Mike Brown Group

Oxymorrons, Deadlands, Census
2024-10-08 20:00 UTC | 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

BIZZY BONE
2024-10-10 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Best known as a member of the Cleveland crew Bone Thugs-N-Harmony, rapper Bizzy Bone began a prolific, risk-taking, and sometimes baffling solo career in 1998. Combining rapid raps and laid-back singing, his soul-searching debut, Heaven’z Movie, didn’t sound entirely unlike a Bone Thugs album, but it was obvious that on his own Bizzy felt free to explore his psyche and to go eccentric places his group just would not. The Gift from 2001 further divided Bone fans, with some seeing his confessional writing as riveting while others found it overly indulgent. A year later at a Bone Thugs-N-Harmony performance in New York City, Bizzy was noticeably drunk and walked off-stage halfway through the show. He was let go from the group that night, but Bizzy claimed he had been a solo artist for years and only a guest in the group. He also began giving more interviews around this time, frequently speaking about his new crew, the 7th Sign. He also made an appearance on the Fox television series America’s Most Wanted, revealing he had been kidnapped at the age of four and had wrongly believed his mother was dead until he was rescued, thanks to someone who had recognized his picture from a photo shown at the end of the 1983 television movie Adam.
If it seemed the black sheep of Bone was becoming more personal and approachable, 2004’s fascinating and cryptic Alpha and Omega was a puzzling move, but fans responded positively to the album, influencing Bizzy to produce his own underground limited-edition album, The Beginning and the End. In 2005 he made news with a drunken appearance on Houston’s KPFT radio, where he claimed to be homeless. He made no excuses for his appearance in the many interviews that would follow, and while he admitted he wasn’t actually homeless, he did admit to having a drinking problem and that he was working on controlling it. With Bizzy showing no signs of slowing down, the perfectly titled Speaking in Tongues appeared that year along with two mail order-only releases — For the Fans, Vol. 1 and Vol. 2 — and a reunion album with Bone member Layzie Bone titled Bone Brothers. Bizzy’s refusal to tour in support of Bone Brothers found him out of favor with the group once again, and the full Bone reunion that had been talked about fell apart. Bizzy moved ahead and made 2006 even busier with the albums Thugs Revenge, The Story, and The Midwest Cowboy all landing that year. A second volume of Bone Brothers arrived in 2007. ~ David Jeffries, Rovi

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

The Airborne Toxic Event, Brigitte Calls Me Baby
2024-10-10 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
The Airborne Toxic Event, Brigitte Calls Me Baby
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
ThuOctober 108:00 pm(Doors: 7:00 pm)
All Ages

The Black Dahlia Murder & Dying Fetus - Beg To Serve Tour 2024
2024-10-11 18:30 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
The Black Dahlia Murder & Dying Fetus: Beg To Serve Tour 2024
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Fri
October 11
6:30 pm
(Doors: 6:00 pm)
All Ages

Reggae Rock and Brew 2024
2024-10-12 12:00 - 22:00 | Hawks Memorial Stadium, 5600 N Glenwood St, Garden City, ID, 83714
The excitement is real! The first ever Reggae Rock & Brew beer and music festival is taking place at The Boise Hawks Memorial Stadium on October 12th, 2024.
We have tons of activities for everyone with live music from some of your favorite rock and reggae bands, Beer Vendors pouring on site, jump houses for the little ones, beer games with cash prizes, Art displays, Costume contest, stage giveaways and so much more!
Tickets are $30 GA and come with a festival cup and 3-4oz pours from any beer vendor on site. Entry from 12pm to 10pm.

Korn
2024-10-12 18:30 | Ford Idaho Center
Korn
with Special Guests: Gojira, Spiritbox
Saturday, October 12, 2024
Ford Idaho Center Amphitheater

Hawthorne Heights, Amber Pacific, Mylo Bybee
2024-10-12 19:30 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Hawthorne Heights, Amber Pacific, Mylo Bybee
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Sat
October 12
7:30 pm
(Doors: 6:30 pm)
All Ages

JUVENILE w/ The 400 Degreez Band
2024-10-13 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
JUVENILE w/ The 400 Degreez Band
w/ Mannie Fresh

