Russian Circles, Pelican
2025-03-17 20:00 UTC | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Russian Circles, Pelican
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
MonMarch 178:00 pm(Doors: 7:00 pm)
All Ages
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Russian Circles

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Pelican

It’s been a long journey for Pelican—from their sludgy reductionist beginnings in the DIY spaces of Chicago, through their tenure as forerunners to the burgeoning international community of artists fusing post-rock’s dramatic melodicism with thinking man’s metal, and to their ascension into the canon of the elder statesmen in the brainy and brawny realm of the underground rock world. The band encountered no shortage of ups and downs along the way, and those peaks and valleys often found an analog in the moods and timbres of Pelican’s sonic palette, with youthful frustrations channeled into the unrepentant dirges of their self-titled debut or new opportunities afforded by their increasing popularity manifested in the expanded vistas of City of Echoes. In the process of writing their sixth album Nighttime Stories, the quartet endured a slew of realizations, tragedies, and glimmers of optimism that guided the creative process to the most potent album of their eighteen-year career.
One of the most profound shifts in Pelican’s operating procedure came with the departure of founding member Laurent Schroeder-Lebec back in 2012. Along with fellow guitarist Trevor Shelley de Brauw and drummer Larry Herweg, Schroeder-Lebec shared duties in the hallucinatory art-grind band Tusk, with the dual collaborations resulting in a near-psychic interplay between the musicians. The only added personnel for Pelican was bassist Bryan Herweg, whose familial ties within the rhythm section were evident with his in-the-pocket playing. Though Schroeder-Lebec’s exit had been planned with enough foresight for the band to gradually incorporate Dallas Thomas as a replacement, the alteration could be felt in their first album with a line-up change. Forever Becoming contained the requisite breadth and muscle of their earlier albums, but it also sounded more like a band that was focused on creating dimension in the studio as opposed to replicating the enveloping force of their live show. “It felt like it would have more musical continuity from the previous albums if the three original members handled the writing rather than approaching it with a new lineup,” Shelley de Brauw says of that album, but the subsequent years of playing together—whether in the practice space, the studio, or on stage—altered the writing chemistry for Nighttime Stories. “Rather than try to bend Dallas to fit into Pelican, we’ve all dug into our subconscious to find the shared similarities in our styles—particularly the era of the late 90’s and early 00’s where bands were beginning to push hardcore and metal in a more exploratory direction.”
While Pelican has frequently strayed from the unanimous locked-in riffage of their first few records in favor of more complex instrumental interplay, it’s hard to imagine an earlier incarnation of the band writing songs as meticulously crafted and detail-oriented as Nighttime Storiestracks like “Midnight and Mescaline” or “Abyssal Plain”, where the compositions recall everything from the triumphant call-to-arms of classic Dischord bands to the vicious troglodyte battery of the Melvins to the dynamic interwoven melodies of bottom-heavy indie cult heroes Chavez. But there’s also the requisite lurch and stomp of their early years, as evident on the unrepentant crusher “Cold Hope”. It’s the heaviest Pelican record in a long time, and it was at least partially due to the cultural climate. “We were halfway through writing the album when a significant portion of the country signaled that they were ready to publicly embrace totalitarianism, bigotry, and white supremacy, and the resulting dread and anger we experienced had a considerable effect on the shape of the material that followed,” Shelley de Brauw says with regards to the grim mood surrounding the album’s gestation period.
There were personal tragedies that informed the creative process too. Nighttime Storieswas a title originally proposed for a Tusk record that never developed. Their vocalist Jody Minnoch passed away unexpectedly in 2014, and many of the song names and aesthetic themes on Nighttime Storiesstemmed from ideas Minnoch floated past his bandmates shortly before his death. Additionally, many of the dissonant chord voicings and idiosyncratic structures that were part of Tusk’s signature sound began to surface on the album, so it felt appropriate to pay homage to their departed colleague. Thomas also experienced a heavy loss in his life with the passing of his father. The album’s opening track “WST” is a somber ballad performed on an acoustic guitar handed down from father to son, with his initials serving as the title.
Nighttime Storiesisn’t entirely mired in bleakness. Though the album certainly veers towards the darker end of Pelican’s songwriting, the energized urgency on tracks like “Arteries of Blacktop” and sublime melodicism on songs like “Full Moon, Black Water” suggest a renewed vigor for the band. Perhaps it stems from three of the four members becoming fathers in the six-year gap between albums. Maybe it’s a product of rediscovering a common musical language as a reformulated quartet. Maybe it came from reuniting with Pelican and Australasia producer Sanford Parker for the tracking of the album. Tracked in their original stomping grounds of Chicago at Electrical Audio and bolstered by Matt Bayles’ mixing skills, Nighttime Storiesthrobs with guttural force in its most malicious moments and shimmers with beauty in the moments of respite.
Pelican have always excelled at vacillating between the savage sounds of various niches of metal underground and the more delicate and nuanced sounds of Midwest’s cerebral indie community, proving that they can make either end of the spectrum more vibrant and compelling through the art of contrast. With Nighttime Stories, the pendulum has swung back to the angst and ire of their younger years while delivering it with the nuance and wisdom that’s come with nearly two decades of writing and performing. Southern Lord is proud to offer up Nighttime Stories to the world on CD/LP/digital on June 7, 2019.

