Silverada
Mike Harmeier was still in his early 20s when he formed the band now known as Silverada. From the start, they were the definition of a workingman’s country band, cutting their teeth with five-hour sets on Austin’s dancehall circuit before spreading their music to the rest of America. By the early 2020s, they’d become global ambassadors of homegrown Texas music, flying their flag everywhere from Abbey Road Studios (where they recorded 2019’s Cheap Silver & Solid Country Gold with help from the London Symphony Orchestra) to the Grand Ole Opry. The band’s newest self-titled album, ‘Silverada’, marks a new chapter in the band’s history. It’s not just the title of the boldest release of the group’s critically-acclaimed career; it’s also the name of the reinvigorated band itself. “Back in the day, all we wanted to do was play the Broken Spoke,” says Harmeier, nodding to the hometown honky-tonk in Austin, TX, where Silverada began sowing the seeds for a sound that mixed timeless twang with modern-day dynamics. “We had different aspirations back then. We were still figuring out what kind of band we were gonna be, and that took a lot of time and a lot of records.” A lot of records, indeed. Silverada marks the group’s ninth release, and it balances the strengths they’ve accumulated along the way – sharp, detailed songwriting that bounces between autobiographical sketches and character studies; gorgeous swells of pedal steel that drift through the songs like weather; a rhythm section capable of country shuffles, hard-charging rock & roll tempos, and everything in between – with a willingness to break old rules and open new doors. “Radio Wave” is a roots-rock anthem for the highway and the heartland, peppered with Springsteen-worthy hooks and War On Drugs-inspired atmospherics. Harmeier wrote the bulk of Silverada in his backyard studio, surrounded by dozens of books he’d picked up at a local Goodwill. “We’d been on tour for so long, playing the same set for almost two years, and I wanted to write something that was a departure,” he remembers. There’s a smart sense of history here – a celebration not only of where the band is headed, where they’ve been, too. Even so, Silverada doesn’t spend much time looking in the rearview mirror. Instead, it keeps its gaze focused on the road ahead. This is a snapshot of a band in motion, chasing down the next horizon, writing the soundtrack to some new discovery. It’s the sound of alchemy, of some new metal being forged. And like silver itself, Silverada shines brightly. “We spent the first part of our career figuring out who we are and what we’re good at,” says Harmeier. “Now we want to evolve not only the sound of the band, but the dynamic of the live show, too. Silverada is us setting the stage for the next leg of the journey.”
Orialus
Orialus is a progressive metalcore band based in the United States, driven by a relentless pursuit to redefine the boundaries of metal. Fusing elements of jazz, and other genres that they can get their hands on, Orialus crafts a distinct sound that takes listeners on a captivating musical journey. With each track, they blend technical precision, atmospheric layers, and dynamic shifts, creating an immersive experience that challenges traditional genre constraints. Formed by a group of passionate musicians, Orialus has embraced a bold vision of experimentation, blending the heavy with the melodic, the chaotic with the ethereal. Their music not only pushes sonic limits but also tells stories through intricate compositions and raw, emotional performances. Whether in the studio or on stage, Orialus is committed to taking audiences into uncharted territory, offering a fresh and unforgettable perspective on modern metalcore. NRWHL is a Christian post-hardcore band from Prescott, Arizona, blending hardcore aggression with post-core intensity and noise-driven energy. Born from the ashes of the local hardcore scene, NRWHL exists to create music that is loud, physical, and rooted in real belief, struggle, and honest expression. The band is deeply committed to pouring everything into their art. From screaming guitars and heavy-hitting drums and bass to raw, unfiltered vocals, NRWHL brings full intensity whether they’re on stage, in the studio, or in practice. Their live shows are built around movement, connection, and shared energy with the people in the room. At the core of NRWHL is faith. Every member believes in God and views the band as a reflection of that belief. Their music is a form of expression, testimony, and praise through hardship. Christian post-core Arizona high kickers bringing faith, energy, and authenticity with no holding back.