Treefort Music Hall
Sunday, October 13th, 2024
7:00PM
$59.50 adv / $69.50 DOS

Simply put, hip-hop might not be the same without Juvenile.
Over nearly three decades, the multi platinum record-breaking New Orleans icon served up a string of classic albums, influenced two generations of stars, and pioneered a sound rooted in Louisiana bounce, yet carried by worldwide rap appeal and ambition. Like all timeless stories though, his stretches back to humble beginnings in the neighborhood his music put on the map: the Magnolia Projects. As if predisposed by destiny to pick up a microphone, he heard Melle Mel’s verse on “The Message” by Grandmaster Flash & The Furious Five, commenced spitting, and never stopped since…
“That’s really when it all started,” he recalls. “I heard Melle Mel saying, ‘Don’t push me, ‘cuz I’m close to the edge’, and that was it. I was only seven-years-old, but I knew I had to rap.”
He made local waves by appearing on DJ Jimi’s “It’s Jimi” in 1991 before bringing a national spotlight to the burgeoning bounce music style on his breakthrough “Bounce for the Juvenile.” After building a fan base on his 1995 debut Being Myself, the production of Mannie Fresh caught his ear, and nothing would be the same. At the time, the in-house Cash Money Records producer cooked up “Drag ‘Em ‘N’ tha River” for UNLV—a group Juvenile brought to the label.
In response, Juvenile recorded “Set It Off” and knew he “had to get with Mannie Fresh.”
“At the beginning, I truly came to Cash Money, because of Mannie Fresh,” he recalls. “I knew his beats were bigger than most artists. There was something there.”
There definitely was…
After his Cash Money Records debut Solja Rags, he crafted an era-defining opus in the form of 400 Degreez. Not only did it go quadruple-platinum, but it also became “the best-selling album in Cash Money Records History.” It produced staples such as the title track, “Ha” (which JAY-Z notably remixed), and “Back That Azz Up.” The latter would be sampled by everyone from Drake to City Girls. The Ringer lauded 400 Degreez among the “20 Best Southern Rap Albums Ever” behind only UGK’s Ridin’ Dirty and OutKast’s Aquemini. Pitchfork bestowed a rare 9.4-out-of-10 rating upon the record, and Kendrick Lamar cited it as one of his “Favorite Albums” in Complex and went so far as to claim, “They had the West Coast on smash. We definitely tried to be like them.” The heat spread far and wide across the United States.
“I remember I had a show with Funkmaster Flex in the Tunnel in New York city around the time 400 Degreez came out,” he recalls. “Everybody told me, ‘Don’t sing no other song, but ‘Ha’. If you sing anything else, they might jump on you and beat y’all up!’ I sang ‘Ha’ for forty minutes straight. It was the hardest place for any artist from the South to break into, but I did. It really broke the mold.”
Around the same time, Juvenile comprised The Hot Boys alongside Lil Wayne, B.G., and Turk. Together, they smashed charts with the Get It How U Live! [1997] and the platinum Guerilla Warfare [1999]. His next solo offering, Tha G-Code, went double-platinum followed by the platinum Project English. Meanwhile, 2003’s Juve The Great emerged as another unsung platinum classic as “Slow Motion” [feat. Soulja Slim] topped the Billboard Hot 100 at #1 for two weeks. He maintained a prolific pace in the ensuing years and collaborated with everyone from Future to Yo Gotti before reuniting with Cash Money Records.
“It’s more like a family reunion than anything,” he smiles. “It’s a friendship that never should’ve separated. Back in the day, Baby and I were always really tight. It’s tighter now. We think differently. We know when we hit the studio, it’s time to work. In the nineties, it was more about trying to control the industry and be at the forefront. We’re not trying to be better than everything out there; we’re just trying to show our fanbase we can still make good music. We have a great chemistry and always have. I thought it was a good idea for him and I to do a project together. He agreed. It was something we wanted to do forever, but never got around to it. I want him to talk that shit. I do my thing. Do your thing brother. That’s what makes our chemistry great.”
The chemistry thrives on their 2019 first full-length collaborative album, J.A.G.It boldly extended Juvenile’s own legacy with unanimous praise from Pitchfork, Rolling Stone, and Billboard as the singles “Just Another Gangsta” and “Dreams” [feat. NLE Choppa] tallied over 20 million total streams and views. Moreover, it preceded the stage for another collaborative effort and an O.G. Cash Money Records reunion on “Ride Dat” [feat. Lil Wayne].
Juvenile also inspires the next generation as his song Young Juve picks up the microphone for a bevy of upcoming singles.
In the end, Juvenile continues to shape and spearhead the future of hip-hop.
“I just want people to enjoy the music,” he leaves off. “I want to keep making good music. It’s all about a positive mood. Birdman and I are going to continue this. We’ve got a whole new breath of fresh air coming from my way. We’re going to get this bread.”

Mannie Fresh
Mannie Fresh is known to fans and throughout the music industry as a genre-defining producer, artist and entertainer. He started out as one of the best DJs in New Orleans and is now multi-platinum and Grammy-nominated.
Responsible for creating hits with such acclaimed artists as UGK, Trina, Gucci Man, The Notorious B.I.G. and, of course, Cash Money, Mannie Fresh continuously shifts culture. In recent years alone, he launched a Black Music Month playlist for Apple and #VirusKillaz virtual parties to stave off COVID-induced cabin fever. He made his rounds in the community with a “Vax That Thang Up” remix with Juvenile and Mia X for the dating app, BLK, and even lent his voice to local politics.
In 2023, during a performance in Washington, D.C., Congressman Troy A. Carter (D-LA) presented Mannie Fresh with an official Congressional Record to acknowledge not only his contributions to Louisiana’s world renowned sound, but also the way his drum patterns are woven into the fabric of America.
“I’m a second generation DJ,” Fresh said on Apple Music’s The Estelle Show. “I experienced Black Music – the 60s and the 70s – from my dad [DJ Sabu] deejaying, and that’s when everything was Black Power, there was a message in the music. Marvin Gaye, ‘What’s Going On,’ that was pivotal to us. Bob Marley, Legend, it taught us how to get along with everybody and it also taught us culture. James Brown, ‘I’m Black and I’m Proud,’ that just shows you what the power of Black artists and good music could do.”
Mannie Fresh is currently celebrating the release of a 25th anniversary edition of Juvenile’s debut album, 400 Degreez (1998), which features Jay-Z and went 4x platinum. Fresh produced, engineered and mixed all of the tracks on the original and dropped two new ones for the 2024 version, building on the momentum the two Hot Boys created when they visited NPR’s “Tiny Desk” for what is now one of the most seen episodes on YouTube with more than 7 million views.
As a teenager, Fresh had stepped out on his own, joining the Noila-based hip hop crew, New York Incorporated. They were responsible for some of the best parties in the city. With their fame, he caught the attention of rapper Gregory D, formed a rap duo and was quickly signed to RCA to release The Real Deal (1992). Rap fans in the Big Easy fell in love with the album but it didn’t make much noise on a national level. The duo split, but Fresh and Gregory D remained friends and soon another opportunity came along. Brian “Baby” Williams offered Fresh a chance to join his fledgling crew, Cash Money. Working with Baby and other Cash Money members, Lil Wayne, Juvenile, Turk and BG, they created an impressive discography of chart-topping hits.
Fueled by Mannie Fresh’s quirky, inspiring production in the late nineties, Cash Money became the preeminent, southern hip hop label. His beats defined the sound of Cash Money with such cultural phenomena as Juvenile’s megahits, “Ha,” “Back That Azz Up,” Lil Wayne’s “Go D.J.” and the crew’s “Cash Money Is an Army” and “Bling Bling,” among others. Baby and Mannie also formed their own group, Big Tymers, and released a slew of great singles and albums, including “Still Fly,” “Get Your Roll On” and “#1 Stunna.” His solo albums, The Mind of Mannie Fresh (2004) and Return of Ballin’ (2009) feature Bun B, Rick Ross and Lil Jon.
Mannie Fresh has always pushed the envelope, mixing layers of hip hop, funk and southern bounce with his sense of humor and warm personality. He continues to work with some of today’s biggest stars, producing bangers with Lil Wayne, 2 Chainz, T-Pain, Yasiin Bey, Big
K.R.I.T. and Young Jeezy – his tables set to establish New Orleans’ unique hip hop sound as one of America’s greatest innovations.

