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 UTC | 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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Artists

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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Artists

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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Artists

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

Xzibit w/ Coyote
2025-09-12 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Before becoming one of the West Coast’s most illustrious MCs at the end of the 1990s, and later a TV celebrity, Xzibit was a promising underground rapper. Born Alvin Nathaniel Joiner on September 18, 1974, in Detroit, MI, Xzibit began his rap career was part of Tha Alkaholiks, a loose-knit collective of California rappers including King T, Defari, and Tha Alkaholiks. Early on, he was featured on “Free Style Ghetto,” a song on King T‘s IV Life (1994), and subsequently appeared on “Hit and Run,” a song on Tha Alkaholiks‘ Coast II Coast (1995). Signed to Loud Records, Xzibit released his solo debut album, At the Speed of Life, in 1996. The album boasts a Billboard Hot 100 single, “Paparazzi,” and features production work by Thayod Ausar, Craig Sherrad, E-Swift, DJ Muggs, Saafir, and Diamond D.   Xzibit’s second album for Loud, 40 Dayz & 40 Nightz (1998), was a bigger success on all counts. Often considered the rapper’s best album, 40 Dayz & 40 Nightz spawned a Top 50 single, “What U See Is What U Get,” and features extensive production work from Sir Jinx, who had previously worked at length with Ice Cube, among other significant West Coast rappers. Following the acclaim of 40 Dayz & 40 Nightz, Xzibit made several high-profile guest appearances in 1999, most notably alongside Snoop Dogg on his hit “B Please” and on three tracks of Dr. Dre‘s 2001 album, including alongside Eminem on the hit “What’s the Difference”; also that year he was featured on Kurupt‘s Tha Streetz Iz a Mutha, Prince Paul‘s A Prince Among Thieves, Sway & King Tech‘s This or That, and Tash‘s Rap Life.   Xzibit’s third album, Restless (2000), was executive produced by Dr. Dre, who personally produced or co-produced three songs, including the Hot 100 single “X.” Restless features an illustrious list of featured guests and producers — among them Snoop Dogg, Eminem, KRS-One, Nate Dogg, Erick Sermon, DJ Quik, Sir Jinx, Rockwilder, Scott Storch, Rick Rock, Soopafly, and Battlecat — and marked the zenith of Xzibit’s popularity as a rapper, passing the platinum sales mark handily. Man vs Machine (2002) sought to duplicate the success of its predecessor, once again featuring a roll call of well-known talent, including Dr. Dre, DJ Premier, Snoop Dogg, Eminem, Nate Dogg, and Anthony Hamilton. However, despite debuting at number three on the Billboard album chart (his first time breaking into the Top Ten), Man vs Machine proved a bust. It spawned no major hits and barely reached gold sales status, let alone platinum.   Weapons of Mass Destruction (2004) also sold disappointingly, and consequently Xzibit began diversifying his portfolio, turning toward acting instead of music. He had previously appeared in the films The Wash (2001) and 8 Mile (2002), along with numerous videos, so it wasn’t much of a stretch when he acted in the Hollywood films Full Clip (2004), XXX: State of the Union (2005), and Derailed (2005). Furthermore, in 2004 he began hosting the MTV show Pimp My Ride, which quickly became one of the network’s most popular, carrying on for many seasons (with Xzibit) and eventually being spun off internationally (without him). Full Circle (2006) marked Xzibit’s return to the music marketplace. No longer signed to a major-label recording contract, Xzibit released the album via Koch Records, and consequently it sold only a fraction of what his previous few albums had, despite some first-rate production and the rapper’s newfound status as a TV celebrity. Pimp My Ride was canceled in 2007 and Xzibit focused for a time on his acting career, doing small roles in an X-Files movie, television roles as well as a cameo appearance in the concert film Tha Alkaholiks: Live from Rehab. Financial troubles plagued the actor/rapper in this time, and he dealt with the repercussions of both tax evasion and multiple bankruptcy filings during this phase of his career. In 2012, after a long musical hiatus, he returned with full length album Napalm, assisted by friends like Dr. Dre and Wiz Khalifa on the album’s party-friendly hip hop. ~ Jason Birchmeier, Rovi

