Mike Brown Group

Live Music at The Warehouse
2024-09-19 17:00 - 20:00, 2024-09-26 17:00 - 20:00 UTC | The Warehouse Food Hall, 370 S 8th St, Boise, Idaho
Thursdays just got a major upgrade at The Warehouse Food Hall with the return of live performances! Whether you’re into tunes, flavors, or just good times, our live music Thursdays cater to all. Dive into a world of diverse food options, sip on crafted drinks, and let the music elevate your evening.
Weekly on Thursdays from 5 to 8 p.m.
Free for all ages

Dan + Shay
2024-09-19 19:00 | Ford Idaho Center
Dan + Shay
Heartbreak On The Map Tour
With Jake Owen & Dylan Marlowe
September, 19, 2024
Ford Idaho Center Amphitheater

Jocelyn Guntar
2024-09-20 19:30 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
JOCELYN GUNTAR
w/ Midnight Diner, Vexed Vixen, John Gorbus
Treefort Music Hall
Friday, September 20th, 2024
7:30PM
$10 adv / $13 DOS

Emo Nite
2024-09-20 21:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Not a band. Not DJ’s. We throw parties for the music we love.
As Rolling Stone observed a few years ago, “Emo Nite Vindicated the Scene.”
Since they threw their first party at an East L.A. dive bar, Morgan Freed and T.J. Petracca, and a dedicated crew of regular attendees, built Emo Nite into a phenomenon. Top-tier emo artists, old and new, curate playlists and perform, with guest lists boasting members of blink-182, All Time Low, Dashboard Confessional, The Maine, and Good Charlotte. Scene-friendly pop culture mavericks often participate, like past attendees Post Malone, Demi Lovato, Machine Gun Kelly, and Skrillex.
It’s all too easy to forget that before the first Emo Nite in December 2014, “emo” was a joke.
Somehow on its journey from a melodic post-hardcore subgenre, built on earnest emotional expression, to a mainstream moniker assigned to anything remotely angsty, “emo” became a dirty word. Despite the positive impact ushered in by waves of bands, from the crucial “Revolution Summer” and Sunny Day Real Estate through Taking Back Sunday and My Chemical Romance, accepting “emo” as a dismissive designation or identity invited polite embarrassment and even scorn.
But Freed and Petracca grew up loving the music associated with emo and the people like them who similarly embraced outsider art and subculture, regardless of changing fashions or pretentious snobbery. Petracca told The New Yorker the idea behind the first Emo Nite celebration was to center a happy, communal experience on the music they once listened to when they were upset and alone.
“I sang Dashboard Confessional at karaoke at a friend’s birthday party and thought it was super fun to go out with friends and listen to music we actually liked,” recalls Petracca, who met Freed when the pair worked at a creative agency together. “Every other club in LA played EDM, Top 40, or hip-hop. We always found ourselves pre-gaming with emo and pop-punk music before we went out.”
Freed knew a bartender at the Short Stop in Echo Park and convinced him to let them throw a party on a random, rainy Tuesday. They invited friends via Facebook; double the bar’s capacity turned up. “We decided to see how far we could take it,” Petracca says. “‘Who would be the craziest guest?’ We invited Mark Hoppus, and he came! He did our first one at Echoplex, which was our third party ever.”
“There’s no disconnect between the artist and fan,” Freed points out. “I think that’s brought people closer to the music. It created a really strong sense of community, at a time when emo wasn’t ‘cool.’”
There may be a surprise acoustic set or even a full-band performance, but ultimately, it’s about the experience. Emo Nite turned a party into a community, reclaiming the spirit of how the scene began.
It’s now a recurring event thrown by dozens of friends in over 30 cities in the United States. Emo Nite runs full-day festivals and curates coveted performance spots at Coachella, Life is Beautiful, and Firefly. Freed and Petracca launched successful clothing collaborations with brands like OBEY, Urban Outfitters, PLEASURES, The Hundreds, Rose in Good Faith, Market, and OWSLA.
“A larger promoter told us the shelf life of a club night in Los Angeles was two years,” Freed says, marveling at Emo Nite’s staying power. “A hundred percent of it is the people that go to it. This music makes people feel connected. The energy of it is so special. You get a group of people together who look different, but they have this thing in common. We started seeing friend groups form really, really quickly. People met their significant others at these events. The community really trusts each other.”
“Emo Nite LA has become an essential gathering point for fans of emo, pop-punk, and related styles,” Rolling Stone noted.
In October 2021, Emo Nite’s founders threw Emo Nite Vegas Vacation, a three-day event headlined by Avril Lavigne and Machine Gun Kelly, with Sleeping With Sirens, MOD SUN, 3OH!3, and more.
“What Emo Nite does better than any of their competitors is they make ‘emo culture’ feel both nostalgic and brand new,” The Summer Set’s Brian Logan Dales told Forbes, in a profile which included professions of love from members of Papa Roach, Underoath, and State Champs. “You can go to an Emo Nite with your best friends and sing along to old songs you grew up with, and at the same time, discover a brand-new artist who’s making music today because they grew up on that very same music as you. They’ve taken the emo of the past and helped it forge a new path for the future.”
As emo reenters popular culture with a blend of adoring nostalgia and optimistic forward- thinking, Emo Nite remains an authentic space to celebrate diversity, experience passionate catharsis, and champion authentic expression. Emo Nite isn’t a band or a DJ crew. It’s an idea, one as simple as the urge to throw a party for a beloved style of music. Often imitated but never truly duplicated, Emo Nite’s founders and supporters are fond of saying, “If you don’t see the grave, it ain’t our rave.”
“There’s a lot of ownership from our community of the event itself and the Emo Nite brand,” Petracca says. “It’s about breaking down that barrier of ‘Look at me, it’s all about me.’ No, it’s about us, together, in this room. It belongs to every single person that comes through the door.”
The co-founders continue to look ahead. “Emo Nite definitely impacted culture,” Freed notes. “But we have no plans to stop changing the way we view the evolution and expansion of the genre.”