L8 BLOOMER & FRIENDS
2024-10-14 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Cigs Inside
CIGS INSIDE is an experimental hip-hop trio (ieke, Coleman, Sstrawberry) explores the trials and tribulations of extending oneself and the feelings that can come with it. The trio combines electro-pop and hip-hop with breakcore and R&B by blending modern production and analog instrumentation with an affinity for modern rap music and 80’s alternative. Sorting through deep emotions while navigating the intensity of mania, CIGS INSIDE faces the realities of living recklessly and the insecurities of the aftermath on “BlickyBlam”.

Hudson Powder Company
Hudson Powder Company was formed in 2023, when our frontman Cooper Lowry returned home to the Treasure Valley after an extended period of time “roughing it” in Western Montana. Searching for a backing band, Mr. Lowry wisely recruited Alexis Galvan (drums; percussion), Ricky Jones (bass guitar; backing vocals), and Doug Rudeen (guitar). What do we sound like? Well imagine a goth rock band or a post-rock band had …carnal relations…with a country/americana/”red dirt” band, and their offspring somehow managed to create music that was actually ✨good✨. You might not expect this to happen in real life (that would be a reasonable expectation). However, this is the essence of what Hudson Powder Company is. I guess what we’re really trying to do is create a sort of sound that’s somehow uniquely Idahoan or unique to the Inland Northwest. We feel that there isn’t really a genre of music that’s endemic to this area and we’d like to try and change that in some way. Whether we do that or not doesn’t really matter, it’s interesting to try.

wins
wins, an alternative hip-hop/R&B/soul artist based in Boise, Idaho, has been making subtle waves since the reemergence of his solo artist journey fall 2023. wins is looking to inspire anyone that listens with his authentic delivery & real life perspectives through his music. With the release of his recent single “been different”, along with more music on the way monthly, wins is quickly establishing his presence in the music scene as a melodic & relatable high level lyricist.

The Anthems Tour featuring Disciple, Seventh Day Slumber & Magdalene Rose
2024-10-16 19:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
The Anthems Tour featuring Disciple, Seventh Day Slumber & Magdalene Rose
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Wed
October 16
7:00 pm
(Doors: 6:00 pm)
All Ages
Meet & Greet includes:
-Venue entry at 5:30PM
-Early Admission for Q&A
-Acoustic Performance
-A Poster
-A copy of Skeleton Psalms
-Group Picture
-General Admission Ticket
THE ANTHEMS TOUR is heading your way in FALL 2024! Don’t miss your chance to see this high-energy rock show featuring DISCIPLE, SEVENTH DAY SLUMBER & MAGDALENE ROSE.
Disciple has recorded 13 studio albums, earned 16 No. 1 singles, and sold hundreds of thousands of records in their acclaimed career. Their music has been featured on ESPN’s NFL Live, WWE, Fox Sports, and CBS’ CSI: Miami and Criminal Minds commercials. They’ve received multiple Dove Awards nominations & wins, including their 2023 Rock/Contemporary Song of the Year nomination. The band has played thousands of shows worldwide, including a 2023 stint in 40 arenas on WINTER JAM TOUR.
Seventh Day Slumber has cemented itself as a force in the music industry for over two decades. The band was founded by frontman Joseph Rojas after he emerged from a challenging period in his life marked by drug addiction and a failed suicide attempt. The band has taken its powerful message of hope and God’s love on the road, performing over 150 shows yearly, including their most recent run with WINTER JAM TOUR 2024.
Magdalene Rose is a rising star in the Rock/Metal world, and her live performances are not to be missed. She started her career at a young age in a band with her sisters called “The GFM Band” and has always had music in her blood. When her sisters decided to pursue their own paths, she forged ahead to create something new, exciting, and entirely her own to carry on the next chapter of “Beautycore.”
Featuring a special message from Kevin Young of Disciple & Joseph Rojas will give a presentation from HOLT INTERNATIONAL.

