape Dory debuted at #1 on Billboard’s Heatseeker chart and transitioned Tennis from house shows to main stages in the course of a year.
Tennis recorded their sophomore effort Young & Old (2012) with Patrick Carney of the Black Keys, marking their first collaboration with an outside producer and their television debuts on The Tonight Show, The Late Show, and Late Night with Conan O’Brien.
In 2013, Tennis spent sixteen days recording with Richard Swift in his home studio in Cottage Grove, Oregon. Moore and Riley were heavily influenced by Swift’s distinctive approach to engineering. This prompted the duo to build their own studio and take over production and engineering roles on future releases.
Moore and Riley solidified their creative autonomy by forming the label Mutually Detrimental in 2016. Yours Conditionally, their first self-release, became their most commercially successful album, charting on Billboard’s top 50 vinyl sales and proving their DIY roots as a cornerstone to their sound and narrative.
Swimmer (2020, Mutually Detrimental) marked a sonic evolution. Moore and Riley expanded their palette with unique time signatures and arrangements, stepping fully into their roles as songwriters and producer-engineers. But with nearly every show sold out, Swimmer’s momentum was cut short by the Covid-19 pandemic. The duo spent the time at home exploring their role as producers by making records for other artists.
Tennis has continued to thrive by operating on the fringes of the music industry. They’ve survived the flash-in-the-pan fate of so many bands from the early ‘00’s blog-era. Their sixth album, Pollen, saw them grow into the biggest tour of their career, with sold out shows at historic venues like The Beacon Theatre and The Palladium.
Face Down In The Garden is Tennis’ most fully realized work. Crafted entirely by their own hands and guided by their fierce independence, it stands as testament to a band unwavering from their original vision. Tennis embarks on the first leg of their North American Tour in May.