Music on the Patio - Ron Wood
2024-09-21 14:00 - 17:00 | Bogus Basin, 2600 N Bogus Basin Rd, Boise, ID, 83702
What
Music on the Patio is back for the summer! Grab lunch and a beverage at the Double R Ranch BBQ Smokehouse or the Bogus Creek Grill located inside the J.R. Simplot Lodge, and spend the afternoon listening to FREE live music featuring local Treasure Valley musicians. Music on the Patio takes place in the ICCU Base Area plaza from mid/late June through September. All ages are welcome to attend!
Enjoy the fresh mountain air all day! Whether it be a hike, adventure in the Mineshaft Challenge Course, mountain bike ride, or scenic chairlift ride, there is an activity for everyone at Bogus Basin. Summer operations on the mountain are open through October, see current operating hours here.

Summer Activities

Summer Events on the Mountain

When & Where
FreeAll are welcome!

September 21 @ 2:00 PM – 5:00 PM

WHO’s Playing On the patio
Ron Wood

PEEKABOO, Tripp St.
2024-09-21 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
PEEKABOO, Tripp St.
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Sat
September 21
8:00 pm
(Doors: 7:00 pm)
All Ages

Sub-Radio, DOUBLECAMP
2024-09-21 21:30 | The Reef, 105 S 6th St, Boise, 83702, United States
Few independent bands have had a career as varied and unpredictable as the indie pop sextet Sub-Radio. Founded in Washington DC by a group of childhood friends, the band released a series of EPs between 2018 and 2020, blending the pop-punk they grew up on with the indie-pop stylings of WALK THE MOON and The 1975. Forced online by the COVID-19 pandemic, they found enormous viral success on Reddit and TikTok in 2021, streaming their high-energy live performances to more than 20 million viewers and driving a huge new audience to their single “Flashback”. The band signed with indie label Th3rd Brain in early 2022 and released their latest EP, Past Selves in February of 2023. In support of a new release, Sub-Radio announced The Sunrise City Tour which kicks off in September of 2024.

Music on the Patio - Dos Amigos
2024-09-22 14:00 - 17:00 | Bogus Basin, 2600 N Bogus Basin Rd, Boise, ID, 83702
What
Music on the Patio series is back for the summer! Grab lunch and a beverage at the Double R Ranch BBQ Smokehouse or the Bogus Creek Grill located inside the J.R. Simplot Lodge, and spend the afternoon listening to FREE live music featuring local Treasure Valley musicians. Music on the Patio takes place in the ICCU Base Area plaza from mid/late June through September. All ages are welcome to attend!
Enjoy the fresh mountain air all day! Whether it be a hike, adventure in the Mineshaft Challenge Course, mountain bike ride, or scenic chairlift ride, there is an activity for everyone at Bogus Basin. Summer operations on the mountain are open through October, see current operating hours here.

Summer Activities

Summer Events on the Mountain

When & Where
FreeAll are welcome!

September 22 @ 2:00 PM – 5:00 PM

Who’s Playing on the Patio
Dos Amigos

SEPULTURA
2024-09-22 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
SEPULTURA CELEBRATING LIFE THROUGH DEATH NORTH AMERICAN FAREWELL TOUR
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Sun
September 22
7:00 pm
(Doors: 6:00 pm)
All Ages

John Vincent II
2024-09-24 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Show Rescheduled: Due to unforeseen circumstances, the John Vincent III show at Knitting Factory on March 22 (part of Treefort Music Fest) has been postponed to September 24. Previously purchased single show tickets (not festival passes) will be honored for the new date. Additional tickets for Sept 24 are on sale now.
A message from the artist: It pains me to share that I will no longer be able to perform at the Treefort Music Festival in Boise, ID this month. I just found out that I need to have surgery with some extensive recovery time that will not allow me to travel. I’m sorry to everyone who is inconvenienced by this, I was so excited to experience my first music festival as a performing artist. That being said, I will still be performing in Boise this year! If you already purchased tickets, specifically to see my show (not festival passes), those tickets will be honoured at the new date. You can also get refunded. A very exciting announcement is coming soon and I can’t wait to share it with you. Again, I apologize for any inconvenience. Love y’all