Coyote

Man's Best Party - Sabrina Carpenter Night (21+)
2025-09-12 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Man’s Best Party: Sabrina Carpenter Night (21+)
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
FriSeptember 128:00 pm(Doors: 7:30 pm)
21 and up
$21.01Buy Tickets

DELAYED DELIVERY: There is a ticket delivery delay in place for this event. Tickets will be emailed 48 hours prior to the event.
What the Dance presents
Man’s Best Party: A Sabrina Carpenter Night
Oh boy, Boise!
Knitting Factory
Friday, September 12
8pm
21+
Celebrate with us the release of Sabrina’s new album, Man’s Best Friend, along with other hits from Ariana Grande, Olivia Rodrigo, Addison Rae, Tate McRae, Taylor Swift, Reneé Rapp, Billie Eilish, Dua Lipa, and more!
DJ set by @julimuah
Have you ever tried this one? @thedanceparties

Jauz
2025-09-13 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Hailing from the Bay Area, electronic DJ and producer Jauz (born Sam Vogel) has consistently made waves in the dance music scene since his debut in 2014. His journey from a young electronic music enthusiast in the crowd of Hard Summer to playing on the main stage is a testament to his meteoric rise in the industry. Jauz burst onto the international music scene with his infectious original track, “Feel the Volume,” released on Mad Decent. The release catapulted him into the spotlight, earning him recognition from industry heavyweights like Zedd, Skrillex, and Diplo. His energetic sets and genre-blurring production quickly made him a staple on major festival lineups around the world.
Jauz continued to stun the electronic music world – making headlines at Coachella by dropping his viral remix of Pete Fong’s “Baby Shark” and making his TV debut as a special guest DJ on The Discovery Channel’s “Shark After Dark” during Shark Week with comedians Rob Riggle and Adam Devine. As his popularity continued to soar, Jauz embarked on the sold-out “Dangerous Waters Tour” in early 2020, amassing over 60,000 tickets across 40 shows in the US and Canada. He also embraced the world of online streaming, raising over $50,000 for non-profit causes during COVID-19 through Twitch streams featuring guests like Illenium, Marshmello, and Alesso. In 2022, Jauz released the Block Party EP in conjunction with a nationwide tour, bringing awareness to shark conservation through his partnership with Beneath The Waves. In 2023, he reached a significant milestone with the release of his two-part album series, the progressive-house-inspired Rise of the Wise and bass-music scorcher Wrath of the Wicked. Throughout 2024, Jauz continued to display his vast range as a producer, from the drum and bass breaks of “Higher for Your Love” to classic, warping dubstep on “Savage.” In an especially exciting moment as a Bay Area native, Jauz teamed up with P-Lo and Zion I to deliver the Golden State Warriors’ third-quarter anthem, “Don’t Lose Your Head.” And in tandem with global distribution company OneRPM – home to names ranging from Method Man to Elohim – Jauz relaunched his acclaimed Bite This! label through his towering future bass single “Chains.”
In 2025, Jauz is prepared to return to the roots that made Apple Music dub him the “Godfather of Bass House.” He kicked off the new year with an invigorating new single called “Feel It” that delivers on his coronation, deftly balancing soaring melodies with a propulsive groove. On the Bite This! front he’s prepared for a brand new Miami Music Week takeover, and with many more singles and shows up his sleeve, a banner year awaits the Bay Area boundary-breaker.

Bop To The Top
2025-09-13 21:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Bop To The Top
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
SatSeptember 139:00 pm(Doors: 8:00 pm)
21 and up
$27.71Buy 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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Artists

Bop To The Top

Bop to the Top is a DJ led dance night spinning your favorite Disney Channel throwbacks with high energy performances, crowd participation & main character moments dancing on stage!