Real Estate
A band for 15 years now, with a half-dozen records to its canny name, Real Estate knows how
the press cycle inevitably goes: Someone somewhere at last had a realization about what their
songs needed to say and how they should sound, so (at least according to brief biographies like
this one) they finally made the best album of their career. But here’s the thing: Real Estate has
been so consistently compelling for those 15 years, with their coruscant indie rock shuffles
perfectly reflecting the spellbinding glow of suburban ennui, that they know when they have
done it. That is, they know when they have written songs that shimmer and fetch and radiate
despite or because of the gloom lurking in their grooves. It is the gift and curse of self-
awareness, of sticking together since childhood.
So Real Estate, in turn, needs you to know that Daniel—their sixth full-length album, recorded in
an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and
songwriter Daniel Tashian—is quite possibly their best album. In 11 compulsively tuneful songs,
they connect the uninhibited wonder of their earliest work with the earned perspective of
adulthood. What more could you need from Real Estate at 15?
Martin Courtney knew he wanted to write a pop record, a set of instantly accessible songs where
the chorus arrived in, say, the first 40 seconds. During the last decade, or essentially since
making Atlas, Real Estate did what was only natural for any beloved and freshly aging indie rock
institution: They gently pushed back against praise as an effortlessly melodic and quietly radiant
band. Colors darkened. Textures curdled. Songs stretched toward the six- and even seven-minute
mark. But what if, as Courtney and cofounder Alex Bleeker often say these days, they again just
“Let Real Estate be Real Estate,” to shimmer and fetch and radiate without hesitation or second
guesses?
Courtney actually learned of Tashian through his daughter, who adored an album he’d produced,
Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite
their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed
several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had never
really worked with anyone who wasn’t already a bud. There in Dave Cobb’s famous Nashville
lair, Tashian was not shy with his outsider advice about how to boost this song or that one, even
playfully throwing the occasional candy bar to emphasize he wanted to hear more. Real Estate
had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the
background music of their youth. Tashian helped lead them back toward it, toward an improved
edition of the less self-conscious band they’d been at the start.
Daniel certainly sounds like classic Real Estate, simply leveled up with the subtle but unabashed
touches of a producer who has actually lived inside pop powerhouses. The chiming guitars and
plaintive verses of “Haunted World” summon the band that first emerged to acclaim in 2009,
with Courtney doing his best to sing his way around existential confusion. But in the chorus,
dexterous instrumental harmonies (that’s Nashville ace Justin Schipper on pedal steel) and faint
backing vocals propel the song anew, its tight hook snagging in a second. Tashian suggested they
fortify the refrain, and he was right.
Or there’s the marvelous thrum of “Airdrop,” with Bleeker’s busy bass and Sammi Niss’ insistent
drums pushing Courtney into the wistful chorus as if he’s riding a hang glider. “The sun went
down/We let it,” he sings four times to end the song, the lines essentially built to be cooed back
at him from a crowd. “Never been so contented/I won’t ever forget it.” That’s Real Estate’s long-
relatable smiling sadness, lifted in proper Music City style. Listen, too, for Real Estate’s
squiggly versions of classic Nashville licks during “Flowers,” where the mercury of pedal
steel and the twinkle of a Wurlitzer illuminate acoustic strums like stars in the night sky. A
song of dislocation and constancy, it’s a reminder of the common way we use music no
matter the genre or scene—to find our way forward.
Daniel is a complete string of these compulsive moments: the crisscrossed harmonies of “Water
Underground,” the delightful sway and rise of “Market Street,” the enchanting but deceptive
simplicity of “Interior.” Real Estate manages the rarest of pop tricks here—to sound effortless
but be artful, with all the flourishes and tricks tucked so smartly into songs that you only spot
them when you unpack what makes all the tunes so winning and sticky.
But this, of course, is not the Real Estate of their MP3-blog salad days. Four members are
married, with Niss in a long-term relationship. There are actual kids in the equation now. And the
world outside has darkened considerably in 15 years, in all those ways that require no recounting
here. Time and again, Daniel wrestles with that juxtaposition—external alienation and madness,
internal responsibility and hope. These are songs of confusion, of trying to find a way to be
present and better in broken times. “Now and then, I can pretend the sun is shining,” Courtney
admits during “Freeze Brain,” the keys of Matthew Kallman and guitars of Julian Lynch framing
a lambent haze around him. “Let’s let some light in.” Ain’t that the struggle, to find some joy
despite all the forces that filch it from us?
In Nashville, all five members of Real Estate shared a rental, cutting up in close quarters after the
imposition of separation of these last few years. Several days into recording, they were
discussing album titles when someone suggested “Daniel,” simply because it seemed funny to
bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The
Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to
take its music seriously without taking itself or its perception too seriously? Absolutely.
Daniel is a record of wonderful pop songs, its string of hooks and stream of worry irresistibly
connected in the way few bands have ever done better than Real Estate. But perhaps just as
important, it is an expression of the self-acceptance that can come with maturity, with realizing
it’s enough to be who you want to be. “What is it that you want to hear? There’s only so much
time,” Courtney croons during “You Are Here,” Daniel’s ingenious and strutting finale. “Best we
can do is be happy here/Sing another line.” It is a mission statement for Real Estate at 15, a
reminder that they are the band of their childhood dreams and that is cool. To that end, they’ve
never been better at being Real Estate than they are right now, on Daniel, their new best album
yet.

TOTO + Christopher Cross
2025-08-28 20:00 | Ford Idaho Center
TOTO + Christopher Cross
Ford Idaho Center Amphitheater
Thursday, August 28th

Cypress Hill & Atmosphere | Dank Daze of Summer Tour
2025-08-29 18:00 | ExtraMile Arena, 1401 Bronco Lane, Boise, Idaho, 83706
Cypress Hill & Atmosphere
Dank Daze of Summer Tour
with Lupe Fiasco and The Pharcyde
Friday, August 29, 2025
at Outlaw Field at Idaho Botanical Garden

Big Al's Live on the Patio!
2025-08-29 19:00 - 22:00, 2025-08-30 19:00 - 22:00, 2025-09-05 19:00 - 22:00, 2025-09-06 19:00 - 22:00 | 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

TVBOO
2025-08-29 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Rose Entertainment & Persona Productions Present
TVBOO

Treefort Music Hall
Friday, August 29th, 2025
Doors: 8PM
Show: 8PM
18+

Boise Baroque Summer Concerts
2025-08-30 19:30 - 21:30, 2025-08-31 20:15 - 22:15 | Château des Fleurs, 176 S. Rosebud Lane, Eagle, Idaho
Join us for the 2025 Boise Baroque Summer Music Festival at the
beautiful Château des Fleurs or the acoustically perfect First
Presbyterian Church. Each weekend features a unique program, from
comedic Neapolitan opera to grand Handel coronations. Collaborations
with Opera Idaho and The Boise Philharmonic Master Chorale add to
the fun.
Enjoy unforgettable performances under the summer sky on Saturday
and Sunday evenings. Explore the full season lineup below and plan
your perfect night out!