Silverada
2024-09-24 20:00 | The Heritage Club, 5467 N Glenwood S, Boise, ID
Silverada
Heritage Social Club
5467 N Glenwood S – Boise, ID 83714
Tue
September 24
8:00 pm
(Doors: 7:00 pm)
21 and up

Terror Reid, Eliozie, Domsta
2024-09-26 08:00 - 17:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Terror Reid, Eliozie, Domsta
The Reef
105 South 6th Street – Boise, ID 83702
Thu
October 10
9:30 pm
(Doors: 9:00 pm)
21 and up

La Luz, Tele Novella
2024-09-26 08:00 - 17:00 | The Olympic Venue, 1009 Main Street, Boise, ID, 83702, United States
La Luz, Tele Novella
9th St. Parallel at Knitting Factory
416 S 9th St – Boise, ID 83702
Thu
October 31
8:00 pm
(Doors: 7:00 pm)
All Ages
Venue Change: The LA LUZ show scheduled for October 31 at The Olympic has been moved 9th St. Parallel at Knitting Factory. All tickets will be honored. If you are unable to attend due to the venue change, please reach out to Ticketweb for a refund by August 12th, 2024.

Celtic Thunder
2024-09-26 19:30 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
ODYSSEY, the latest show from the internationally acclaimed CELTIC THUNDER, explores Irish music and culture grounded in the ensemble’s impressive history.
In ODYSSEY, Celtic Thunder invites you on a voyage through the heartlands of traditional Irish music, the rhythmic pulse of contemporary Irish music, and the innovative, original arrangements emblematic of the ensemble’s unique sound.
ODYSSEY is not simply a concert; it’s a powerful theatrical experience that honors Celtic Thunder’s rich musical legacy and blazes new trails—an evocative journey through time, sound, and culture, as educational as it is entertaining. The captivating blend of music, storytelling, and atmospheric stagecraft makes “Odyssey” a must-see spectacle for fans of Celtic Thunder and Irish music.

Ricky Montgomery
2024-09-26 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
There is a ticket barcode delivery/transfer delay of 72 hours prior to the event.
VIP Meet and Greet:
– One (1) GA ticket to the show
– Two (2) Pictures with Ricky
– One (1) item of your choosing signed by Ricky
– Early access to the venue (90 minutes prior to scheduled door time)
– One (1) VIP exclusive tote bag
– Early Access to merch table
Purchasers should plan to arrive one hour prior to doors in order to participate in the VIP experience.
VIP Early Entry:
– One (1) GA ticket to the show
– Early Entry to the venue (‘Skip the Line’)
– One (1) VIP exclusive tote bag
– Early access to the merch table
Purchasers should arrive 30 minutes prior to doors.

Rhythm in the Vineyard
2024-09-27 18:00 - 20:00 | Telaya Wine Co., 240 East 32nd Street, Garden City, ID, 83714, United States
We’re so excited to bring back Rhythm in the Vineyard! Once a month, we’ll have one of our favorite local musicians & food trucks out to our Nampa production facility. You’ll enjoy live music and delicious food in a beautiful vineyard setting.

Join us Friday, September 27th from 6-8pm
Live Music: Sam Henry
Food Truck: Idaho Poe BBQ

Address: 7150 Cellar Lane, Nampa, Idaho 83686

Interested in taking a shuttle out to the vineyard? Email us here for cost and availability.

*These events are weather permitting – as there is no indoor venue available.
*Music will take place outdoors in the grass. BYO chairs/blankets.
​*We will have wine & beer for sale which will be served in plastic cups for safety reasons.
​*No outside alcohol or food allowed.

Midnight Tyrannosaurus 'Life of a Street Rat' 2024 Tour
2024-09-27 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Midnight Tyrannosaurus ‘Life of a Street Rat’ 2024 Tour
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Fri September 27 8:00 pm (Doors: 7:00 pm)
All Ages