DynaDuo Presents - HEMLOCK
2025-09-14 18:30 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Hemlock is a Heavy Metal band from Las Vegas Nevada.
Members of the band are Chad Smith-Vocals and Bass, Jezy Ward-guitar and background vocals, James Gelber- Guitarist, and Brian Smith drummer
Hemlocks sound is a heavy blend of chugging riffs, deep bass tones, rhythmic grooves and catchy ass lyrics, with a haberdash of melody mixed in. The lyrics are always creative and positive, and the songs have lots of scream alongs and hooks. The merchandise is also very creative. Hemlock offers a wide variety of merchandise options. From t-shirts and hoodies, to Hemlock candles, lunchboxes, antennae balls, panties and tons more.
Hemlock has been called “The Kings of self promotion”and have been noted as the hardest working up and coming metal band. Hemlock has a very entertaining live show as well. Hemlock gets the crowd involved in the show, and puts on the show of a lifetime, every time. The band makes sure that everyone goes home knowing they had fun with Hemlock.
Hemlock has been around since 1993. They have released 8 full length albums. Hemlock has toured the United States extensively, and has also recently toured Canada, Europe and Japan. Hemlock tours about 8 months a year, and has toured with Slayer, Slipknot, Ministry,Meshuggah, Otep, Disturbed, Hatebreed, Lamb of God, Chimiara, Snot, Devil Driver, Machine Head, Mastodon and tons more.