49 Winchester - Leavin This Holler Tour
2025-08-30 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
49 Winchester: Leavin This Holler Tour
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
SatAugust 308:00 pm(Doors: 7:00 pm)
All Ages

Starmonster
2025-08-30 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Treefort Music Hall
Saturday, August 30th, 2025
Doors: 8PM
Show: 8PM
18+

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

THE KNOCKS & DRAGONETTE w/ AQUARIA
2025-09-05 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Startin’ Boise Pride weekend off with a big, retro-disco-funkin’ dance party featuring The Knocks and live performances by Dragonette! Drag icon Aquaria will also be joining the festivities along with local support!

Casey Donahew, Bottomland
2025-09-05 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Casey Donahew, Bottomland
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
FriSeptember 58:00 pm(Doors: 7:00 pm)
All Ages
Buy Tickets

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Casey Donahew

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Bottomland

Bottomland is a unique southeast Texas blend of southern rock and country roots featuring Cannon Brand and Justin Lane Gates. The newly formed duo is comprised of the two singer/songwriters who have paid their dues in the honky-tonks and listening rooms of the Lone Star State. Their collaboration magnifies the talents of both while producing an unmistakeable sound that is garnering attention from fans and the music industry alike.
In an era of viral trends, Bottomland is slugging it out the old fashioned way. On the road. Their live show is the cornerstone of the growing brand and their passion. Like a Texas Country – Blink 182, Bottomland delivers live like few young bands on the scene. And yes, while they are more than appreciative to interact online, it’s with the hope they’ll see you in front of the stage soon.

Sunny Day Real Estate
2025-09-06 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Sunny Day Real Estate
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
SatSeptember 68:00 pm(Doors: 7:00 pm)
All Ages

ATTENTION
2025-09-06 20:30 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
We’re back for Year 3 of ATTENTION, and this time it’s even more fierce, more fabulous, and unapologetically louder. Step into the spotlight, feel the bass in your bones, and let the disco ball bathe you in silver. This isn’t just a party — it’s a revolution in stilettos, a full-bodied celebration of authenticity, expression, and pride. ATTENTION will feature Shea Couleé on the DJ decks and performances from Plane Jane (RuPaul’s Drag Race Season 16) and a number of sensational local artists!

NAHKO AND MEDICINE FOR THE PEOPLE – TAKE YOUR POWER BACK 2025
2025-09-07 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
NAHKO AND MEDICINE FOR THE PEOPLE – TAKE YOUR POWER BACK 2025
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
SunSeptember 77:00 pm(Doors: 6:00 pm)
All Ages
$48.77 – $115.72Buy Tickets

DELAYED DELIVERY: There is a ticket delivery delay in place for this event. Tickets will be emailed 48 hours prior to the event.
For the first time ever, Nahko is bringing the powerful songs from his 2020 album Take Your Power Back to the stage, live and in full spirit! Originally released during the stillness of the pandemic, this long-awaited tour will highlight the album in its entirety; it serves as a celebration of resilience, rebirth, and reclaiming your voice. Nahko has crafted an all-new show, filled with heart, empowerment, and high vibes. Expect deep cuts, fan favorites, and the kind of soul-stirring experience only a Nahko show can deliver. Come be a part of the medicine and take your power back!
VIP: TAKE YOUR POWER BACK – VIP TICKET includes:

– 1 General Admission ticket

– Early entry for a Meet & Greet with Nahko before Doors

– Exclusive, limited-edition VIP-only poster.