Explosions in the Sky
2024-09-28 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Explosions in the Sky – End
September 8, 2023
“It never fails to amaze me the power of music when love is at its core. It is the reason we get out of bed
every morning. To hope that we can continue to show that beauty is still around and in all of us. Thank
you for doing what you do and helping us through this life.”
– Simon Raymonde (Cocteau Twins), in a message sent to Explosions in the Sky after hearing End, the
band’s first album in seven years
End, the enigmatic seventh album by Explosions in the Sky, was inspired by darkness, but became a
loud, dramatic, wild rumination on life and death.
“Our starting point was the concept of an ending—death, or the end of a friendship or
relationship. Every song comes from a story, or an idea one of us has had that we’ve all
expanded on and made its own world. Maybe it’s our nature, but we kept feeling that the album
title was ultimately open to a lot more interpretation—the end of a thing or a time can mean a
stop, but it can also mean a beginning, and what happens after one thing ends might pale in
comparison to what it becomes next,” says the band about the album.
End is perhaps the “grandest” Explosions in the Sky album – melding the quiet restraint and
crushing feel of their early releases with the sonic texturing and ornate experimentation of their later
releases, and their increasingly deep film and television scoring catalog, influenced by personal
tastes stretching from classical to soul to experimental ambient music.
The title “End” furthers a story arc reflected in the album titles that started with the “innocence”
of their first album (How Strange, Innocence), progressed through the idealism and
romanticism of their second and third albums (Those Who Tell the Truth Shall Die, Those Who
Tell the Truth Shall Live Forever and The Earth is Not a Cold Dead Place), followed by the
introspection (All of a Sudden I Miss Everyone and Take Care Take Care Take Care) and
big-picture focus (The Wilderness) of their most recent albums.
The band announced “The End Tour” this spring, bringing their legendary live show experience to 26
cities around the world in 2023. More dates are expected to be announced soon.
They are currently scoring a new, undisclosed, television series that will premiere in 2024.
End is the band’s seventh, but not final, studio album.
Explosions in the Sky – End
September 8, 2023
About Explosions in the Sky
Explosions in the Sky are an iconic instrumental rock band from Texas that have become the gold
standard for bold, emotional, cinematic music and are known for their incendiary live concerts.
They’ve slowly grown from playing DIY spaces and opening for Fugazi to having headlined Radio
City Music Hall, Royal Albert Hall, the Greek Theatre, and the Sydney Opera House.
Over 24 years of being a band (with the same four members the entire time), they’ve achieved
remarkable commercial success from an especially non-commercial corner of the music world,
selling more than 1.3 million copies over six studio albums, and scoring five major motion pictures in
the process. They’ve become the sound of modern sports films, documentaries and television, due
largely to their genre-defining Friday Night Lights score, and they’ve been asked to tour with artist
fans as diverse as Nine Inch Nails, Smashing Pumpkins, The Flaming Lips, and Death Cab for
Cutie, while managing to not sound like any other popular artist.
End Credits
Written and performed by Christopher Hrasky, Michael James, Mark T. Smith, and Munaf Rayani
Produced by John Congleton and Explosions In The Sky
Recorded at Sonic Ranch in Tornillo, Texas
Engineered and mixed by John Congleton
Assistant engineers: Gerardo “Jerry” Ordonez and Diego Mendoza
Mastered by Bernie Grundman
Artwork by Pat Perry
Design by Ben Dickey
Explosions in the Sky – Studio Albums
– How Strange, Innocence (2000)
– Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever (2001)
– The Earth is Not a Cold Dead Place (2003)
– All of a Sudden I Miss Everyone (2007)
– Take Care Take Care Take Care (2011)
– The Wilderness (2016)
Explosions in the Sky – Film Scores
– Friday Night Lights (2004)
– Lone Survivor (2013)
– Prince Avalanche (2013)
– Manglehorn (2014)
– Big Bend (2022)

Exit Angles
Exit Angles is a philosophy of breaking free. The path to inner and outer freedom. To be wide
open and unafraid to accept the realness that lurks behind the surface of pretension. To be your
most unapologetic self, and to see the real in others and encourage it with every fiber of a
compassionate heart. To scream for life, unfiltered and limitless. To reach for possibilities
beyond our materialistic society.
There may be a way out, a way to exit the capitalist model and enter fully into community, DIY.
An exchange with no sense of possession or lack. Just being. Becoming what you’ve always
been and shedding the roles and identities we’ve put on to cope. Art and music with no
commercial intentions is needed more than ever.
Remember how music makes you feel when you’re alone? Remember when you got
goosebumps at shows? Remember feeling like you didn’t know where this performance might
go? This is the atmosphere at Exit Angles shows. Pure music: Rock and Roll. Drums, bass, and
guitars through loud amps projecting vibrations through the air. No tricks, no gadgets; pure
sound with pure intent. Behind it, songs that pierce the heart, singing of a common pain, and a
common yearning. Speaking out against the traps that ensnare us, conform us, that tell us to
give up trying to transform the hideous world we’ve created. Asking questions: are we
consumers, or are we builders? Are we just trying to obtain our own comfortable life in this
world? Do our actions match our words?
We need to encourage each other to pick up the fight, to detach from the tethers that keep us
spinning in our own ego orbit. To open up. To see unity, and not division.
If you find yourself at an Exit Angles show, you will witness four individuals playing pure soul
music with total joy and total commitment. Not the genre “soul,” but the substance of who we
are. You will see channelers, thrown about the stage, bouncing here and there, in ecstatic
meditation. Witness the faces; the story is, we need this.
exitangles.com

United We Dance
2024-09-28 21:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Immerse yourself in our electrifying rave experience – featuring a high-octane blend of EDM hits, euphoric melodies, and heavy bass drops.
Expect to hear our signature United sound, cultivated by our in-house DJs/Producers, as they spin original edits & remixes of the biggest past and present EDM tracks infused with lyrics of your favorite radio hits.
Inspired by the music of:
FISHER | SKRILLEX | MARTIN GARRIX | MATRODA | CHRIS LAKE | TIËSTO | ISOXO | JOHN SUMMIT | DOM DOLLA | KSHMR | KREAM | AFROJACK | DAVID GUETTA | ALESSO | KASKADE | AVICII | KNOCK2 | ZEDD | DIMITRI VEGAS & LIKE MIKE | R3HAB | THE CHAINSMOKERS | OLIVER HELDENS | VINTAGE CULTURE | TIMMY TRUMPET | ALOK | DON DIABLO | NICKY ROMERO | LOST FREQUENCIES | ABOVE & BEYOND | JULIAN JORDAN | ACRAZE | + MORE
We’ll keep you dancing all night long as we spin tech house, bass house, progressive house, big room, and a little of everything else along the way.
Festival/Rave attire is encouraged!
With Resident DJ’s
Jonathan Hess
Adonix