Gary Numan w/ Tremours
2025-09-14 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
May, 1979. It’s an ordinary Thursday evening, which means it’s time for Top of the Pops. Amidst a zeitgeist of punk and disco, the show suddenly appears to be interrupted by a transmission from the future. A luminous synth riff echoes out, a beat drives on and up steps an otherworldly figure – part robot, part alien – to deliver an enigmatic lyric depicting some kind of android existence in a dystopian future. It’s Gary Numan fronting Tubeway Army for their breakthrough hit ‘Are ‘Friends’ Electric?’.
Of the millions that are watching, few would’ve recognised that this moment foreshadows the shape of music to come, from synth-pop to industrial and alt-pop. That, however, can’t stop it igniting the imagination of an audience that would swell into a devoted following.
Fast-forward to January, 2021. Numan’s first single ‘Intruder’ (from the Intruder album) pulsates ominously as if it’s soundtracking an imminent threat. As austere synths loom like shadows and industrial beats are detonated, the beguiling hook towers like a beacon in the darkness. It’s visionary and venomous, with a narrative that imagines the Earth growing angry at mankind’s actions, and more than willing to fight back. In the accompanying video, Numan looks even more out of time than he did back in 1979, like an intergalactic refugee fighting for his own existence.
Those two songs show how Numan has consistently fought against the grain to stick resolutely to his creative vision. In a career that spans over forty years, the music evolves and the themes change. But fans remain fascinated by Numan for the very fact that he’s so uncompromising.
Any story charting four decades will be a mixed blessing of momentous highs and meagre lows. The achievements are remarkable for someone who never made any concessions to mainstream success. Seven Top 10 singles, including ‘Are ‘Friends’ Electric?’ and the debut solo hit ‘Cars’; eight Top 10 albums, three of which topped the charts; and huge critical acclaim, most notably with the Inspiration Award at the prestigious Ivor Novellos.
Naturally, there were times when Numan was very much not in vogue. Sure, there would be ripples of rediscovery but there were years when his increasingly conceptual albums were primarily embraced by hardcore fans. He wasn’t troubling the charts, but audiences were still flocking to see him perform – almost every UK tour would include a sold-out show at the 5000 capacity Hammersmith Apollo.
Gradually, though, praise from Nine Inch Nails, Prince and David Bowie led to a reappraisal of his work. And that has been magnified in recent years with Kanye West, Lady Gaga and Dave Grohl citing him as an influence.
And so, a new narrative emerged. An unlikely icon returned to the top while making music that was darker, fiercer and more inventive than ever.
‘Splinter (Songs From A Broken Mind)’ set the ball rolling by peaking at #20 in 2013, its precise, post-industrial sound delving into Numan’s experiences with depression. He started a new deal with BMG in 2017 and released ‘Savage (Songs From A Broken World)’, an album which depicted earth as a barren wasteland in which humanity and culture had been largely crushed by the effects of global warming. ‘Savage’ hit #2 in the UK charts.
His next album, ‘Intruder’, presented a fresh but complementary narrative. It’s a philosophical examination of a potential future apocalypse: the planet can only survive by purging its inhabitants. ‘Intruder’ also hit #2 in the UK charts.
Numan explained: “‘Intruder’ looks at climate change from the planet’s point of view. If the Earth could speak, and feel things the way we do, what would it say? How would it feel? The songs, for the most part, attempt to be that voice, or at least try to express what I believe the earth must feel at the moment”.
The planet sees us as its children now grown into callous selfishness, with a total disregard for its well being. It feels betrayed, hurt and ravaged. Disillusioned and heartbroken it is now fighting back. Essentially, it considers human kind to be a mistake, a virus attacking the planet. Climate change is the undeniable sign of the Earth saying enough is enough, and finally doing what it needs to do to get rid of us, and explaining why it feels it has to do it.”
Partially written and recorded during lockdown, it’s no surprise that current circumstances have been assimilated into its themes. It’s especially evident in ‘The Gift’, which evolves from a sparse introduction into a resonant Middle-Eastern sonic motif. It imagines Covid-19 as the first weapon that the planet deploys in order to eradicate mankind and once again flourish.
While anger and vengeance rage in its opening chapters, ‘Intruder’ charts a wider spectrum of emotions. ‘Is This World Not Enough’ and ‘A Black Sun’ exude regret and then despair that this fate could’ve been avoided. The finale presents a black-hearted double-bill to bring the curtain down on the tale. First ‘Now And Forever’ offers a hope of eternity in the end days during its theatrical intensity, before the sparse, sorrowful ‘The End Of Dragons’ ends on the chilling reminder that what’s broken can’t always be fixed.
Collectively the album proves that Numan’s creative spark shows no sign of being extinguished.
Numan toured the Intruder album at over 130 shows around the world, finally ending in mid 2024 when he toured the US with Ministry. Since then he’s been back in the studio writing and recording his next (and 23rd) album, due out in early 2026. This one looks at a near future world where humanity lives or dies based on the whims of an AI controlled system. He did take a few weeks out of the studio to play a major UK tour in the Fall to celebrate the 45th Anniversary of his ‘Replicas’ and ‘The Pleasure Principle’ albums, both UK Number 1’s when first released.
That’s just a snapshot of the tale behind one of music’s most singular talents. The full story can be found in Numan’s critically acclaimed autobiography ‘(R)evolution’, which The Observer described as an, “exhaustive, entertaining and often poignant life story.” What comes next will surely be just as intriguing.

Tremours
TREMOURS formed in Los Angeles in 2021 by the duo of Lauren Andino and Glenn Fryatt. Late night jam sessions in the midst of lockdown uncertainty slowly transformed into TREMOURS creative partnership, driven by the tension between Andino’s hazy, drifting guitars and Fryatt’s urgent, pulsating drums.
South Carolina-born Andino plays with L.A. Witch and most recently LSD And The Search For God as a touring guitarist and vocalist. Fryatt hails from Portsmouth, England, and has toured as a drummer for artists such as Cherubs, The Montrose Avenue and Ten Benson. TREMOURS sees them each newly harnessing and exploring their own creative impulses, inspired by everything from shoegaze to jazz to electronica to literature to looking out at the sea. “Most of our songs center around loneliness. Not necessarily sadness, but the comfort that you can find in being lonely,” says Andino. “It’s when I feel most calm.”