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Nahko and Medicine For The People

Over the last 5 years, Nahko And Medicine For The People have continued to gather dedicated members of their global tribe of likeminded fans as they spread their powerful musical message. They incorporate a variety of sounds, ranging from alternative roots to acoustic rock while promoting social change. Their album HOKA debuted at #10 on Billboard’s Rock Album Chart and #6 on the Alternative Album Chart.
Nahko’s solo album, My Name is Bear, debuted on a number of Billboard charts including Independent Albums (#11), Tastemakers (#14), Emerging Artists (#19), Top Album Sales (#43), and Top 200 Albums (#170). The album also premiered at #1 on iTunes and the headline tour in support of it boasted multiple sold-out dates both stateside and in Europe. My Name is Bear is a 16-track collection that reflects the soul, authenticity, and spirit that Nahko’s fans have come to know. It predates Nahko’s rise to mythos among diehard fans of Medicine For The People. As he puts it, the album serves as a “prequel,” that artfully merges rustic acoustic guitars, upbeat energy, tribal flavors, fiery percussion, and ponderous lyrics. At the end of the day, My Name is Bear, sets the stage for a whole lot more from Nahko.

Walter Trout w/ Katie Knipp
2025-09-07 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Great artists take the pulse of their times. In his half-century as a street-level social observer and scaldingly honest songwriter, blues-rock’s resilient icon Walter Trout has never told his fans what to think, how to feel, where to stand politically, or what to scrawl on their protest placards. But in an era when his home nation – and the wider world – is ripping at the seams over the battlelines of modern life, the iconic US bluesman’s hard-rocking new album, Sign Of The Times, is the primal scream and pressure valve we all desperately need. “I wanted to convey the anger and angst going
on in the world,” explains the 74-year-old. “For me, writing these songs is therapy. They’re not just about what’s happening out there, but how it affects you in your head. Sign Of The Times just became the obvious title…”
Right now, it feels like the amps have barely cooled from 2024’s Broken (“That record debuted on Billboard at #1 – I was very, very pleased with that”). But the era-chronicling songs from Sign Of The Times wouldn’t wait, these urgent riffs flying off the guitarist’s fingers, assisted once again by Dr Marie Trout, Walter’s wife, manager and latterly co-writer, whose eloquent lyrics struck each subject on the head. “This album flowed pretty easily,” he reflects of the writing process. “I had so many song ideas and pages of lyrics from Marie. We could have kept going and made a triple album.”
With ten new songs written and arranged, Trout was ready to call up his studio band – longtime drummer Michael Leasure, bassist John Avila and keys man Teddy ‘Zig Zag’ Andreadis – for sessions at producer Thomas Ross Johansen’s Strawhorse Studios in Los Angeles. Immediately, the tinderbox subject matter sparked one of the toughest-sounding records in his catalogue. “Let me put it this way,” considers Trout, “after we finished recording the title track, my keys player Teddy said, ‘Well, you won’t be winning a blues award this year’. But I really felt like rocking on this album. We had
heavy things to talk about, and we went for it musically too.”

Katie Knipp
This is unquestionably the blues, but a new shade. Her fourth top ten Billboard charting album, Me, brings Knipp’s hard-fought personal and musical self awareness to the forefront of the contemporary Blues landscape. From sultry to social justice, Katie Knipp dives all the way in, teaming her refreshing vulnerability with expert level musicality and composition. Knipp’s unique euphony and passionate storytelling has propelled her career to new heights, independently paving new ground. Alongside Katie on vocals, piano, and guitar, her band features Pancho Tomaselli on bass (War, Tower of Power, Philm), Steve Utstein on the B3 (Cafe R and B, Bo Diddley, Junior Wells, Lonnie Brooks), Chris Martinez on guitar (Sac Blues Hall of Fame, Guitar Mac, Arbess Williams), and Neil Campisano on drums (4 top 10 Billboard albums).
“Her songwriting is really classic sounding but also out of the box, which is tough to do. Katie’s powerful delivery is natural and authentically rooted in that classic gooshy saturated 70’s rock. I love it. She reminds me of like a Nor-Cal Fiona Apple-especially in its willingness to surprise and take fun and interesting musical turns. She’s weird and cool” –Eli Brueggemann, Musical Director for Saturday Night Live

“Not only is her band several levels above your average blues combo and her own musical, vocal attributes enthralling; but her songwriting and lyrical abilities deliver humor, complexity and an emotional power that takes her art way beyond genre boundaries.” — American Blues Scene

“….. serves up a radiant platter of her patented NOLA-steeped brand of slidin’ blues rock — smokey, syrupy and ever-genuine” –Aaron Davis, The Sacramento Bee