Sullivan King - Chaos Will Bring Peace 2025 US Tour
2025-03-19 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Sullivan King – Chaos Will Bring Peace 2025 US Tour
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Wed
March 19
7:00 pm
(Doors: 6:00 pm)
All Ages

ANBERLIN 20th Anniversary of Never Take Friendship Personal
2025-03-20 18:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
For more than two decades, Anberlin have remained a formidable force in the alt-rock world, boasting a wildly devoted fanbase who’ve come to rely on the raw cathartic power of their music. On the massively anticipated Vega—the first album in ten years from vocalist Stephen Christian, guitarists Joseph Milligan and Christian McAlhaney, bassist Deon Rexroat, and drummer Nathan Young—the Florida-bred band deliver a body of work forged with an explosive new energy, thanks in part to the addition of singer Matty Mullins (the Memphis May Fire frontman who’s stepped in as live vocalist for Anberlin, following Christian’s announcement that he’ll no longer tour full-time). The latest triumph in an extraordinary career that’s included selling over 1.5 million albums in the U.S. alone and turning out hits like the No. 1 Alternative Radio smash “Feel Good Drag,” Vega reveals a band whose creative passion and one-of-a-kind vision have only grown stronger over time.
Arriving on the heels of two back-to-back EPs—2022’s Silverline and 2023’s Convinced—Vega emerged from a period of unbridled creativity for Anberlin, who parted ways soon after 2014’s Lowborn and reunited for a series of lockdown-era livestreams. In bringing their new album to life, the band embraced a deliberately free-flowing and DIY approach, building up songs in McAlhaney’s garage before self-producing the LP at Tampa’s Feral Sound Studios. “In the past we’d sometimes limit our sound to some preconceived idea of what Anberlin is supposed to be,” says McAlhaney. “This time the mantra was, ‘If it feels good, let’s try it.’ Because at the end of the day, Anberlin is whatever we say it is.” As a result, Vega encompasses everything from the shout-along-ready pop perfection of “Walk Alone” to the brutally heavy intensity of “Seven” (a shapeshifting and strangely enthralling epic featuring a savage vocal performance from Mullins). “I think after spending time apart we came back with a new perspective, where we were all just excited to work together and create the best songs we can,” says Young. “No one was precious about their ideas; it was all about making something that feels new and risky and like nothing we’ve ever done before.”
As they get set to embark on the 20 Years of Tears amphitheater tour with Thursday, Hawthorne Heights, and Saosin—a 56-date run that marks their most extensive tour in a decade—Anberlin look forward to the pure thrill of performing their new material for their longtime legion of fans. “We’ve had so many people tell us things like, ‘Your songs got me through a really difficult time in my life,’ or ‘You guys are what made me pick up a guitar and start my own band,’” says Rexroat. “It’s an incredible feeling to know that we’ve impacted other people on that level—the amount of love we’ve felt is undeniable, and it’s one of the main reasons we’ve kept going for as long we have.”

Copeland
Longevity in music comes through pushing yourself and expanding the possibilities of your sound. This has never been more true for Copeland. The band, which originally formed in Lakeland, Florida in 2001, has unveiled six albums, spanning from their 2003’s debut Beneath Medicine Tree to 2016’s Ixora. While they began as a rock band, Copeland’s music has explored multiple genres and pulled in various stylistic influences like electronic and symphonic. In the past the musicians have aptly melded these styles, creating a unique amalgam of sounds. This time they wanted to take each sound and style and push it to its logical extreme.

Spitalfield
Formed in the suburbs of Chicago in 1998, Spitalfield play emo pop rock with a twist.   Before releasing fan-favorite Remember Right Now in 2003 (Victory Records), the band released an EP (The Cloak & Dagger Club, 2002 – Sinister Label), a full length (Faster Crashes Harder, 2001 – Sinister Label / Walk in Cold), a split 12″ LP with friends Don’t Worry About It (2000), & self-released demos. Two additional full length albums were released in 2005 (Stop Doing Bad Things) and 2006 (Better Than Knowing Where You Are).   The lineup of vocalist Mark Rose and drummer JD Romero has remained consistent throughout the band’s career, with their most popular lineups rounded out by lead guitarist Dan Lowder (2001-2007), and bassists TJ Minich (2002-2005) and TJ Milici (2005-2007).

Pigeons Playing Ping Pong, High Fade
2025-03-20 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Pigeons Playing Ping Pong, High Fade
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Thu
March 20
7:00 pm
(Doors: 6:00 pm)
All Ages

ANAME
2025-03-20 22:00 | The Reef, 105 S 6th St, Boise, 83702, United States
ANAME
The Reef
105 South 6th Street – Boise, ID 83702
Thu
March 20
10:00 pm
(Doors: 9:30 pm)
21 and up

O.T. Genasis w/ MJD, J Dixon, Lil Dreamy, EST_TRU
2025-03-21 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
The career of O.T. Genasis took off when Busta Rhymes caught the terse rapper performing “Touchdown” four consecutive times for a demanding but rapt crowd. Support from Busta led the way to the number 20 pop hit “CoCo” (2014) and another Top 40 entry with “Cut It” (2015). Since releasing the Atlantic-distributed mixtape Coke N Butter (2016), O.T. has been behind numerous singles such as “Bae” (2018) and “What Is Your Name” (2021).
Born in Atlanta and raised on the West Coast in Long Beach, O.T. Genasis (Odis Oliver Flores) was inspired to make music by hard-edged rap and dancehall artists ranging from 2Pac to Shabba Ranks. He surfaced in the early 2010s as a G-Unit affiliate, releasing the mixtape Black Belt in 2012. After he was swept up by Busta Rhymes‘ Conglomerate Entertainment label, he quickly recorded the 2014 tape Catastrophic 2 and issued a version of “Touchdown” with verses from Busta and French Montana. The relatively relaxed follow-up single, “CoCo” — another ode to dealing cocaine — was released that November and swiftly became a bigger hit, reaching number 20 on the Billboard Hot 100 before it attained multi-platinum status. O.T. cracked the Top 40 again and scored another multi-platinum hit with the number 35 single “Cut It” (featuring Young Dolph), off the 2015 mixtape Rhythm & Bricks. Coke N Butter, yet another mixtape, made waves in 2016 with “Push It,” which didn’t chart but was certified gold. Over the next five years, O.T. stuck with singles, and achieved streams well into the millions with the likes of “Bae” and “Back to You” (the latter featuring Chris Brown and Charlie Wilson). He offered “What Is Your Name” in 2021. ~ Andy Kellman, Rovi