TOUCHE AMORE
2024-10-17 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
TOUCHE AMORE
w/ Soul Glo, Portrayal of Guilt, Soft Blue Shimmer
Treefort Music Hall
Thursday, October 17th, 2024
7:00PM
$25 adv / $30 DOS
Touché Amoré has been burrowing through angst, alienation, cancer, and death throughout four adored studio albums. After over a decade of working through darkness, the band’s gorgeously gruff fifth album, Lament, finds the light at the end of the tunnel. Through 11 songs, Touché Amoré looks back at its past and uses hard-won optimism to point its fans toward light, and love.
Lament is their masterstroke. Its longer, structured songs soar with a ferocious but delicate musicality and powerful, gut-wrenching storytelling that smashes previous heights. Yet as much as the band has grown and matured via everything they’ve endured, it’s perhaps equally impressive how they’ve managed to stay true to their core…
Lament is a widescreen view at the constant fragility we face as people, as well as, life-after-jarring-trauma that we all must endure at some time or another.
Ultimately, the message from Lament? Bolm sums it up best: “That time doesn’t heal. That love can nurture. That it’s okay to not be okay.”
Soul Glo At Pickathon 2022
Soul Glo
If you gave Soul Glo a snapshot of what was in store for them in 2020 at the end of their first practice in 2014, you might put the space time continuum in flux. If you were to tell vocalist Pierce Jordan and guitarist Ruben Polo that everything that they had spent their first month as a band joking about, playing shows with artists from punk vets Paint It Black to Kurt Cobain’s favorites Flipper; from Memphis underground legend Tommy Wright III to platinum producer Pi’erre Bourne, were to actually happen, they might ask you if your hands were as fast as your jokes were. Despite the constant barrage of setbacks, from member changes, to financial strife, to run-ins with the law, Soul Glo has both repeatedly defied the kinds of odds that would fold lesser bands, not to mention their own standards for what they believed they could endure. Simultaneously, stopping or slowing down has never exactly been on the table for them, either.
“When we were stranded in Missouri, we started to weigh out the pros and cons of relocating there. We weren’t just about to leave our mans,” Jordan says. “Songs started getting crafted out there that we still have in the chamber.”
That said, their next release, Songs To Yeet At The Sun, serves as a perfect respite from the silence in between LP’s and the current lull in live performances that the band has become known for nationwide. The five song blessing gives a further insight into the frankly deranged production of bassist/producer Gianmarco Guerra, who served as the sole producer and one of three engineers for the record. Songs like “(Quietly) Do The Right Thing” and “29” continue to show Soul Glo’s affinity for speed as a vehicle for their aggression and messages, while songs like “I’m On Probation” and the previously released “Mathed Up” shows the bands love of chaotic-yet-atmospheric noise and the most popular rhythmic vocal styles of today’s current rap on top of the pummelling heaviness of the drums of TJ Stevenson. The band continues to showcase the rhythmic synergy existing between the entirety of the ensemble throughout the record, while the song “2K” features the straightforward rap production that peeked through on crowd-favorite songs “31” and “32” on the bands previous record The Nigga In Me Is Me, and also features a verse with instantly quotable lines from Richmond, VA artist Archangel.
All things considered, in a year where it feels as though quite literally anything could happen at any given moment, a record like the one that Soul Glo shorthandledly refers to as Yeet, one that features a violent and compelling sonic fusion that only they are capable of, is deeply necessary to times in which we currently find ourselves. In times where we are simply trying to survive from one minute to the next, one day to the next, it feels good in its own way, less lonely perhaps, to have music that reflects that uncertainty and fear.
Vocals: Pierce Jordan
Guitars: Ruben Polo
Bass/Vocals/Programming: Gianmarco Guerra
Drums: TJ Stevenson
Pog Promo1 2
Portrayal of Guilt
Portrayal of Guilt eschew predictability. While the Austin, Texan outfit have released material at a rapid clip since their formation only six years ago, it has been near-impossible to predict what each ensuing release might sound like. The only window into what to expect has been those releases’ titles, wallowing in themes of affliction, isolation, and just plain underworld allusion. Naturally, this leads to…Devil Music.
After shifting their sound over several immediate releases (most recent, 2021’s widely acclaimed CHRISTFUCKER), Portrayal of Guilt has transformed from masters of the traditional ‘90s screamo template, to fit a more blackened and sludgy metal intensity.
Citing a wide spectrum of influences, Devil Music, tracked in two different sessions in early 2022, is an experimental approach to writing heavy music. It offers five new original songs on Side A; and then a reimagining of those same five songs on Side B, replacing much of the traditional guitars and bass setup with an orchestral string section, acoustic bass, and brass.
The sludgy, thudding riffs of the album’s opening salvo, “One Last Taste of Heaven,” is transformed on the other side into harrowing violin waxing, while King’s unholy screech remains, nurturing the sound into a sort of chamber metal. It’s a paean to death and decomposition, with the original perhaps a violent aural display of the former and the unnerving rearrangement meant to convey the languid rot of the latter.
It leads into “Untitled,” an absolutely distressing depiction of purgatory with a nonetheless catchy rhythm, which the band manages to transform into a hellish near-waltz of sorts on its alternate version. Beyond that painting of torture, “Burning Hand” provides a brief foray into gory horror. The album’s pounding closer and title track sounds as though a Mephistophilean angel casts a scourge upon the narrator. Musically, “Burning Hand” even showcases some industrial drums, plus a rare spate of clean, semi-gothic singing to close it out. This uncharacteristic vocal detour helps build its counterpart to a demonic climax.
“Where Angels Come to Die” hints at the darkest of circumstances, possibly alluding to addiction and suicidal ideation, and is musically among the album’s most cacophonous; one hears it remodeled on Side B into a methodically paced number with lurching stop-starts on its bridge before a triumphant buildup to finish it.
Devil Music cements Portrayal of Guilt as a band of their own ilk, playing by no one’s rules but their own, which even here they bend to their will. The album sees its digital release April 20 and will be available on physical formats April 21 via Run For Cover. There will also be an accompanying Devil Music short film DVD, sold separately, which includes the short film and additional video content.
Soft Blue Shimmer
Soft Blue Shimmer
Soft Blue Shimmer is an alt-band from SFV, CA.
Charlie + Kenzo + Meredith