“Comparisons are odious, but …..Katie Knipp is a true original. The closest I can come to a description is a cross between Nina Simone and Mose Allison. Remarkable.” — Mick Martin, KZAP

“Her version of blues is raw and gritty, and she’s comfortable with a myriad of musical influences in her underlying soundtrack.” -Robert Leggett, No Depression Magazine

“Versatility. That’s the word to properly define Katie Knipp’s work. She is a gifted musician, able to not only play slide guitar, piano, and harmonica but mainly able to make her singing prevail over the textures of a song.” -Marcel Innocentini, Blues Rock Review

“I know good music when I hear it. Katie Knipp grabbed my attention with her new album, “Me.” She captured it with the first note on the first song, “Mud.” The album unfolds like a theatrical performance. She’s a storyteller, an explorer, a rocker. By the fifth song, I’ve decided, “Yep, she’s got me. Everything here is good. I’ll just put my interpreter’s ears away now and just enjoy it.” The powerful yet rather humorous title track, “Go,” would fit seamlessly on “Magical Mystery Tour.” I feel like I hear Neil’s influence on “Dirty Cables.” I dig the bluesy “Lava Pot.” “The Devil’s Armchair” simply grows and builds. Bravo, Katie Knipp!” –Tim Parsons, Tahoe Onstage

Baroness Red & Blue Part II
2025-09-09 21:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Baroness Red & Blue Part II
Neurolux Lounge
111 North 11th Street – Boise, ID 83702
TueSeptember 99:00 pm(Doors: 8:00 pm)
21 and up
Buy Tickets

DELAYED DELIVERY: There is a ticket delivery delay in place for this event. Tickets will be emailed 48 hours prior to the event.