TURNOVER w/ Glare, Glixen
2024-09-30 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
The title track of the band’s new album, Myself in the Way, speaks to this mindset. “I can’t put myself in the way of love again,” sings Getz, “I promise I’m going to go all the way with you,” is specifically about Getz getting engaged to his longtime partner, but applies to the general outlook he had toward life in lockdown. “I was living in Sebastopol, California at the time and felt like I truly lived there for the first time since I wasn’t leaving for tour. I was able to go meditate at the Zen Buddhist dojo down the road, run and bike around the hills in Sonoma county, learn about plants and gardening, take some Spanish and arboriculture classes, and get involved with the volunteer fire department. Just do a bunch of new things to challenge and inspire me in a natural way.”
Turnover’s other members also used the time to deepen interests they hadn’t been able to fully explore before covid. Bass player Dan Dempsey was in New York City and responded to lockdown by spending more time practicing his visual art in drawing and painting. He painted the album’s cover during this period and developed a style that has become a central theme for the band in its current iteration. Drummer Casey Getz found work at a Virginia Beach state park as touring continued to be postponed. He was in search of and inspired by having a work-life balance different than he’d experienced since he was younger. Through this, he was able to nurture current relationships more and find new ones, something touring made much more difficult. This led to Casey playing drums with a group of longtime friends in Virginia Beach and further developing his drumming style – adding a new prowess for fluidity and improvisation through lengthy jam sessions with the group. Guitarist Nick Rayfield was focused on sharpening his guitar and piano playing and was able to devote energy to skateboarding and his retail business more than he had been able to for the last few years. This was also the band’s first album with Rayfield making songwriting contributions after touring with them for years as a live member, adding a new creative element to the songs.
Over 18 months Turnover weaved these individual experiences into a collective work, recording the LP over two sessions with longtime collaborator Will Yip at Studio 4. Austin is credited, for the first time, as co-producer.
“I had specific ideas for sound design on this album. I knew a lot of sounds I wanted to hear and use. We wanted everything to be able to be heard and have its own place. I was inspired by the way Magical Mystery Tour and Dark Side of the Moon sounded. We decided to go a lot wider with it and utilize panning and stereo more than we had in the past, while also wanting it to sound tighter and smaller than some of our earlier records. We were inspired by drum and bass sounds from Chic and Quincy Jones records from the 70s, so we put the drums in the control room to get them to sound smaller. We used an active pickup bass and a jazz bass to get that percussive sound from the bass so the low end wasn’t as rumbling and subby. We let the synths share some of that low end that the drums and bass gave up. Quincy’s approach to arrangements were a huge inspiration in this record as well. The horn and string lines I wanted to sound like classic era disco, mixed with modern synth and vocal sounds. I had been experimenting with my own vocal styles a lot and utilized autotune and vocoder on this album almost as instruments on certain songs as a stylistic choice.”
The band has always been DIY, but post pandemic they have taken that to a different level. They appreciate more than ever how lucky they are to get to be together and have fun creating things with their friends. They have found that they are usually best suited for executing their own vision, not only musically, but with all its accompaniments as well. For this album they made all their own videos in collaboration with friends and using Dempsey’s drawings and paintings.
Change is authentic and true to Turnover as a band and as individuals. Chart a course through their discography and find a band continually reinventing themselves with a unique artistic ambition. Myself In The Way arrives finding Turnover doing the same within their own persons, pushing the band into new and exciting parallel depths of expression.

Glare
Texas Shoegaze

Glixen
Eluding all expectations of the current alternative rock space, Glixen come from Phoenix, Arizona and have taken their sound coast to coast on tour in North America. As influences, lead vocalist/guitarist Aislinn Ritchie cites My Bloody Valentine, No Doubt, and T.A.T.U. In the same breath, also citing heavier acts such as HUM and My Vitriol. Ritchie founded Glixen in 2020 and later added the talents of lead guitarist Esteban Santana, drummer Keire Johnson, and bassist Sonia Garcia.
Glixen released their debut EP She Only Said via Julias War Records on August 11th, 2023. The lead single Splendor sets the tone of the EP by masterfully capturing the swirling ambiance of 90s rock, ethereal pop vocals, and fuzzed out walls of guitar all wrapped up in a lacey white ribbon. She Only Said is a cathartic anthem that feels like glitter and thorns down the listeners spine.