Kane Brown - The High Road Tour
2025-03-21 19:00 | Ford Idaho Center
Kane Brown
The High Road Tour
Friday, March 21, 2025 7:00pm
Saturday, March 22, 2025 7:00pm
Ford Idaho Center Arena

MOZART'S REQUIEM The Hope and Mercy of Mozart's Requiem
2025-03-22 19:30, 2025-03-23 14:00 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
Bach’s Six Brandenburg Concertos are widely regarded as some of the finest compositions of the Baroque period. Each virtuosic concerto is crafted with a unique combination of instruments, showcasing the popular musical styles during Bach’s lifetime.
Join us as Boise Phil’s Allison Emerick, Del Parkinson, and Brendan Shea take center stage for the famous Concerto No. 5.
The Boise Phil Master Chorale joins the Boise Phil to perform Mozart’s transcendental Requiem. Left incomplete at the time of Mozart’s death on December 5, 1791, it is arguably one of his most famous works, delving into the themes of life and death and featuring some of the most emotionally moving music ever composed.
The Latin hymn ‘Ave Verum Corpus’ has been set to music by some of classical music’s most beloved composers. Mozart’s setting, like his Requiem, was composed in the final year of his life and is a breathtaking five-minute work that elevates the Latin chant to a divine status.
PRE-CONCERT TALK
Join Musicologist Bradley Berg and Music Director Eric Garcia (and special guests) as they guide you through the music you are about to hear, providing an enlightening look at the repertoire and composers before the performance begins. Bring your questions! Please gather inside the concert hall by the stage.
Matinee Pre-Concert Talk starts at 12:45 pm (for 2:00pm Sunday)
Evening Pre-Concert Talk starts at 6:15 pm (for 7:30pm Saturday)

Zona De Perreo Reggaeton Party
2025-03-22 21:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Reggaetón del viejo y nuevo, sudor, sandungueo toda la noche
📍 Treefort Music Hall
📅 Saturday, March 22nd
🎁 Giveaways
🎶 Reggaeton | Dembow | Latin and more
21+ | More info: (208) 412-3785 | 9pm – 2am | Happy Hour from 9pm to 11pm for $ex on the beach
No Jerseys | No Bags | No Re-entry | No Bandanas
Corre la voz, etiqueta al combo y prepárate pa’ el bellaqueo 🔥😈 #SpringBreakPerreo

Daily Bread 'Flash Flood Tour'
2025-03-23 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Daily Bread ‘Flash Flood Tour’
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Sun
March 23
8:00 pm
(Doors: 7:00 pm)
All Ages
$20.00 – $70.00
Buy Tickets
Daily Bread has partnered with PLUS1 so that $1 per ticket goes to the East Tennessee Foundation and their work aiding counties in East Tennessee amid devastating impacts from Hurricane Helene.

Kolton Moore & The Clever Few, Andy Crosby Band
2025-03-23 20:00 | Heritage Social, 5467 N. Glenwood St., Boise, ID, 83714, United States
Kolton Moore & The Clever Few, Andy Crosby Band
Heritage Social Club
5467 N Glenwood S – Boise, ID 83714
SunMarch 238:00 pm(Doors: 7:00 pm)
21 and up
Buy Tickets

Table seating for this event is being offered as an upgrade only.
General Admission tickets must be purchased separately in addition to the table upgrade. Tables are sold as entire tables and include a dedicate cocktail waitress.

MASTA KILLA
2025-03-25 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Considered the ninth member of the Wu-Tang Clan, Masta Killa (b. Elgin Turner; aliases: High Chief, Noodles) recorded his first rhymes at the end of “Da Mystery of Chessboxin’” from the Clan‘s 1993 seminal debut, Enter the Wu-Tang (36 Chambers). He had never seriously written rhymes, let alone rap before then. However, under the tutelage of the GZA, he developed a steadily paced flow that accentuated his intellectual lyrics — although equally distinctive were his smooth voice and understated demeanor. Because Killa was incarcerated at the time, his closing verse on “Da Mystery of Chessboxin’” was his sole contribution to the album, but he always remained in the fold on the set of Wu-Tang solo records that ensued in the mid-’90s, including GZA‘s Liquid Swords, Raekwon‘s Only Built 4 Cuban Linx, and Ghostface Killah‘s Ironman. There was no questioning his status in the Clan after the release of their 1997 album, Wu-Tang Forever, where Killa contributed to numerous tracks, particularly his standout lines on the lead single, “Triumph.”
Nonetheless, similar to the plight of Wu-Tang member Inspectah Deck, Killa worked on his solo material for many years before it would actually come out. After two more Wu-Tang full-lengths and a second string of Wu splinter projects, his solo career finally began with No Said Date, released via underground rap label Nature Sounds in 2004. Staying in-house with producers the RZA, Mathematics, and True Master, the album was one of the few Wu-related releases post-Wu-Tang Forever that received critical praise, particularly by Wu-Tang‘s loyal fan base. Killa returned in 2006 with Made in Brooklyn, working with a more diverse array of underground producers, including MF Doom, Bronze Nazareth, and the legendary Pete Rock. His third album arrived in 2012. Selling My Soul featured guest spots from Kurupt and Ol’ Dirty Bastard, as well as production by 9th Wonder, Mathematics, and PF Cuttin. Another long gap followed before Killa released his fourth studio LP, Loyalty Is Royalty, in 2017. Wu-Tang members Cappadonna, Method Man, RZA, GZA, and Inspectah Deck joined other guests like Redman, Sean Price, Prodigy, and KXNG CROOKED on the album. ~ Cyril Cordor, Rovi