Smile Empty Soul
SMILE EMPTY SOUL is a hard rock band that originated in Los Angeles, CA in the late 1990’s and has stayed true to their brand of “no bullshit”, “real as it gets” hard rock to this day. The band signed a major label record deal in 2003 to release their self-titled debut album in May of that year. They realized huge success at alternative radio, rock radio, and the music video channels that have since fallen by the wayside or turned into reality show networks. After 3 very successful singles/videos, and a gold record from the debut release, the band ran into trouble with their record company (which was in the midst of turmoil at the top levels) and found themselves working extra hard in the trenches, and signed to indie labels from then on. This would become SMILE EMPTY SOUL’ s destiny, as they have gone on to release many more albums on various labels, with their new single “dead inside” coming in Oct of 2025. The band has become known for its constant touring and never wavering honest sound/lyrics. They’ve never changed for anybody, and turned down many opportunities to “sell out” because it’s not who they are. Now, with the debut release being over 22 years ago, and the band still going just as strong as ever, SMILE EMPTY SOUL seems to have established itself as one of the defining underground rock bands of its generation.
Hovvdy
Hovvdy’s Will Taylor and Charlie Martin have occupied a distinct corner of the modern-day indie landscape for more than a decade. Having evolved from their understated slowcore beginnings in Austin, Texas, they’re now seasoned veterans of the scene. Across their first five studio albums, the duo established their trademark sound of twangy indie rock, 2000s-inspired pop-country, and emotional acoustic ballads with strong pop sensibilities. Their last two records saw them processing life’s most intense emotions more openly than ever before, from declarations of love in its many forms on 2021’s True Love, to grappling with loss and personal change on their latest self-titled album, Hovvdy. But the songs of Big World have them trading in overt emotional directness for subject matter that leans enigmatic, contemplating their place in the world through a mosaic of songs that sees the band at their most secure and self-aware.
Trixie Phillips’ Food & Drink Burlesque Bash
VIP tickets are the best seats in the house with a guaranteed table and seat; this tier also includes raffle tickets. GA is in the back of the house with limited available seating; seating is first come, first served. Join Trixie Phillips’ for her celebration of all things food and drinks related at Trixie Phillips’ Food & Drink Burlesque Bash! This evening will be featuring an array of burlesque artists showcasing their favorite food and drink acts! Join us for a night full of fun and debauchery all themed around the nectars of life. Want to join in on the fun? Come dressed as your favorite food or drink!
NOFX (performed by the Shidiots)
A special night of punk music!! The Shidiots will perform a full set of NOFX tunes while Psycho 78 does their best Misfits impersonation!! Also, the Sweaty Bettys make their punk rock debut!! The Shidiots:https://www.instagram.com/theshidiots/ Psycho 78:https://www.instagram.com/psycho78_sfsd/ The Sweaty Bettys:https://www.instagram.com/thesweatybettys402
COHEED AND CAMBRIA
MAGE VIP INCLUDES: o Meet and greet with full band o Pro Photo with full band o Early Entry – 1 hour before doors o 1 song performance from Coheed members o Exclusive Cassette Copy of Entities EP Demos o MAGES VIP Laminate and Lanyard o Exclusive Lapel collector Pin o Early access to artist merchandise PRISE VIP INCLUDES: o Early Entry – 30 mins before doors o PRISE VIP laminate and lanyard o 1 song exclusive performance from Coheed members o Early access to artist merchandise Ten albums in, something changed for Coheed and Cambria. As singer, guitarist, and master storyteller Claudio Sanchez began plotting out the sci-fi-inspired New York prog legends’ latest, The Father of Make Believe, he found himself writing more directly about his life and, especially, his career. Amid the wailing guitars, cracking drums, and Sanchez’ powerful voice — centering listeners throughout moments placid and pinwheeling — Coheed devotees will still find plenty of character work and references to the lore. But if you’re new here, there’s no homework required to feel our host’s hopes, fears, battles, and triumphs. Of course, you may get drawn in anyway. Coheed — which includes Travis Stever (lead guitar), Josh Eppard (drums), and Zach Cooper (bass) — emerged in the early 2000s wedged between an emo renaissance and a metal revival. While their peers broke hearts and banged heads, they crafted Game of Thrones-level fantasies around their Amory Wars storyline, which unfurls across 78 planets known as Heaven’s Fence. Eight of the band’s albums thus far (plus a small galaxy of comics and novels) live in this space and so does The Father of Make Believe. It’s just that the sky is cracking, revealing the hand behind the scene. In the past, says Sanchez, “I’ve kept the struggles of my life private. When I can’t express myself in words, I express in worlds.” And yet, as he assumes the role of main character, Coheed are yet again finding new ways to bring us into their universe.
Squirrel Flower
Fly off the handle bohemiennes~ the Squirrel Flower Express is coming your way. Ella Williams returns for her first full band headlining tour in 2 years!!