Colter Wall and Friends
2024-10-01 19:00 - 19:30 | Ford Idaho Center
Colter Wall and Friends
featuring Noeline Hofmann and Kade Hoffman
Ford Idaho Center Amphitheater
Tuesday, October 1, 2024

Descendents, Buzzcocks, Grumpster
2024-10-01 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Descendents, Buzzcocks, Grumpster
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Tue
October 1
8:00 pm
(Doors: 7:00 pm)
All Ages

Foxing, From Indian Lakes, Mylo Bybee
2024-10-01 21:30 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
The Foxing show scheduled for October 1 at The Olympic has been moved to The Reef.
The show will now start at 9:30 PM. Doors open at 9:00 PM.
All tickets will be honored. If you are unable to attend due to the venue change, please reach out to TicketWeb for a refund by August 22nd.
The band released their debut full-length record, “The Man With Wooden Legs” in the Winter of 2009. The songs that were spawned out of this release reflect the bands’ collective maturity and purpose while being surrounded by music that is otherwise derivative and lacking in any sort of defining positive characteristics. Since their initial debut, the band has been working endlessly, playing countless shows throughout the US as well as dedicating time in the studio in preparation for their upcoming full-length. The next release, entitled Able Bodies, is already garnering wide acclaim with both longtime fans as well as those who have just recently discovered the band.
Able Bodies moves several steps forward in their maturity and depth, while still retaining the aggression, passion and darkness of their debut. Joey Vannuchi’s (vocals, guitar) lyrics and musical abilities are well beyond his years and his artistic sensibilities showcase his unique approach to songwriting, undeniable talent, and the bands inevitable longevity.

TONALITY - You Are Not Alone
2024-10-02 15:00 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725
Tonality sings of the labels placed on those with mental illness. These fellow community members, treated “different” reflect on our shame and feelings of misunderstanding.
This concert speaks through the eyes of poets and artists who have dealt or deal with mental illness issues. Additionally, the concert explores how we can be of support to members of our community who need compassion, understanding, and validation. We can heal and grow together, through our united story and bond through singing.

Ian Munsick
2024-10-02 19:00 | Ford Idaho Center
Ian Munsick
The Country & WESTern Tour
with Ole 60, The Song Swap (Jenna LaMaster, Faren Rachels, and Kasey Tyndall)
Ford Idaho Center Amphitheater
October 2, 2024

THE MOVEMENT - WAYS OF THE WORLD 5TH ANNIVERSARY TOUR
2024-10-02 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
THE MOVEMENT – WAYS OF THE WORLD 5TH ANNIVERSARY TOUR With special guests Long Beach Dub Allstars, aurorawave
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Wed
October 2
7:00 pm
(Doors: 6:30 pm)
All Ages

An evening with PHOSPHORESCENT
2024-10-03 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
“I got tired of sadness/ I got tired of all the madness/ I got tired of bein’ a badass all the time,” Matthew Houck sings on
“Revelator,” the opener and title track of his latest Phosphorescent album. Houck was actively looking for something new, an
epiphany, when the old ways stopped working. And just as the album Revelator only revealed itself to its author along the
way, so too did real life revelations take their time answering the plaintive mission statement with which Houck reintroduces
Phosphorescent.
The last time we heard from Phosphorescent, it was after a five year gap between Houck’s 2013 breakthrough Muchacho
and 2018’s C’est La Vie. His life had changed drastically: He had left New York City for Nashville, had children, survived a
nearly fatal bout of meningitis, and re-built his recording studio from the ground up. Now, another half decade has passed, a
period that while quieter, has proven no less complex, with Houck traversing murkier spaces and the blurry mists of time.
“This record is a lot more open-ended and ephemeral,” Houck explains, noting the more plainly autobiographical
documentation of C’est La Vie has been upended by something less knowable, more unsettled. The underlying melancholy
of Phosphorescent’s music remains, reframed by the weird headspace of long-term fallouts from the last few years.
Revelator might promise a fresh outlook, another horizon, but first the album wrestles with an ongoing, ambient sense of
dread.
After a bit of pandemic dormancy, Houck first revived Phosphorescent for The Full Moon Project in 2022. Each month, on
the full moon, he released a cover of a song from an eclectic selection of artists like Randy Newman, Nick Lowe, Nina
Simone and Tom T. Hall, getting back in the groove of making music in his Nashville studio. The Full Moon recordings did
the trick, shaking the cobwebs loose: After the downtime of the pandemic, Revelator suddenly happened fast. Houck
underwent a few writing retreats, renting himself a room across town then rejoining his family for the weekend. Though it
only took six months to write and record, it wasn’t an easy birth: Revelator made Houck confront his usual tendencies toward
self-doubt, amplified by his own questions about what sort of album he was making.
In the end, Revelator points the way to a poignant outcome. It’s an album of elegant gravity and “the grand sadness in life”
— perennial Phosphorescent subject matter, by Houck’s estimation. In some ways, Revelator extends seamlessly from the
story begun by Muchacho and continued by C’est La Vie. It finds Houck further mastering his unique blend of ragged,
experiment-y classicism intertwined with ethereal, lachrymose atmospherics. Across Revelator, Houck sings from a woozy,
worn headspace, but leads us to a place where dreams and reality mingle. Anxieties about the future — both personal and
global — air alongside stray memories. Surprisingly profound (yet still raunchy) messages scrawled on a men’s room wall sit
next to moments of reclaimed wonder, with Houck seeing the world anew through his children’s eyes.
While Revelator remained a mystery even to Houck for some time, you can see a clear arc unfold across its nine songs.
“Revelator” works as an overture, setting the stakes for Phosphorescent’s next chapter, and forecasting some of the
conclusions reached after the winding journey of the subsequent eight songs. For the first time, Houck sings someone else’s
song on a Phosphorescent album, after his partner Jo Schornikow wrote “The World Is Ending,” a wryly bleak song that
communicated a lot of the same things Houck had been feeling. After the newfound warmth of settling down on C’est La Vie,
“Fences” and “Impossible House” use domestic imagery not as idylls, but as mechanisms of distance, grappling with the
challenges of maintaining long-term partnerships. Though C’est La Vie was never quite as happy as some suggested,
Revelator is notably more conflicted, wracked. The song “Wide As Heaven” originated in a dream in which Houck found
himself in a crumbling warehouse surrounded by people from different chapters of his life, the song playing over the
speakers. “Why does heaven make me feel so sad?” Houck asks, his voice nearly breaking. It’s one of the more dangerous
questions we can ask ourselves: What happens when you have a seemingly perfect life, and the darkness still lingers?
By the time Revelator closes with “To Get It Right,” Houck hasn’t necessarily found an answer, but at least has resolved to
keep searching for one. Sprawling out over seven minutes, “To Get It Right” is the latest Phosphorescent epic that leaves
you just a bit transformed by its conclusion. After all these songs that show us how we can disappear from ourselves — how
we drift from the people we love, how we lose sight of things we once knew — “To Get It Right” is a reclamation, the moment
where you find your way back to some core truths while still carrying what you learned along the way.
“I like that the record restrains itself the entire time until the last song lays it all out there,” Houck says. “I needed it to have
some strength, to not quit. I needed it to say: ’Yeah, we got this.’”

