Mike Brown Group

La Luz, Tele Novella
2024-09-26 08:00 - 17:00 UTC | 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.

Live Music at The Warehouse
2024-09-26 17:00 - 20:00 | 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

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.

Home Free: Crazy (er) Life Tour
2024-10-04 19:30 | Morrison Center, 2201 West Cesar Chavez Lane, Boise, Idaho, 83725

Prof, Grip, Norman Sann, Willie Wonka
2024-10-05 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
SatOctober 58:00 pm(Doors: 7:00 pm)
All Ages

With lyrical skill matched only by his raucous live shows, Prof has arrived on the national stage. Coming out of Minneapolis, Minnesota, Prof has perfected the art of combining blue collar hard work and unimpeachable content with never taking himself too seriously. His seventh studio album, Horse, due out on his own Stophouse Music Group label April 14, 2023, is set to let the world at large in on a secret that music fans already know, Prof is a force to be reckoned with.
His most recent album, Powderhorn Suites, shocked pundits and industry alike with an amazing run through the charts and streaming platforms. Released in November, 2020, Powderhorn Suites reached a career-high #3 on the Billboard Current Rap Albums charts, #5 Top New Artists Albums, #15 Independent Album, and #36 Billboard Top Albums. What followed has been a masterclass in making it as an independent artist; Prof leaned into the fantastical tales and dynamic persona that have cultivated his rabid fan base. He reclaimed his outlets, going from zero Youtube followers to over 160,000 subscribers in under two years. Following the Powderhorn Suites album, Prof notched his biggest year to date in 2022, racking up over 140 Million streams of his catalog and performing 30 sold out shows across the country.
Horse is the culmination of his personal Rocky training montage, but you can’t call it a comeback, because Prof’s numbers have only ever gone up. Horse is a powerful record, showcasing his singular drive and the weirdness of real life that has propelled Prof to the pinnacle of the independent rap music world, bringing his legions of “Gampos”, as his fans are affectionately known, alongside him. Horse’s 14 tracks include a heavyweight cast of features, from Method Man on “Subpar”, to Kevin Gates’ big sound gracing “Devils Gate”, and a brilliant appearance from Redman on “Pack a Lunch”. Prof’s contemporaries have clearly noticed the ever growing Gampo movement bursting out of the Twin Cities. Cozz and Mac Irv also appear on the album, which was produced by Prof alongside a small cadre of close collaborators.
Prof will follow up the release of Horse with a XX city headline tour, hitting marquee live music venues like YY and ZZ, along with some key festival appearances. Riding life sized carpets over his massive crowds and leaving it all on the stage, Prof’s live shows have always been more than a concert, they are an experience. As the audiences grow and his production evolves, Prof has moved from survival mode to takeover mode, and one thing is for sure, Prof thrives on the biggest stage.

Tara Brooks and friends
2024-10-05 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Tara Brooks and friends
w/ Deeveaux, Legz

Treefort Music Hall
Saturday, October 5th, 2024
8:00PM
$20 adv / $30 DOS

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

Legz

Breaking Benjamin & Staind with Special Guest Daughtry
2024-10-06 17:30 | Ford Idaho Center
Breaking Benjamin + Staind
With Special Guest Daughtry
Ford Idaho Center Amphitheater
October 6, 2024

Highly Suspect, Dead Poet Society
2024-10-06 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Sun
October 6
8:00 pm
(Doors: 7:00 pm)
All Ages

Goth Babe
2024-10-07 20:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714
Duck Club Presents
Goth Babe with Special Guests The Aces

Oxymorrons, Deadlands, Census
2024-10-08 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Oxymorrons, Deadlands, Census
Neurolux Lounge
111 North 11th Street – Boise, ID 83702
TueOctober 88:00 pm(Doors: 7:00 pm)
21 and up

Halestorm
2024-10-08 20:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714

Set It Off: The Deathless Tour Part 2
2024-10-08 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Set It Off: The Deathless Tour Part 2
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Tue
October 8
8:00 pm
(Doors: 7:00 pm)
All Ages

Carbon Leaf
2024-10-09 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
​The Carbon Leaf show scheduled for October 9th, at The Olympic has been moved to Neurolux. 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 8th, 2024.
A touring mainstay and indie folk-rock staple, this Virginia quintet’s lively stage presence and musical inspiration pulls from Americana, folk, roots, rock and pop traditions using acoustic & electric guitars, mandolin, banjo, fiddle, cello, bass, drums, penny whistle and vocal harmony.
With over 3,500 lives shows spanning 30 years and 20 recordings, Carbon Leaf’s independent music and spirit continue to resonate with its fans.
In 2020 Carbon Leaf began working on the concept for a release slated for 2021, but was pushed back during the pandemic, and is set for release in 2024.

Citizen Soldier 'Thank You For Hating Me' Tour
2024-10-09 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Citizen Soldier ‘Thank You For Hating Me’ Tour with special guests Icon For Hire and Halocene
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Wed
October 9
8:00 pm
(Doors: 7:00 pm)
All Ages
Despite their name, ICON FOR HIRE aren’t indebted to anyone but their fans. Since forming in 2007, the duo—singer Ariel Bloomer and guitarist Shawn Jump—have amassed a legion of followers who have connected with not only the band’s genre-bending sound, but also their honesty. That soul-baring spirit and realism is at the heart of everything Icon For Hire do, and it’s front and center on their latest Billboard-charting release, YOU CAN’T KILL US…
Produced by Mike Green (Gwen Stefani, All Time Low) and funded by fans through Kickstarter on a campaign that raised $127, 200—making it one of the year’s highest-raising music campaigns—the self-released album marks a brand-new chapter for the band.
Blending hard rock, hip-hop, electronica and pop into an anthemic swirl of both melody and muscle, You Can’t Kill Us isn’t only a modern sounding record—it’s awash in lyrical themes that tap into the times as well. Addiction, depression and self-worth are all topics Ariel addresses and these themes reverberate loudly in today’s tumultuous, judgment-first culture.
After all, having survived the record label system and reemerged stronger than ever, Icon For Hire are living proof that you can take control of your life—and that’s perhaps the greatest success anyone can hope to accomplish.

Brittany Howard, Michael Kiwanuka, Yasmin Williams
2024-10-10 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Brittany Howard, Michael Kiwanuka, Yasmin Williams
Outlaw Field at the Idaho Botanical Garden
2355 Old Penitentiary Road – Boise, ID 83712
Thu
October 10
7:00 pm
(Doors: 5:30 pm)
All Ages