Tape B, Effin, Mythm, Eater
2024-10-17 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Tape B, Effin, Mythm, Eater
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Thu October 17 8:00 pm (Doors: 7:00 pm)
All Ages

Equus & Overture
2024-10-18 18:00 | Ford Idaho Center
2024 Equus & Overture
“Horses and All That Jazz”
Date: Friday, October 18, 2024
Doors Open at 6:00PM
Equus & Overture is our chance to showcase the gorgeous facility that we consider the “Gem of Nampa.” This one-of-a-kind event features a gourmet dinner served arena-side as top horse and rider teams from various disciplines perform to live music by the “High Street Band.” Celebrating 22 years, this event promises a special evening, and funds raised enable the Idaho Horse Park Foundation to continue their efforts in the promotion, preservation, and continued support of our Ford Idaho Horse Park and its patrons.

Blackberry Smoke
2024-10-18 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Blackberry Smoke
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Fri
October 18
8:00 pm
(Doors: 7:00 pm)
All Ages
The members of Southern Rock quintet Blackberry Smoke are no strangers to hard work. Playing up to 250 dates each year, the guys are on the road more often than not, and they’ve seen tangible results of their labor. The band has toured with and befriended idols such as The Marshall Tucker Band, ZZ Top (with Billy Gibbons jamming with the band on a Florida stop), Lynyrd Skynyrd and George Jones. The band was even asked to play for Jones on his 80th birthday, not long after the country legend turned in a guest appearance on the band’s sophomore album. They’ve toured Europe thrice over, and had their songs featured in video games (EA Sports’ NASCAR 08) and films (Swing Vote), as well.
Mixing elements of gospel, bluegrass, arena rock, soul and more than a touch of outlaw country, Blackberry Smoke has earned a passionate fanbase that continues to grow as the band itself evolves. The band is as blue collar as the bandanas its members wear.
“Our fanbase is as organic as you can get,” says drummer Brit Turner. “Each fan has been won by live performance or good old word of mouth.”
In a little more than a decade together, Blackberry Smoke has released three full-length albums—including 2012’s The Whippoorwill, the band’s first for country megastar Zac Brown’s Southern Ground label—two EPs and a live DVD, Live at the Georgia Theatre, which serves as the perfect showcase for the band’s raucous, rockin’ good-times-for-all take on rock ’n’ roll. A chunk of the DVD’s concert footage has aired numerous times on Palladia, and the band also shot a DirecTV concert that has aired countless times.
Brit, along with singer and guitarist Charlie Starr, bassist and vocalist Richard Turner, guitarist and vocalist Paul Jackson and keyboardist Brandon Still, have slugged it out on the road for more than a decade, but now regularly sell out headline appearances across the country and overseas. The band’s audience, Brit says, feels like more than fans, which is appropriate given that their families are their biggest supporters. (A word to the wise: hitting on the pretty ladies in the front row might get you decked.)
Though these road dogs rarely have downtime, they recently managed to carve out enough time to record their newest batch of songs for The Whippoorwill, an album that serves as a platform for smart, battle-tested songwriting and for the band’s ability to leave audiences breathless.
Despite the additional resources at its fingertips, the band decided that The Whippoorwill would be largely an in-house affair—its own songs, done its own way. Consequently, the band is more excited for this album’s release than any effort thus far.
“I remember not being able to sleep well at night when we were making this new album,” Charlie recalls. “I was so excited about which songs we were going to cut the next day. After it’s done and we can hold it in our hands and be proud of it we know that there’s another one that will have to be made in the not too distant future, but it feels really good to have this one finished; we’re all really proud of it.”
With Zac Brown and the entire Southern Ground team behind them, Charlie and the boys are experiencing all the benefits of life on a larger label. For an already busy band, business is booming.
“The only time we stop or take any time off is when someone’s wife has a baby,” Charlie adds, chuckling. “So, we’ve had to come up with a fictitious band member whose fictitious wife is having a fictitious baby.”
Yet even though they have a wealth of experience under their belts, with the release of The Whippoorwill, the guys find themselves in uncharted territory.
“We’ve never done an album and actually planned a tour around it,” Charlie confesses. “It’s always been ‘tour constantly and whenever the album is done, it comes out.’ It’s a new thing for us to actually plan this far ahead.”
And while the recording process for The Whippoorwill might have afforded the band a few additional luxuries—“It was strange being able to go into a nice recording studio without having tonot pay ourselves for awhile to get the money to do it,” Brit says—the band still found itself backs against the wall. Fortunately, that’s exactly where Blackberry Smoke seems to thrive.
“For all the planning ahead, we still had to get it done in four-and-a-half days, so it’s not like we had time to stretch out and find the most comfortable chair in the studio,” Charlie says. “In a perfect world, I’d like to take a little bit more time to record, but it’s not possible until they add more hours in the day and more days in the week. We’re used to doing it that way anyway.”
Regardless of whatever pressures the band might have been under while the red light was on in the studio, that stress isn’t evident on any of The Whippoorwill’s 13 tracks. For example, album opener, “Six Ways to Sunday,” is a footstomping tune that mirrors the song’s carefree attitude, and could be mistaken for an old Motown track at times. At the same time, the title track has the effortless blues approach of ’70s-era Pink Floyd, but with more grease. Nothing feels forced.
Indeed, the band’s history together gives them a natural chemistry when writing the songs that could easily find a home with a diverse set of audiences.
Straddling the line between paying homage to one’s heroes and blatant theft is a tricky business, but it’s a divide that the members of Blackberry Smoke traverse with ease. The band invites a few comparisons to the hallowed forefathers of Skynyrd, but don’t expect to hear the same worn out clichés in their songs that every other band with country, pop or rock leanings have already espoused.
“We’re not in the business of writing the same song over and over and over,” Charlie says bluntly.
Speaking of “over and over,” at many points it would have been easy for these blue-collar musicians to get tired of bashing out song after song in distant dives and hang it up, get straight jobs and rock out as weekend warriors—if at all. But despite some lean years, they kept building an audience and keeping up with wives, children and girlfriends from long distances. So what’s kept them so passionate?
As Brit Turner emphasizes, it’s not necessarily dreams of stardom. It’s simply the love of the game. “We love it or we wouldn’t do it.”