Badflower
2024-10-03 20:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714

Boris “Amplifier Worship Service” performing Amplifier Worship in its entirety
2024-10-04 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Japanese sludge/doom rock trio Boris are cult favorites who took their name from a song on grunge godfathers the Melvins‘ Bullhead album. They had much in common with the Melvins musically, including a fondness for heavily downtuned guitar/bass tones and exceedingly slow tempos. But they have also variously drawn from psychedelic rock, punk, noise, minimalism, pure sludge-drone music, and more, and there is an ambitiously experimental aspect to much of the band’s work. Their albums tend toward massive conceptual projects: 2001’s Absolutego is a feedback-heavy drone exploration consisting of a single 65-minute track; 2005’s Flood consists of a single 70-minute track that explored the band’s quieter side with a minimalist/phase music slant, and 2006’s Altar was a drone/feedback collaboration with Sunn O))). There are other collaborative recordings in their discography, including 2008’s Cloud Chamber with Japanese psych guitar enigma Michio Kurihara, and several others with power electronics/noise legend Merzbow, including 2013’s Gensho. 2017’s Dear wove together doom metal, noise, and overdriven shoegaze sounds, while 2020 saw a pair of releases including No. In January 2022, the band issued its companion album, W, as part of a single concept; they issued the third volume in their Heavy Rocks series that August. Bright New Disease, a collaboration with New York noise-rock band Uniform, appeared in 2023.
Boris formed during the early ’90s and consisted of guitarist Wata, bassist Takeshi, vocalist Atsuo, and drummer Nagata (who departed the group in 1996, leaving them a trio with Atsuo handling both drums and vocals). They made their first recorded appearance on an obscure 1994 compilation titled Take Care of Scabbard Fish, released only in Japan. Absolutego, their full-length debut, was released in 1996 on the band’s own Fangs Anal Satan label; it was unavailable in the U.S. for years, a situation remedied when the Los Angeles-based Southern Lord label reissued it in early 2001, adding a bonus track and new packaging. Their next album, Amplifier Worship, was put out by the Mangrove label in 1998, as was a live Boris/Keiji Haino collaboration titled Black: Implication Flooding on Japan’s Inoxia Records. The following year, Boris issued More Echoes, Touching Air Landscape on Inoxia, a split-disc collaboration with fellow Japanese band Choukoko No Niwa. Their globally acclaimed third full-length, Flood, was released two years later on the MIDI Creative label.
In 2002, Boris issued Megatone, their first of many recorded collaborations with Masami Akita (aka Merzbow), on Inoxia. He also guested on a track on the group’s Heavy Rocks album, released that year by Quattro/UK Discs. 2003 saw the original Japanese release of Akuma No Uta on Diwphalanx, as well as Boris at Last: Feedbacker on the same label. A limited vinyl-only LP titled The Thing Which Solomon Overlooked appeared on Finnish label Kult of Nihilow in 2004 and became one of their most sought-after releases. A year later, Southern Lord reissued Akuma No Uta in the United States. The experimental double-LP Dronevil appeared on noise label Misanthropic Agenda that year, and the group’s soundtrack to the film Mabuta No Ura was released jointly by Catune and Inoxia. Two more Merzbow collaborations, 04092001 and Sun Baked Snow Cave, also appeared in 2005. Boris ended the year with the shoegaze-influenced Pink, that was given an American release on Southern Lord the following year. A conscious attempt at (relative) accessibility, Pink garnered rave reviews from the alternative and mainstream rock presses, leading to constant touring in bigger venues for Boris.
In 2006, the band collaborated with drone-metal group Sunn O))) on the full-length Altar, and with guitarist Michio Kurihara (from legendary Japanese psych mavens Ghost) on Rainbow. Two more volumes of the limited-LP series The Thing Which Solomon Overlooked appeared, and the group released Vein on Important Records in two distinct iterations: a “hardcore” version available only in the U.S. and a “drone” version exclusively in Europe. In 2007, they issued a limited-edition recording of a live performance with Merzbow in Tokyo titled Rock Dream, as well as a limited release featuring a cover of the Beatles‘ “I Am the Walrus.” A split-LP with Doomriders titled Long Hair and Tights also appeared that year on Daymare Recordings. Smile, the group’s 14th album, was released in spring 2008, with different mixes issued in different territories. Cloud Chamber, a second collaboration with Kurihara, appeared on Pedal Records at the end of the year.