Everclear
2025-09-16 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Everclear
Art Alexakis – Vocals, Guitar
Davey French – Guitar
Freddy Herrera – Bass
Brian Nolan – Drums
Everclear, one of the leading alternative rock bands to emerge from the ‘90s, celebrated their 30th Anniversary in recent years, and founder, vocalist and guitarist Art Alexakis has made it clear that he has no plans to slow down. Since forming in 1992, Everclear has enjoyed a lengthy career by any measure, spanning 11 studio releases, including four that have been certified Gold or Platinum, selling over 6 million records, and achieving 12 Top 40 Hit Singles on Mainstream Rock, Alternative, and Adult Top 40 radio, including “Santa Monica,” “Father of Mine,” “I Will Buy You A New Life,” “Wonderful” and “Everything To Everyone,” as well as numerous videos, thousands of shows, and various other accolades, including a 1998 Grammy nomination.
After the demise of his band Colorfinger in 1992, Alexakis was struggling to make it in Portland, where he’d moved from San Francisco. That extremely difficult personal and creative period was the crucible that forged Alexakis into the fiery songwriter heard on the early Everclear demos, the Nervous & Weird EP (1993), and ultimately the World of Noise LP, both released on the Portland independent label Tim/Kerr Records. The original 1993 release of World of Noise, paired with the band’s significant efforts to break into college radio and the buzz they’d created within the Portland music scene, attracted the attention of major labels, including Capitol Records, which signed the group soon after. Beginning with their major-label debut, 1995’s platinum-selling album Sparkle and Fade, and its massive chart-topping hit “Santa Monica,” Everclear was soon a household name and catapulted into the masses, thus allowing their impressive three-decade career to prosper and endure.
In 2019, while being treated for an injury caused by a minor car accident, Alexakis was diagnosed with multiple sclerosis (MS) and learned that he had likely been living with the disease for nearly twenty years. Since being diagnosed, Art has donated one dollar from every ticket purchased for his performances to charities such as Sweet Relief Musicians Fund and National MS Society.
In 2022, Everclear reissued World Of Noise as a special 30th Anniversary remastered, deluxe edition, making the album available for the first time on digital streaming platforms with 6 bonus songs in addition to its original 12 tracks. Adding to the celebrations that year, Everclear released a commemorative anniversary video, “Everclear – 30 Years Gone: A Retrospective,” hosted by former MTV VJ, current radio host and longtime friend Matt Pinfield, and embarked on a lengthy North American Tour. One special stop on the tour, back in Alexakis’ hometown of Los Angeles, was recorded and filmed for a new live album. Live at The Whisky a Go Go (released in 2023 via Sunset Blvd. Records) features all the hits and hidden treasures from throughout Everclear’s extraordinary catalog as well as two new original bonus studio tracks.
Continuing to celebrate their acclaimed decades-long career and provide the band’s dedicated fanbase with long-awaited content, Everclear released their platinum-selling album Songs From An American Movie Vol. One on vinyl for the first time ever in 2024 via Intervention Records. And to mark the 30th Anniversary of the album that changed it all, a special reissue of Sparkle and Fade will be released in 2025 including bonus tracks and Everclear will hit the road for an extensive fall headlining tour.
In addition to his thousands of Everclear performances over the band’s lengthy career, Alexakis created and runs the annual Summerland Tour, which features a package of popular ‘90s alt rock bands, and he released his first solo album, Sun Songs, in 2019. More than three decades later, Everclear’s enduring legacy and ongoing appeal as a live band continues.
www.everclearmusic.com