Saint Motel, Oliver Hazard
2025-03-25 20:00
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Tue
March 25
8:00 pm
(Doors: 7:00 pm)
All Ages

KAYZO AT TREEFORT 2025
2025-03-27 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Kayzo

Over the past three years, Houston born and now Los Angeles resident, Hayden Capuozzo or KAYZO, has become one of the most sought after young producer/DJs in the business. The young prodigy has quickly grabbed attention of fans and fellow DJs with his versatile sound and catalogue of original productions, collaborations and remixes. With the establishment of his “Doghouse” brand, fans have turned to KAYZO to seek more than his music.
KAYZO has went from a graduate student of the production school, Icon Collective, to becoming a winner of Insomniac’s Discovery Project which gave him first chance to showcase himself live. Three years later, KAYZO can now be found traveling as an international DJ performing at festivals and headlining shows across the globe. KAYZO and his Doghouse stand for more than music but a mental determination with a motto that preaches ‘anything is possible as long as you put your mind to it.’
KAYZO has no boundaries as continues to break barriers that are set up before him. He produces music, not defined as a genre but what he simply likes and enjoys creating. Much of his influence comes from the music he grew up on and the elements can be heard throughout the bodies of work. Outside of production, his mixing and versatile style across multiple genres has created a unique and one of a kind performance.
KAYZO and the Doghouse is growing fast and fierce, what he has accomplished in the past few years is only a testament of what is to come. The future is bright for KAYZO and the Doghouse and nobody knows that better them.

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Samplifire

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Dennett

Dennett is forging his own path, remixing house tracks with a bass-heavy edge that’s gritty and addictive. He’s pulling fans into his world with standout takes on Cloonee’s “Sippin Yak” and Dom Dolla’s “Girl$,” making waves across all corners of dance music. As his fanbase grows, so does the underground buzz. Dennett’s here to shake things up and take dance music to new heights.

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Sora

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The Driver Era
2025-03-28 20:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714
The Driver Era

Mar 28, 2025
Show: 8:00 PM

MATT NATHANSON AT TREEFORT 2025
2025-03-29 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Matt Nathanson

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Based in San Francisco, Matt Nathanson has evolved into one of the premier songwriters and dynamic performers on the music scene today. His 2007 album Some Mad Hope (his first for Vanguard) yielded the smash single “Come On Get Higher,” which has sold more than 2 million copies to date, as well as the subsequent hits “Car Crash,” “Falling Apart” and “All We Are.” The success of Some Mad Hope earned Nathanson a coveted spot as a VH1 “You Oughta Know” artist, while also resulting in appearances on such national television shows as David Letterman, Ellen,Conan O’Brien, Leno, Jimmy Kimmel, Craig Ferguson, Dancing with the Stars, Rachael Ray and The CMA Awards to name a few. Additionally, his songs have been featured in numerous film and TV programs, including Good Morning America, NCIS, Private Practice, American Idol, X Factor,Vampire Diaries, American Pie and 90210. Modern Love, his previous studio album, debuted at #17 on the Billboard Top 200 Albums Chart and topped the iTunes Pop Chart. It featured the hit singles “Faster” and “Run” – the latter featuring Sugarland’s Jennifer Nettles and Kristian Bush. Nathanson’s legendary live shows, in which he displays a chic comedic flair, have resulted in sold-out tours across the U.S., Canada and Australia. Matt Nathanson’s ninth studio recording, Last of the Great Pretenders, will be released on July 16th. The new album is available for preorder via MattNathanson.com, iTunes, and Amazon.com. Produced by Mike Viola and Jake Sinclair, Last of the Great Pretenders marks a dramatic progression for the acclaimed artist, who has created a richer and deeper work both musically and lyrically than any of his previous LPs – and that’s saying something considering the already rarefied level of his writing and performing. Songs like “Earthquake Weather,” “Kill The LIghts,” “Kinks Shirt,” “Sunday New York Times” and first single “Mission Bells” are precisely cinematic as Nathanson stirs the material with deftly placed pop-cultural references and vivid details drawn from his keen observations of everyday life, while topping each song with an emphatic and seductive chorus hook.

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KT Tunstall

KT Tunstall emerged in 2004 with ‘Eye To The Telescope’. She has released four critically acclaimed albums since and her songs have been used everywhere from the opening credits of The Devil Wears Prada to Hillary Clinton’s 2008 campaign theme. Her last album ’KIN’, released in 2016, received rave reviews and debuted at No.7 on the official UK Album Charts.
Recently KT has been awarded the Inspirational Artist gong at the Women In Music Awards. She was chosen as the first ever female Grand Marshal (following the likes of Sir Sean Connery) to lead April’s annual New York Tartan Week parade. In May she and Mike McCready, of legendary multi million selling Pearl Jam, also released a cover of Tom Petty’s huge hit single “I Won’t Back Down” with proceeds going to Pearl Jam’s Vitalogy Foundation.