Michigander, Cece Coakley
2024-10-18 20:00 | Neurolux, 111 N 11th St, Boise, ID
Michigander, Cece Coakley
Neurolux Lounge
111 North 11th Street – Boise, ID 83702
FriOctober 188:00 pm(Doors: 7:00 pm)
21 and up

The Michigander show scheduled for October 18 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 16th.

Wage War
2024-10-19 08:00 - 17:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714

Twin Pines Music Fest
2024-10-19 12:00 - 23:00 | Lost Grove Brewing, 1026 S La Pointe St, Boise, ID, 83706
Welcome to the Twin Pines Music Fest! Get ready to experience a day filled with incredible music, delicious drinks, and good vibes. Join us on Sat, Oct 19, 2024 at Lost Grove Brewing and Woodland Empire for a day you won’t forget. Our lineup features talented artists from various genres, guaranteeing something for everyone. Don’t miss out on this epic event – mark your calendars and get ready to rock out with us! GET TICKETS

Featuring music from:
David Henry Band
Sunsmith
Cross Country
Dozey Dubs
The Boredom Corporation
Up is the Down is the
Freeman DeJongh
Dumpsterfire
Eric Henderson

MDOU MOCTAR
2024-10-19 19:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
MDOU MOCTAR
w/ Rosali
Treefort Music Hall
Saturday, October 19th, 2024
7:00PM
There is a beauty in listening to music made in the spirit of energetic transformation. When the sounds transform the air and the listener. This record transports the listener into the heart of the music of Mdou Moctar. The blending of intention and motivation creates a burst of sound that embraces and shakes and invites one to dance! It invites one to breathe. It invites one to be in solidarity with the music. It invites one to be in touch with the human condition. What does it mean to be free in these times? Can the world be liberated from the colonial mindstate that has caused such harm and mistrust? Can we mourn our losses yet build anew to form something more astounding, more fantastic? Funeral For Justice says we can.
A sound that carries weight makes an impact. A sound that carries time transcends time. We are not only listening to music but we are living through it. We are living with it. We are living in it. The artist sees history and makes poetry from it for the present. Mdou Moctar’s Funeral For Justice requests your presence. Show up open to the celebration of life, loved as it should be loved. Experience the exaltation and exuberance. The words speak of ascension, awareness, sorrow, apathy, knowing, and growth. The guitars speak of power, energy, jubilation, transcendency, immediacy, and tradition. The drums and percussion mark the pulse of now as well as a timeless dance that involves us all, as it did those that came before us. The wires that carry the message feel alive with fire and purpose, explosive with possibility. This “funeral” is an acknowledgment. This “funeral” is abundant. This “funeral” overflows into the street filled with dance. This “funeral” stretches late into the night, kicking up the dirt, with the hum of a generator, an ever present member of the rhythm section. This “funeral” is a clarion call for reason and a belief that change is possible.
So join Mdou Moctar in this funeral for justice, knowing rebirth is possible. A new justice is possible. With your voice, your heart, your dance, your stomp, a new justice is born. Mdou Moctar welcomes you with joy and open arms. Be here. Feel here and do, alongside this music. Don’t stand alone, join with others and do. Fight for liberation. Stand against oppression, alongside this music and do!
– Damon Locks
Funeral For Justice is the new album by Mdou Moctar. Recorded at the close of two years spent touring the globe following the release of 2019 breakout Afrique Victime, it captures the Nigerien quartet in ferocious form. The music is louder, faster, and more wild. The guitar solos are feedback-scorched and the lyrics are passionately political. Nothing is held back or toned down.
The songs on Funeral For Justice speak unflinchingly to the plight of Niger and of the Tuareg people. “This album is really different for me,” explains Moctar, the band’s singer, namesake, and indisputably iconic guitarist. “Now the problems of terrorist violence are more serious in Africa. When the US and Europe came here, they said they’re going to help us, but what we see is really different. They never help us to find a solution.”
“Mdou Moctar has been a strong anti-colonial band ever since I’ve been a part of it,” says producer and bassist Mikey Coltun, who has been playing with Moctar since 2017. “France came in, fucked up the country, then said ‘you’re free.’ And they’re not.” The song ‘Oh France’ tackles this head on: “France’s actions are frequently veiled in cruelty/We are better off without its turbulent relation/It’s high time we grasp the endless lethal games it plays.”
On the lead single and title track, Moctar addresses African leaders directly, bidding them: “Retake control of your resource rich countries/Build them and quit sleeping”. The song ‘Sousoume Tamacheq’ deals with the plight of the Tuareg people to which the band belong, and who are mainly spread across three countries: Niger, Mali and Algeria.”Oppressed in all three/In addition to lack of unity, ignorance is the third issue.” Another song, ‘Imouhar’, calls on the Tuareg to preserve their Tamasheq language – it’s at risk of dying out, and Mdou is one of the few in his community who knows how to write it. “People here are just using French,” laments Mdou. “They’re starting to forget their own language. We feel like in a hundred years no one will speak good Tamasheq, and that’s so scary for us.”