Local H
Local H, the iconic alt-rock duo known for their blistering live shows and unorthodox two-piece setup, are at the top of their game three decades after they first burst onto the music scene. Now, frontman Scott Lucas, who covers both guitar and bass (through an extra pick up in his guitar), and drummer Ryan Harding are gearing up to release their 9th studio album, LIFERS.   Local H’s first major release was 1995’s Ham Fisted, but it was their 1996 follow up album As Good As Dead that positioned the band as one of the elites of 90s rock. The radio hit “Bound For The Floor” emerged as a generational anthem and remains a staple on playlists around the country today. Their widely praised 1998 concept album Pack Up the Cats solidified Local H as a leader in the genre, and the albums that followed reflected not only the band’s definitive character, but also their relentless effort to give their audience as much of themselves as possible.   The past five years have been some of the busiest of their career. They released their 8th studio album Hey, Killer, numerous EPs and live records, and a series of “Mix Tapes” featuring a surprising mix of cover songs. They’ve toured almost constantly, with hugely successful tours with the likes of Toadies and Helmet, including performances on Metallica‘s sold out stadium tour.   2020 will see the band on tour with fellow 90s alt-rock vets Soul Asylum in the Spring, and their new album LIFERS will be out April 10 via AntiFragile Music.

Sponge
Sponge is an American alternative rock band formed in Detroit, Michigan in 1992 by vocalist Vinnie Dombroski, guitarists Mike Cross and Joey Mazzola, bassist Tim Cross, and drummer Jimmy Paluzzi.
After shopping demos as the newly formed quintet, the song “Neenah Menasha” caught the ears of A&R person Pablo Mathiason and the band signed with The Work Group (a Columbia Records subsidiary) in the fall of 1993. The following year, Sponge released the now iconic, Platinum-selling debut album, “Rotting Piñata,” to global, critical and commercial success.
After two top 10 hit singles, several tours and live television performances, including the Jon Stewart Show and Late Night with David Letterman, Sponge followed up their debut with 1996’s “Wax Ecstatic.” This sophomore effort garnered a “Song Of The Year” nod from Rolling Stone Magazine for title track “Wax Ecstatic.” The album also yielded two additional top 10 hit singles and featured a guest vocal appearance from Richard Butler of the Psychedelic Furs on the song “I Am Anastasia.”
Since then, Sponge continues to release new music and keeps a near-constant tour schedule to the pleasure of their legion of loyal followers.
Though continually led by Vinnie Dombroski, Sponge’s lead singer and chief songwriter, the band has seen a few line-up changes over the course of its 30+ year career.
Sponge currently features: Andy Patalan (guitar, vocals) and his brother Tim Patalan (bass). The Patalan brothers were a natural addition to the band, having previously engineered and produced the first three Sponge records at their studio, The Loft, in Saline, Michigan.
The Brothers Patalan are joined by Kyle Neely (guitar) and recent addition, former Taproot drummer Dave Coughlin. Sponge’s discography includes nine studio albums, four live albums, and seven charting singles; 4 of which have made Billboard Magazines top 10.
The band has also been featured on several compilations and movie soundtracks over their decades long career.
They are best known for their prominent 1994 hit single “Plowed” (#5 on Billboard Alt Rock) as well as the 1995 hit “Molly (16 Candles)” (#3 on Billboard Alt Rock), the 1996 hit “Wax Ecstatic” (#10 on Billboard Mainstream Rock) and 1997’s hit “Have You Seen Mary”(#7 on Billboard Mainstream Rock) respectively.
Sponge is busy supporting their latest release and shows no sign of stopping for the foreseeable future.
Proudly representing the city of Detroit, Sponge takes their well earned place as a part of Rock-N-Roll’s lengthy musical history.

Eagle Jazz and Blues Fest
2025-09-19 - 2025-09-20 | Idaho
The Eagle Jazz & Blues Fest is an annual event in Eagle, Idaho, featuring world-class musicians and an audience that leans into every note.
​Whether you’re brand new to the world of jazz and blues, or you’ve collected old vinyls and played with the best of ’em, or are simply thirsty for the newest innovations in jazz and blues live on stage… this festival is for you! Don’t miss Eagle Jazz & Blues Fest! Get your tickets before they are gone!

Thomas Rhett
2025-09-19 19:30 | Ford Idaho Center
Thomas Rhett
Better In Boots Tour 2025
With special guest Tucker Wetmore
Friday, September 19, 2025
Ford Idaho Center Amphitheater