OUTLAW MUSIC FESTIVAL
2025-05-12 08:00 - 17:00 | Ford Idaho Center
Willie Nelson, Bob Dylan, Billy Strings
Outlaw Music Festival
Ford Idaho Center Amphitheater
Tuesday, May 20th, 2025

Moon Owl’s Mages
2025-05-14 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Transcending the confines of one signature style, Moon Owl’s Mages find themselves bending genres and trying new ideas to keep the creativity from stagnating. Their first two releases, “Skelly Bones & the Flaming Crown” (2020) and “Kill The Crackle” (2022) solidified their footprint in the Boise psych rock scene. March 2025 sees the release of their new EP “Step On It!” which explores the funkier and jammier side of their eclectic musical inspirations. Opening for the likes of Ty Segall, SLIFT, Frankie & the Witch Fingers and Spoonbenders, Moon Owl’s Mages’ enigmatic grimoire is sure to leave you guessing what you’ll hear next at their neck-breaking shows — whether it be on their home turf or all throughout the West Coast.

MÔS
MÔS is a strapping four piece from Nampa, Idaho. Whether it be in the studio or on stage, MÔS curates a psychadelic experience of high-desert rock through the tried and true combination of groovy bass, booming drums, powerful guitars, and soulfully strong vocals. After the release of their first studio album, “Assuming It’s The End,” MÔS has dug deeper into the fabric of Boise’s local music scene. Seeking out further establishment as a powerhouse band, each member explores and discovers, with one another, the possibilities and potentials of their musical ability. The horizons grow ever broader – MÔS invites anyone who cares to join on the voyage.

Hit Hit Hit

The Dip
2025-05-15 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
The Dip is a Seattle-based Rhythm and Blues band that is known for its poignant songwriting, detailed arrangements, and vintage sound. Featuring a three-piece horn section, the group’s music harkens back to earlier soul and funk influences while hinting at the jazz foundations that brought the band’s members together. Along with singer and guitarist Tom Eddy, bassist Mark Hunter and drummer Jarred Katz are equally at home in a tight-pocketed groove as they are spacious free-improvisation. Trumpet player Brennan Carter joined by saxophonists Evan Smith and Levi Gillis serve as the band’s melodic counterpoint, playing off Eddy’s vocals to create a distinct sonic character that has drawn in millions of listeners to date.
‘Love Direction’, the follow-up to 2022’s ‘Sticking With It’ (which landed at #1 on the Billboard Current R&B Albums Chart) is the band’s fourth full-length studio album and second for Dualtone Records, due out 7/12/24. This new record is the sound of the band taking their next step forward. The interplay of old and new is on full display throughout the album; and, the group augments their classic sound with an expanded instrumentation throughout. Eddy says of the album’s inspiration: “As you get further along in a relationship, sometimes you lose your way. The things that came easily in the beginning get hard. The love is still there, it’s just that people and life are complicated. Sometimes you don’t have the tools in the toolbox to figure out what you need to do to support the other person, so you have to get help and ask for directions.”
Still, despite the title, this latest record isn’t a collection of straightforward love songs, but an investigation into the different angles and challenges that relationships can bring. Expanding on the album’s theme, Eddy further notes “These aren’t ‘Love Songs’ in the most obvious sense. They deal with the middle stages, the hinterlands of love and life together – figuring someone out and what they need, learning how to communicate, and examining your own faults. We set out to write music that felt more grown, a little wiser. The songs that emerged all pointed in the Love Direction.”
Their last album cycle saw the band headline and sell-out shows at iconic venues across the country. They have also had the opportunity to support new friends like Lake Street Dive and The Black Pumas, while also appearing at major festivals including Bonnaroo and Outside Lands. No strangers to the road, this new album represents a reflection on the band’s touring gravitas as well as the promise of a new destination appearing on the horizon. Directions now in hand, The Dip is looking forward to furthering this exploration into all matters of the heart by bringing this expansive and detailed new recording to life in their next travels together.