Boris issued several limited live recordings in Japan, as well as Japanese Heavy Rock Hits (a series of individually released 7″ singles), and Boris/Variations + Live in Japan, a collection of re-recorded material including a live DVD. They collaborated with Cult singer Ian Astbury, releasing the EP BXI on Southern Lord in 2010. After extensive touring and an uncharacteristically long break from recording, Boris returned in 2011 with two very distinctly different (from one another) outings on Sargent House: the aptly titled Heavy Rocks and the more texturally diverse and unexpectedly accessible Attention Please. The latter featured lead guitarist Wata‘s vocals on all the tracks. In March 2011, Boris released another full-length (it went to number 15), New Album, in Japan and later in Europe. It was finally released stateside with a different track listing. Another Merzbow collaboration, Klatter, appeared that year, while a split-LP with Joe Volk was issued by Invada in 2012.
Boris continued their prolific run with 2013’s Präparat and a live re-recording of Flood, followed by 2014’s grunge-flavored offering Noise and the limited releases The Thing Which Solomon Overlooked Extra and Archive Volume Two: Drumless Shows. In 2015, the group simultaneously released three albums (Warpath, Asia, and Urban Dance) on Fangs Anal Satan, as part of a series titled New Noise Literacy. Boris issued Gensho, another collaboration with Merzbow, on Relapse in 2016. The album’s first disc featured drumless recordings by Boris, mostly re-recordings of earlier songs, and a cover of My Bloody Valentine‘s “Sometimes.” The second disc offered a new recording by Merzbow, intended to be played simultaneously with the Boris disc: the two were the same length. The Japanese release of the album on Daymare included Gensho at Fever 11272015, a double-live document of a Boris/Merzbow performance from 2015.
Boris considered issuing a farewell album to celebrate their upcoming 25th anniversary, unsure if they had anything more to say musically. But during 2016’s Beyond Pink Tour, they were re-inspired, first by fan reactions to their music and then by one another. The band re-entered the studio to see if the experience and energy would translate to new music. The trio subsequently cut a whopping three albums’ worth of material before culling the sessions to ten tracks for 2017’s single-disc LP Dear. They also issued Live at Third Man, which documented the tour.
In 2019, after celebrating their 25th anniversary in October, Boris teamed with Jack White‘s Third Man Records to reissue Feedbacker and Akuma No Uta. In addition, they released a double-length album of two separate works titled LφVE & EVφL. The group returned in 2020 with NO, an 11-cut, extremely noisy hard rock album; they also collaborated with Japanese noise experimentalists Z.O.A. on their 33-minute “single” If You/En Attendant Godot, comprising one long track, and re-teamed with Merzbow for the December release of 2RI2P0. In January 2022, Boris issued W, the companion album to No, as the two were recorded simultaneously. The combined titles complete the concept of “Now.” In August, they underscored their bona fides in sheer heaviness with the release of the third chapter in their Heavy Rocks series. They closed out the year with the drone album fade. Boris collaborated with New York band Uniform, fusing thrash, industrial, and hardcore on 2023’s Bright New Disease. ~ William York & Thom Jurek, Rovi
Starcrawler General 1 Credit To Autumn De Wilde 1000×667
Starcrawler
Born on the streets of Los Angeles, Starcrawler is a band possessed by the spirit of its own hometown, every movement charged with a manic electricity. Since forming in 2015, vocalist Arrow de Wilde, guitarist/vocalist Henri Cash, bassist Tim Franco, and drummer Austin Smith have gone from bashing out songs in the garage to winning the love of such legendary artists as Shirley Manson and Elton John. They’ve also opened for the likes of Beck, Foo Fighters, Spoon, The Distillers, and MC5, bringing their unhinged energy to an already-fabled live show — a spectacle that’s simultaneously lurid and glorious and elegant as ballet. On their sophomore full-length Devour You, Starcrawler captures that dynamic with a whole new precision, revealing their rare ability to find a fragile beauty in even the greatest chaos.