Mdou Moctar in its current iteration is first and foremost a band. Alongside Moctar, it consists of rhythm guitarist Ahmoudou Madassane, drummer Souleymane Ibrahim, and American bassist and producer Mikey Coltun.
The band got their start performing at traditional weddings. These are high energy events – amps are dialed up to 11 and the whole town is invited to attend. “I grew up in the DC punk scene and this is no different,” explains Coltun. “It’s a DIY punk show: people bring generators, they crank their amps. Things are broken, but they make it work.”
Conveying that energy and feeling of community to a new audience has been an important goal for the band. Their first concerts in the US were sometimes, mistakenly, organized to be tame seated affairs. That’s no longer the case. Over 100s of shows, they’ve proven themselves as one of the world’s most vital rock bands – a group rooted in Tuareg tradition, but undeniably its own singular organism. An Mdou Moctar concert is now recognized to be a place for dancing, if not full-force moshing.
“Ilana was the gateway album, saying that this is a raw rock band. And Afrique Victime was a summation of that vision,” says Coltun, who captured the bulk of the recordings over five days in a mostly unfurnished house in upstate New York. “With Funeral For Justice, I really wanted this to shine with the political message because of everything that’s going on. As the band got tighter and heavier live, it made sense to capture this urgency and this aggression – it wasn’t a forced thing, it was very natural.”
In July 2023 – after Funeral For Justice had been completed – Niger’s democratically elected government was deposed in a military coup. The president was placed under house arrest and the nation plunged into a state of chaos and uncertainty. The French have withdrawn. The area continues to be threatened by terrorism. The band – then on tour in the US – was, for a time, unable to return to their families.
“I don’t support the coup,” explains Mdou, “but I never in my life liked France in my country. I don’t hate France or French people, I don’t hate American people either, but I don’t support their manipulative policies, what they do in Africa. In 2023 we want to be free, we need to smile, you understand?”
Rosali
Rosali
North Carolina-based artist Rosali makes songs that take their time in revealing their full power. What might first appear to be restrained, introspective compositions will stretch slowly outward, snagging your attention with a subtly sideways guitar lead or an exceptionally raw lyric you didn’t catch the first time around. A child of two musicians, Rosali grew up as part of a large family that sang together and taught themselves various instruments, finding the earliest forms of her musical voice harmonizing and making up songs with her sisters. As an adult, Rosali merged this musical upbringing with an active involvement in Philly’s experimental and D.I.Y. community. Her 2016 solo debut Out of Love was released on Siltbreeze, a long-running label that champions abstract noise and challenging listening. While Rosali’s earliest work was far nearer to folk-informed rock than harsh sonics, it held an intensity of its own in its strange angles and unexpected vulnerability. Second album Trouble Anyway expanded on the debut with clearer production and more involved arrangements. A host of friends from Philly’s freak scene contributed to the album, including appearances from ambient harpist/pianist Mary Lattimore, Purling Hiss/Birds of Maya shredder Mike Polizze, glistening lap-steel from Mike Sobel, understated percussion from War On Drugs drummer Charlie Hall, and several others. Trouble Anyway brought Rosali a new level of exposure, with a flood of positive critical press and tours supporting acts like The Weather Station and J Mascis. Along with her solo work, Rosali’s output has materialized as a broad spectrum of disparate collaborations, including the hypnotic garage trio Long Hots, slow-burning psych scrawl in duo Monocot with Cloud Nothings drummer Jayson Gerycz, and Wandering Shade, a three guitar improv act with Headroom’s Kryssi Battalene and Thrill Jockey artist Sarah Louise. Aspects of the more free-floating side of Rosali’s oeuvre inform her songwriting process, with songs often emerging from the ether of lengthy improvisation sessions, new ideas congealing through a boundless exploration of possibilities. Brought to life with help from Omaha’s David Nance Group as the backing band, 2021’s song-centered No Medium was a sharply realized example of Rosali’s distinctive synthesis of metered songwriting and unfettered searching. Around the same time, she offered a completely separate side of her craft with cassette release Chokeweed, a collection of auburn-hued solo guitar improvisations. She followed that in 2023 with the acclaimed improvisational guitar album Variable Happiness released under the moniker Edsel Axle. In whatever form it takes, Rosali’s softly glowing music is malleable and deceptively fluid, able to appear patient and refined or at the edge of unraveling depending on how closely you chose to look. Bite Down, Rosali’s new album made in collaboration with Omaha’s finest David Nance, James Schroeder, and Kevin Donahue, and Destroyer collaborator, Ted Bois is due out March 22, 2024 on Merge Records.