Parlor Greens
Perhaps one of the most exciting and anticipated projects in the world of heavy instrumental music is Parlor Greens, a fresh organ trio on Colemine Records! You could say that Parlor Greens are greater than the sum of their parts…however, the individual parts are simply stellar on their own. Tim Carman (GA-20) on drums, Jimmy James (True Loves, formerly Delvon Lamarr Organ Trio) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ.
Scone is perhaps the most tasteful living organist on planet Earth (and beyond) and to watch him play is to truly watch a master at work. He bends the organ to his will like a true mastercraftsman. He’s a veteran of the soul revival scene, having played on many Daptone recording sessions since their inception, but also has learned from some of the legends of soul jazz: Melvin Sparks and The Turbanator himself Dr. Lonnie Smith. Jimmy James needs no introduction to many as he’s been seen all over the world performing with instrumental groups The True Loves and the Delvon Lamarr Organ Trio. Perhaps the most dangerous right hand in all of soul music, his signature funky approach can be identified by even the most novice of music fans, a feat most musicians could only dream of. Tim Carman. The backbone. The pocket. Having cut his teeth touring the world with blues group GA-20, Carman’s expertise in the world of blues shuffles might make him an unlikely candidate to lay the foundation for the funky Parlor Greens, but this debut LP shows otherwise. Steady, heavy pockets and as funky as they come.
Parlor Greens started off as an idea before it even had a name. Carman had been chatting with Colemine label boss Terry Cole about their shared love for organ combo records of yesterday on labels like Blue Note and Prestige. Cole said he’d love to have an organ trio be the first project at the label’s new studio, Portage Lounge, located in Loveland, Ohio. So when Carman tapped James and Scone for the session, the stage was set. Carman and Cole had started work a day early to dial in the drum sound, so when the rest of this murderer’s row arrived they hit the ground running. It was instant chemistry. Within the first ten minutes of everyone plugging in, a song was written and recorded, “West Memphis”. And over the next three days, these three maestros conducted a beautiful and soulful symphony straight to tape. As natural and fun as three old friends getting together after a long absence, only this was the first time they had written and performed together. True magic.
So this is the result of that session. Eleven cuts. Ten originals. Two sides. All killer, no filler. Straight to the old reliable Tascam 388 tape machine, mixed up nice and dirty for your enjoyment. Parlor Greens are proud to present their debut long player, In Green / We Dream.
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DIGITAL SINGLES
West Memphis –
It’s not often the start of a new project or band is explicitly documented, but in the case of Parlor Greens it absolutely is. “West Memphis” is the first thing that Jimmy James (True Loves), Adam Scone (Scone Cash Players / Sugarman 3), and Tim Carman (GA-20, Tim Carman Trio) played when they entered the Colemine studio in Loveland, OH. What started as a jam on a guitar riff from Jimmy quickly evolved into a melody from him, a blistering organ stab from Scone, and Tim fell into a laid back boogaloo beat. And so in real time, Parlor Greens was born. Enjoy this funky instrumental slab from these veterans of the scene at peak prowess on their respective instruments.
In Green We Dream
First single announcing Parlor Greens’ debut LP, In Green / We Dream.
The title track from the debut LP by Parlor Greens, Colemine’s newest instrumental juggernaut! “In Green We Dream” really serves as a perfect sonic cross section of the record. A memorable and catchy melody, great concise solos from both organ and guitar, a drum break, and some tight little hits at the end put a bow on this stellar debut album. .This is the first of 3 forthcoming LPs on Colemine by Parlor Greens, who are already receiving support at radio from BBC, KEXP, and KCRW. Targeting all things in the funky and instrumental spaces.
Sugar Maple –
Second single from Colemine’s newest instrumental juggernaut, Parlor Greens! “Sugar Maple” showcases gritty production on this driving, soulful waltz from the trio. The organ takes the lead with Jimmy James on guitar complimenting beautifully on tremolo guitar. Whimsical, soulful vibes for days on this one. [Press/radio goes here]. Targeting all things on the funkier side of jazz.
Driptorch –
The focus track of Parlor Greens’ debut LP, In Green / We Dream, a new highly anticipated project from heavyweights (Jimmy James, Adam Scone, Tim Carman) of the instrumental funk/jazz scene. Gritty, classic sounding organ trio funk is the order of the day. Targeting all things in the funky and instrumental spaces.

Trey Lewis: Ain't Nothing Wrong With It Tour
2025-05-16 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Trey Lewis: Ain’t Nothing Wrong With It Tour
9th St. Parallel at Knitting Factory
416 S 9th St – Boise, ID 83702
Fri
May 16
8:00 pm
(Doors: 7:00 pm)
All Ages

DynaDuo Presents: Degenerate Mothers & Friends
2025-05-17 18:30 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
DynaDuo Presents: Degenerate Mothers & Friends
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
SatMay 177:00 pm(Doors: 6:30 pm)
All Ages

Rilo Kiley
2025-05-17 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
After a long absence, Rilo Kiley—Jenny Lewis, Blake Sennett, Jason Boesel, and Pierre “Duke” de Reeder—are back, with arms outstretched.
Over the years, a reunion “felt like a possibility, but it was never the right time,” explains Boesel. Eventually, “the emotional component and the interpersonal communication component all arrived into this place where it had a straight shot at reality.”
“Planning this reunion over these past months has been like reconnecting with family. We haven’t missed a beat,” says De Reeder. “The stakes are only to have a good time, to revel in this nostalgia. Getting to revisit and celebrate the music from that special time of our lives while experiencing it alongside a lot of people that lived it with us back when, and new folks alike.”
“It couldn’t have happened any sooner,” says Lewis. “It feels like now is the time to share that joy and love with each other and with everyone else.”
“For some people, Rilo Kiley evokes a formative, emotional time in life, when you were maybe grasping for your place in the universe. We were too,” says Sennett. “Reconnecting with those people is paramount to anything else.”
“It’s going to be wonderful for us, like going back to the purest version of yourself, that early ’20s place where everything is possible,” says Lewis. “You’re in a van and Jason’s got the map, Pierre is behind the wheel, and I’m on the shitty acoustic guitar in the bench seat working out a new song with Blake. I don’t think it’s ever been as good as that, when it was just us against the world.”
—
Rilo Kiley was born from hunger, from the insatiable desire to write one’s own story. The band’s origins can be traced back to Los Angeles in the late 1990s, when Jenny Lewis and Blake Sennett discovered a shared songwriting obsession and began performing together. After some starts and stops, a band was formed with Pierre “Duke” de Reeder playing bass. They called themselves Rilo Kiley, borrowing a name that came to Sennett in a dream.
Following a promising EP, Rilo Kiley got to work on their debut, 2001’s Take Offs and Landings. Self-recorded at home, the scrappy album offered a mix of Pacific Northwest-inspired indie rock and emo-adjacent angst, with a number of hushed and heartfelt tracks led by Sennett. Though their sound would evolve with time, Take Offs introduced many of the qualities that would define Rilo Kiley: clever and raw observations about life and death; evocative melodies that infuse deeper shades of meaning; and seriously great storytelling.
If Take Offs was a self-assured launchpad, 2002’s The Execution of All Things was a triumphant arrival. For their second record, Rilo Kiley headed to Nebraska to record with Bright Eyes’ Mike Mogis alongside new drummer Jason Boesel. Here, Lewis truly becomes a generational songwriter, spinning interior mysteries regarding romance, depression, trauma, hope, and isolation into cathartic revelations.
The title of their third album, 2004’s More Adventurous, aptly reflects the band’s increasingly ambitious compositions. It was also a poetic reference to perseverance in the face of heartbreak, a reminder that the things that make you weep don’t have to make you weak. This sentiment guides Lewis as she addresses the failings of institutions large and small, from politics to marriage to religious morality.
By that time, Rilo Kiley was a beloved presence in certain corners of pop culture. The bandmates’ explored other musical outlets but reunited for 2007’s Under the Blacklight, a groovy, ’80s-tinged examination of humanity’s seedy underbelly. In 2013, they shared Rkives, a compilation of leftover treasures pulled from old cassette tapes and hard drives. In 2020, Rilo Kiley reissued their 1999 The Initial Friend EP.