Pokey LaFarge
For two decades, Pokey LaFarge has walked his own effortlessly cool road as an exceptionally iconoclastic troubadour – forthright, genuine, and markedly keen to put it all out there. Rent Money now sees him pushing forward yet again in what can be safely declared his finest collection to date, both as an heartfelt expression of personal experience and as no-nonsense social commentary. With its twanging guitars, plucky rhythms, and undeniably captivating melodies, the album soars and swings, its joyous refrains belying the inescapable undercurrent of constant worry and angst that permeates these troubled times. As always, the Illinois native deftly traverses the genre boundaries, seamlessly integrating the myriad strains of 20th-century American music with a freewheeling command of earnest songcraft, inspired performance, and subversive creativity. Rent Money stands tall as an indisputable high-water mark for Pokey LaFarge – a defining collection from a one-of-a-kind artist of rare ingenuity and uncommon candor, now as ever, determinedly crafting a sure-footed brand of deeply human music all his own. “People are always going to tell you what they think you should play,” says Pokey LaFarge, “what you should sing about, how you should sound, how you should look, how you should act. And I’ve always just been like, nah. Nope. I’ve just completely gone my own way, and hopefully I’ve been honest and authentic in the process. “I’m just trying to make music that AI can’t replicate. Things are so homogenized right now. That’s what I’m really, really, really resistant to, especially when it comes to music. I’m not going to do it. I’m not going to conform.”
Indigenous
Born and raised on the Yankton Sioux Reservation in South Dakota, Indigenous front man Mato Nanji (Ma-TOE NON-gee) dedicates his latest release Time Is Coming (on Blues Bureau International) to the indigenous youth and all young people on the indigenous reservations. Mato Nanji’s father, the late Greg Zephier, Sr., was a well-known and highly respected spiritual advisor and spokesperson for the International Indian Treaty Council. In addition to this leadership role, he was an accomplished musician and a member of the musical group, The Vanishing Americans. Formed by Greg and his brothers in the ‘60’s, The Vanishing Americans toured nationally and shared bills with such legends as Bonnie Raitt. Besides being heavily influenced by the music his father and uncles were making, Mato was exposed to Greg’s vast collection of blues records by legendary artists such as Jimi Hendrix, Stevie Ray Vaughan and B.B. King. Consequently, Mato embraced and began utilizing his own musical talent at a young age. With the experience, love and wisdom of their father to guide them, Mato, his brother, sister and cousin formed the band Indigenous while in their late teens. After much time invested in practicing and building a following, they began touring extensively across the country. In 1998, they released their award winning debut album Things We Do. The title track’s video, directed by Chris Eyre (Smoke Signals), won the American Indian Film Festival Award and was shown at the prestigious Sundance Film Festival. Indigenous’ music caught the attention of blues icon B.B. King and the young band was invited to play on his annual B.B. King’s Blues Tour in 1999. Sadly, Mr. Zephier would pass away before seeing his children receive this great honor. With momentum gaining, Indigenous’ 2000 sophomore release, Circle, was produced and arranged by Stevie Ray Vaughan’s longtime friend and collaborator, the late Doyle Bramhall, Sr. Three more cds; Fistful of Dirt (2002), Indigenous(2003) and Long Way Home (2005) would follow before the 2006 decision by the siblings to ‘disband’ and pursue their own musical paths but Mato carried on with the Indigenous band name. “Playing with my family for 10 years was a lot of fun, but it was time to grow and keep moving forward.” Ultimately, Mato dedicates Time Is Coming, to the Indigenous youth and all young people on the Indigenous reservations. Of the song says Nanji; “still to this day, the struggle continues to just live in peace. Growing up here on the reservation I’ve seen a lot of broken families…broken homes. I feel our families’ “Tiospaye” are the core of what makes us who we are. Now family and its meaning is not as strong as it used to be for our people…almost non-existent. So I send my heart and soul out to the indigenous children having a tough time in their lives and in their homes. This record is inspired by them and made in their honor. I hope for the best for all. Tomorrow is another day.” Touring in support of Time Is Coming in the summer of 2014, Mato Nanji would once again call on Levi, Douglas and Bronson to hit the road with him. This time, though, would be different. They would be onstage as Indigenous’ rhythm section; Mato and Levi trading leads and solos while Bronson and Douglas provided the strong, stable rhythmic foundation that allowed the two guitarists to ‘tear it up’. As the band made its way across the east coast, the after show buzz was audible. The incendiary chemistry of Mato Nanji, Levi Platero, Bronson Begay and Douglas Platero innate. They are Indigenous.