ALLEYCVT's 'FEEL IT - Fall Tour 2024'
2024-10-19 20:00 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
ALLEYCVT’s ‘FEEL IT – Fall Tour 2024’
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Sat
October 19
8:00 pm
(Doors: 7:00 pm)
All Ages

Bowling for Soup, Adam and the Metal Hawks, Makeout
2024-10-20 19:30 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
Bowling for Soup, Adam and the Metal Hawks, Makeout
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Sun
October 20
7:30 pm
(Doors: 12:30 am)
All Ages

The Wonder Years & The Menzingers
2024-10-22 19:30 | Knitting Factory, 416 S 9th St, Boise, Idaho, 83702
The Wonder Years & The Menzingers
Knitting Factory – Boise
416 S. 9th St. – Boise, ID 83702
Tue
October 22
7:30 pm
(Doors: 6:30 pm)
All Ages
The Wonder Years
Taking its name from the TV show The Wonder Years, the Philadelphia punk pop band was formed by guitarists Matt Brasch and Casey Cavaliere, vocalist Dan “Soupy” Campbell, bassist Josh Martin, drummer Mike Kennedy, and keyboardist Mikey Kelly. The sextet got its start in 2005 when previous combo the Premier split up. Regrouping under the new name, the band began playing shows and released two split singles that year (with Bangarang! and Emergency and I). In late 2007, the Wonder Years self-released an album, the emphatically titled Get Stoked on It!, and quickly caught the eye of California label No Sleep, which signed the band. Their first record for the label was the EP Won’t Be Pathetic Forever, which came out in June of 2008. Following a split single with All or Nothing, Kelly left the band. After a year spent recording its second album, the group released The Upsides in January of 2010. The record made a dent in the lower regions of the Billboard charts, and also gained the Wonder Years a deal with the larger indie Hopeless, which reissued the album in September with four bonus tracks. In the time between releases, drummer Kennedy quit the band and was replaced by Nick Steinborn. Kennedy soon returned to the fold and Steinborn bounced over to play keys and guitar. With the lineup solidified, the Wonder Years got to work on their next album with producer Steve Evetts. In 2011, they released their third album, Suburbia I’ve Given You All and Now I’m Nothing, followed by the arrival of a B-sides compilation, Sleeping on Trash, as well as their fourth full-length album, The Greatest Generation, in 2013. The following year, lead singer Campbell released his first album with his solo project Aaron West and the Roaring Twenties, We Don’t Have Each Other, with Campbell adopting the persona of Aaron West in his songs. After Campbell returned from a tour with the Roaring Twenties, he began working on songs for the next Wonder Years project, but suffered a powerful case of writer’s block that triggered a severe bout with depression. Campbell eventually channeled the emotions stirred up by his struggles into the group’s fifth studio album, 2015’s No Closer to Heaven, a concept piece about coming to terms with the death of a loved one.
Social Links
The Menzingers
Social Links
Liquid Mike
Social Links

Life is a Carnival - The Last Waltz Tour ’24
2024-10-22 20:00 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714
Life is a Carnival: The Last Waltz Tour ’24
Oct 22, 2024
Show: 8:00 pm

GWAR
2024-10-23 19:30 | Revolution Concert House, 4983 N Glenwood St, Garden City, Idaho, 83714

DR. FRESCH
2024-10-23 20:00 | Treefort Music Hall, 722 W. Broad Street, Boise, ID, 83702, United States
Duck Club & Rose Entertainment Present
DR. FRESCH
w/ ero808
Treefort Music Hall
Wednesday, October 23rd, 2024
8:00PM
In 2013 after winning Insomniac’s Discovery Project Contest, Tony Fresch launched the Dr. Fresch brand. His debut self-titled EP and innovative hip-hop/rap remixes quickly exploded in the blogosphere. Shortly thereafter, Dr. Fresch was subsequently featured at #9 on Billboard Magazine’s “Next Big Sound” Chart. His music weaves together elements of house, hip-hop/rap, and midtempo to create a unique, forward-thinking sound.
Over the summer of 2015, Dr. Fresch launched his semi-monthly mix series “House Call” which has since garnered tens of millions of plays. Each installment features a 30 minute Dr. Fresch mix followed by a 30 minute guest mix and is featured on Sirius XM on Mondays.
Dr. Fresch’s 2016 collaboration with Baby Eazy-E (Eazy-E’s son) “Gangsta Gangsta” went viral online and climbed the UK Club Charts setting the tone for his future releases. Dr. Fresch has since released records on the likes of OWSLA, Insomniac Records, Atlantic, Ministry of sound.
He continues to play a prominent role on the festival circuit with plays at likes of EDC Las Vegas, Paradiso, Moonrise, Electric Forest, CRSSD, Splash House, Osheaga, Shambhala and more.
In early 2018, Dr. Fresch released his collaboration with Bijou and Denzel Curry entitled “Revelation” on Insomniac Records. He released his sophomore EP in July of 2018. The lead single “Fire” has gone on to be a hit in the festival and club scene while raking up millions of plays online.
Dr. Fresch started off 2019 with the launch of his new record label, which released a debut compilation featuring over ten artists. This was followed up by his G-House collaboration EP with Bijou and an official remix for Rico Nasty.
2020’s big shift has led to a focus on music. At the top of the year Dr. Fresch released a 21 track compilation album, “The Remedy Volume 2,” featuring 23 other prominent house artists. Dr. Fresch quickly followed up with his second EP “It Don’t Stop” with the hip-hop legend, Andre Nickatina.
Ero808
ero808
ero808 (Ero) is a 28 year old rising independent artist, vocalist and producer based everywhere all the time. Over the past millennia, he has developed a unique sound that draws on a variety of influences, from underground electronic & avant-garde experimentalism to postmodernist philosophy & hip-hop. Ero’s music is characterized by its hypnotic rhythms, intricate melodies, ethereal soundscapes. Ero has released a number of singles and EPs over the years, building a loyal following and gaining critical acclaim in the electronic music community. His music has been featured on some of the most popular Spotify editorial playlists like New Music Friday, Hyperpop & Housewerk. Ero teamed up with house producer Aybo in 2022 to release
“HYPNOSIS”, which was met with enthusiastic endorsements, being played on worlds biggest stages. Later, ero808 released “RIGHT OR WRONG” as the “HYPNOSIS” Pitbull remix. With so much new music to come, ero808 is sure to set the world aflame.