Morgan Nagler
When you hear Morgan Nagler’s debut collection of songs under her own name, you’ll probably wonder how she seemingly appeared out of nowhere with such jaw-dropping melodies, lyrics that cut right to the heart, and her distinctively beautiful, plaintive howl. The thing is, she’s been hiding in plain sight for a minute now, waiting for the perfect moment to emerge from band names and behind-the-scenes co-writes with her truest musical statement yet.
With her bands Whispertown and Supermoon, and through Grammy-nominated collaborations with Phoebe Bridgers, Haim and Madi Diaz, the Los Angeles singer-songwriter has spent years honing her ability to craft tunes that are both heartbreaking and clever at the same time. It’s a gift that has made her a hugely in-demand co-writer – someone an artist will call in when they really want to get to the core of a feeling.
Earlier this year, reeling from a devastating break-up and turning to her guitar to sing her grief, Nagler began amassing a group of songs that instantly felt like the beginning of something important. It was time to share her stories, as herself.
“Cradle The Pain” is a preview of Nagler’s next chapter. Produced by King Tuff’s Kyle Thomas and mixed by Alex Farrar (Wednesday, MJ Lenderman, Snail Mail), the song displays her poetic acumen, atop an instantly memorable melody. “I originally wrote this song as sort of a letter to one of my dear friends,” Nagler explains. “It’s funny how it’s often easier to cut to the core of truth when the message is disguised as being for somebody else. It has since taken on many new and personal meanings to me, currently serving as more of a mantra. I think we inherently know it’s all in our own hands, but the allure of not being accountable allows us to romanticize falling victim to the whims of fate. I am constantly needing the reminder that perspective truly is the key to life, and only we contain our own salvations. We have to just keep getting back on the saddle again and again. Cradle the pain, it’s all the same, it’s what you make of it.” The track also features a stellar backing band including both Thomas and Meg Duffy (Hand Habits) on guitar, and Josh Adams (Cat Power, Weyes Blood & Tim Heidecker) on drums.
Nagler will be sharing more music next year, and is putting finishing touches on an album. “This song is the first of a body of work I consider closest to home,” she says. After spending my childhood as an actor taking on alternate personalities, my young adult days writing and touring in various indie projects, and the last several years writing with and for other artists, I’ve compiled a personal collection of songs alongside my producer and co-writer Kyle Thomas. They will be released under my name for the first time, which is appropriate as I feel pretty raw and more like myself than ever. So in many ways, regardless of a lifetime spent in the trenches of creativity, this feels like a debut.”

An Evening with Jason Isbell and The 400 Unit
2025-05-17 19:00 | Idaho Botanical Garden, 2355 N Old Penitentiary Rd, Boise, Idaho, 83712
Outlaw Field at Idaho Botanical Garden
An Evening with Jason Isbell and The 400 Unit

Buy Tickets

Date
May 17, 2025

Event Starts
7:00 PM

Venue
Outlaw Field at Idaho Botanical Garden

Doors Open
5:30 PM

On Sale
On Sale Now

Sat, May 17, 20257:00 PMBuy Tickets

Event Details

An Evening with
Jason Isbell and The 400 Unit
Saturday, May 17, 2025
at Outlaw Field at Idaho Botanical Garden
General Admission Tickets On Sale Starting Friday, December 13, 2024 at 10:00 AM MST

Boise Philharmonic Presents Mahler 1
2025-05-17 19:30, 2025-05-18 14:00 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
Mahler’s first symphony is a monumental musical journey that unfolds with grandeur and traverses the depths of human emotion and experience. From moments of profound introspection to exuberant bursts of energy, Mahler’s symphony will captivate you with its dynamic range and emotional intensity.
During the first half of the performance, Maestro Eric Garcia and the Boise Phil will guide you through essential passages of the symphony with a discussion and musical excerpts, offering insights into the historical and musical context of the piece.
This will be followed by the full performance of the work. It will surely be an immersive and unforgettable experience celebrating Mahler’s first symphonic masterpiece.
Join Musicologist Bradley Berg and Music Director Eric Garcia (and special guests) as they guide you through the music you are about to hear, providing an enlightening look at the repertoire and composers before the performance begins. Bring your questions! Please gather inside the concert hall by the stage.
Matinee Pre-Concert Talk starts at 12:45 pm (for 2:00pm Sunday)
Evening Pre-Concert Talk starts at 6:15 pm (for 7:30pm Saturday)

Gang of Four
2025-05-18 18:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
“2025 will be the 45th anniversary of the release of ‘Entertainment!‘ in the US, and will be our final year as a band. It’s been wonderful, but all things must end. We want to go out with a bang and celebrate with our fans and friends. So, on what will be our last US tour, we’ll play two sets at each show: ‘Entertainment!” from start to finish in the first, and the best of the rest in the second. Come and join in, it’ll be a blast!”