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Baroness

Grammy-award nominated heavy rock outfit Baroness mark their much-anticipated return with new album, STONE. Their sixth record overall and third released via Abraxan Hymns, STONE finds the Philadelphia-based quartet of John Baizley (guitars/vocals/illustration), Gina Gleason (guitars), Nick Jost (bass), and Sebastian Thomson (drums) streamlining the momentous multi-genre vocabulary of its critically-acclaimed predecessor Gold & Grey (2019). This is still very much Baroness—just refocused for efficiency and rethought as a consequence of stability. STONE’s most prominent tracks, “Last Word,” “Beneath the Rose,” “Shine,” and “Anodyne,” reflect thoughtfully, groove deeply, and refract tumult effortlessly. They, of course, rock.
“An important through line in Baroness is we don’t like to repeat ourselves,” says founding member John Baizley. “It’s all about the willingness to take risks. When I was younger, the whole point of music was to be different, to find fresh risks and exciting ideas to explore, and to follow your own impulses rather than play by the rules. That’s kind of goofy, but in practice, it works. It’s really sort of terrifying to be at the sixth record in your career and think that you’ll have to keep up with your history rather than continually invent. So, we doubled down on continuously inventing to see where it takes us. I think this record is a good reflection of that. STONE is a lot more alive, more direct.”
Baizley founded Baroness in Savannah, Georgia, in 2003. Local/regional punk-hardcore scenes harbored the group as they went from strength to strength. They signed to indie Relapse Records (Mastodon, Cave In) in early 2007, where they released three decorated records—Red Album (2007), Blue Record (2009), and Yellow & Green (2012)—before forming their own label Abraxan Hymns. On STONE, Baroness untangle from self-imposed complication. It’s back to basics but constructed with a lifetime of perspective and experience. To wit, acoustic opener “Embers” features Baizley and Gleason harmonizing to the lyric “Build me a home of ember and chain / Leave me a simple life.” This mantra carries through to the arcadian vibes of closer “Bloom.” If home is where the heart is, then Baroness is home.
“When I joined in 2017, I was just trying to find my place,” Gleason says. “This time, I felt like I could express a little more. I had a history with everybody in the band, so I was less scared of imposing. I incorporated more of my guitar playing, which, in a way, was like coming full circle to what I’ve done in the past. I think we were able to strip everything away on this record. We were unified in that, I think. So, we just jumped in and did our best. That felt really good. It was a really cool, empowering, creative experience.”
The origins of STONE go back to 2020. It is not a pandemic record, but the core of it was written during its darkest days. Anxiety, relief, and resolve are stitched deeply throughout. When the foursome was isolated in Pennsylvania and New York, turning stems of music into full-fledged songs felt insurmountable. Baroness toiled as the world roiled. Creativity fully flourished only when they escaped to an Airbnb in Barryville, a quaint hamlet on the New York/Pennsylvania border. The undulating “Beneath the Rose,” the energetic drive of “Anodyne,” the trad-metal burl of “Last Word,” and the dynamic introspection of “Shine” rushed out, as did the motorik of “Choir” and the emotional heft of “Magnolia.” STONE was a sort of catharsis, a turning of the page, a middle finger to the suffocating insincerity of expectation.
“Playing one idea for 13 hours a day, you lose yourself inside of the music,” Jost shares. “You have to follow where that headspace takes you and trust your mates. Extreme isolation enhances this state of mind and allows you to explore things unhindered. That process of exploration is a big part of this album.”
One of the main aspirations behind STONE was to take Baroness back to a DIY approach. Over the years, Baizley had become accustomed to, and talented at, engineering, recording, and mixing. Instead of taking the band to an actual studio, they transformed the Airbnb in Barryville into an impromptu recording space with its big, vaulted ceilings, hardwood floors, and brick/glass walls. While Baroness wrote STONE, Baizley recorded and pre-mixed it. In a way, each song on STONE has its own sonic treatment. After the group finished tracking drums, guitars, and bass, they took everything back to Baizley’s unfinished basement – where parts of Gold & Grey were also recorded—in Pennsylvania to put down the vocals and add other bells and whistles. STONE was then handed off to Grammy-nominated mix master Joe Barresi (Kyuss, Alice In Chains) for final mixing and polishing and Grammy-winning mastering guru Bob Ludwig (Led Zeppelin, Nirvana) at Gateway Mastering Studios.
“The recording process was completely self-contained,” Thomson explains. “Having just the four of us in a rented house in the mountains for a month resulted in not only a cohesive and authentic sound, but also an intense collective mentality.”
Conceptually, STONE eschews the color-based themes of its predecessors, but it’s just as personally weighty. Baizley’s initial ideas were negative and rayless. The right feel wasn’t right. To get out of his funk he took Baroness on the road again, playing in smaller, intimate venues on the ‘Your Baroness’ tour, which featured no opening acts and fan-curated setlists that reached nearly three hours in length and offered an extensive look at the band’s back-catalogue. He built the lyrical foundation for STONE on that tour. Indeed, freedom gave way to ideas of permanence, both literal and figurative. Sure, Baizley came face-to-face with death—and a distant relative, in fact—while strolling through a local cemetery, but he also realized that STONE means so much more, from struggle and support to perseverance and comfort.
“This record started off the loosest conceptually,” says Baizley. “It ended up feeling like it was different chapters in a short story. One thing I’ve learned about myself is that each album is always about the time between. That’s pretty broad, but it’s true. I tend to focus on the things that are confusing to me—and I’m confused by the things I find difficult. So, this album is sort of a reflection of my life. I’ve had some tough years, and I think I’ve found some semblance of calm now. I think I found that walking through Laurel Hill Cemetery in Philadelphia. Sure, there’s death, but there’s memory, too. I found that almost peaceful. There’s a song on Pink Floyd’s Animals where they use stone as a metaphor for a grave, but it’s presented in this almost polite, poetic way. That was definitely going through my mind.”
As Baroness edge into their 20th year, they’re finding new ways to engage internally. They’re more secure now than ever before, largely due to the lineup of Baizley, Gleason, Jost, and Thomson remaining intact through thick and thin. In that certainty, Baroness have found the will to innovate or iterate for their artistic pleasure. STONE is a monument. That it kicks ass helps, too.

Train with Special Guest Edwin McCain
2025-09-10 19:30 | Ford Idaho Center
Train
with Special Guest Edwin McCain
Ford Idaho Center Amphitheater
September 10th, 2025

Warren Zeiders
2025-09-12 19:30 | Ford Idaho Center
Warren Zeiders: Relapse, Lies, and Betrayal Tour
Ford Idaho Center Amphitheater
Friday, September 12th, 2025