Deep Heaven
Deep Heaven blurs the line between machine precision and human urgency. Rooted in post-punk and dream pop, they remain stubbornly electronic—pushing hardware synths and drum machines to their limits, layering them with bursts of guitar and lyrical confessions.
The duo began sketching out ideas for a project that would merge Max Modeen’s goth-leaning darkwave work (Enigma Machine) with Joseph Hoisington’s folk rock background—reimagined through a futuristic lens inspired by Factory Records. They bonded over a shared love of artists like New Order, Echo & the Bunnymen, and more recent acts like Nation of Language and Dummy.

iann dior, Outbreak
2025-05-18 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
iann dior, Outbreak
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
SunMay 188:00 pm(Doors: 7:00 pm)
All Ages

Daniel Rodriguez, Jesse Blake Rundle
2025-05-22 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Daniel Rodriguez

Whether it was personal heartbreak or the seismic shift in his daily life when exiting his longtime band, Elephant Revival, Daniel Rodriguez’s latest album, Harboring Pearls, is a snapshot of a singer-songwriter simply trying to navigate the choppy waters of existence to the best of his ability.
“I preserved my own sanity. I preserved my own integrity,” Rodriguez says. “There’s something about not being comfortable, knowing my integrity and ethics, knowing my path and where I’m headed — I’m fueled by not choosing to be comfortable.”
Captured by producer David Baron at his Sun Mountain, situated atop a ridge amid the ancient Catskill Mountains of Woodstock, New York, Harboring Pearls was co-produced by Wesley Schultz, lead singer for indie-folk juggernaut The Lumineers.
“Now? It’s just me and the storm,” Rodriguez says. “All the chips are in on this one piece of art. Am I crazy? Do I trust myself? What I am doing? It’s this lingering feeling that I have no idea where it’s headed, but I need to go wherever it’s headed.”
That internal, more so existential quest of self, of purpose and pursuit, lies at the core of Harboring Pearls. Numbers like of “El Dorado,” “Anything and Everything” and “Graduation” paint vivid indie-folk pictures of Rodriguez’s journey unfolding in real time.
“It’s about transcendence, and that’s been such a wild process,” Rodriguez says. “There’s been this pressure cooking with the songs. A lot of coal being compressing into diamonds.”
And what resulted was this steadfast platform of trust and radiance offered by Schultz, one where Rodriguez felt comfortable standing on, the culmination of those sessions being this cultivation of truth and sacrifice the lies within each selection of Harboring Pearls.
“You’re on your own and these are your pearls,” Rodriguez says of this latest batch of tunes. “And you’ve been harboring them for so long. It’s time to pass them out.”

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Jesse Blake Rundle

Matisyahu, Electric Kif
2025-05-22 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Matisyahu

Since first emerging on the international stage in 2005, Matisyahu has established a reputation for following his muse—from the stripped-down roots reggae of the gold-certified Live at Stubb’s to the trippy ministrations of Youth to the polished pop eclecticism of Light. Then, in 2010, he returned to the venerable Austin venue that introduced him for Live at Stubb’s II, demonstrating that all those travels had somehow only strengthened his connection to his musical bedrock. It was a whirlwind half-decade journey, one that earned Matisyahu a place in pop culture at large.

And it was only the beginning.

Now based with his family in Los Angeles, Matisyahu blasts off yet again with Spark Seeker, a bold new studio album that finds the one-of-a-kind vocalist and songwriter exploring uncharted territory with help from an expansive cast of collaborators. “My musical tastes are all over the board,” he says in reference to a record that mixes ancient traditional sounds with futuristic electro beats, rapping with singing, songs of the spirit with songs of the body. “And, besides, my music has never been about the outer garment. It’s about searching out inspiration wherever it lies. This album is about seeking that spark within.”

Outer garments, of course, long defined Matisyahu in the eyes of many. “I was the Hasidic reggae superstar,” he says with a knowing laugh. So when Matisyahu took to Twitter late last year to post a picture of himself with his new look, he did it with a certain amount of relief. “It just felt good to sort of restart everything,” he says, adding that the transformation actualized one of the central themes of Spark Seeker: the impermanence of the physical form. “The spark seeker digs for truth and meaning and is willing to let go of everything to find it. He’s honest and authentic with himself and lives life from the inside out. He creates music from the depths and doesn’t worry about what category it or he fits into.”
“We live in a world where people tend to think in extremes and categorize with ultimate statements,” Matisyahu says. “While it’s true that at one point it would’ve been pretty accurate to describe me as Hasidic reggae, for most of my career my music has been a blend, a mixture.”
For Spark Seeker—not just a collection of random tracks, but a complete piece of work made with one producer—Matisyahu spent a year recording with Koool Kojak (Nicki Minaj, Travis Barker, Ke$ha) at the latter’s home studio in L.A. Then the pair went toIsrael with an open slate. “We booked a studio there and invited various friends and musicians—including Zohar Fresco, Daniel Zamir, Ravid Kahalani and rapper Shyne—to come and simply play music,” Matisyahu says. “We began to blend all of this live instrumentation to create a unique record, made by multi-faceted human beings who have many sides and many sources of inspiration.”
The result reflects that wide array of voices and experiences. In the hard-hitting “Warrior” Matisyahu describes feelings of frustration and desperation, while lead single “Sunshine” rides what might be the most uplifting groove in his catalog; elsewhere, “Searchin’” pairs a gritty digital-dancehall beat with chanted lyrics and “I Believe in Love” exemplifies the album’s deep melodic streak. Throughout Spark Seeker you can hear Matisyahu embodying the album’s title—and embracing its humble promise. The album has a depth to it as well as a lightness, which alludes to the most essential theme of the record–that everything in life, especially music, exists in mixtures and blends. “Things are not as black and white as we would like to think. Not everything can be oversimplified,” says Matisyahu.
“This is definitely pushing the boundaries of what I’ve done before,” he acknowledges. “It’s a new kind of record for me.” At this point we’d expect nothing less.
