Reverb Spring Fling
Black Cat Rodeo
Zashed
Adjust The Sails
Adjust the Sails is an emo band from Atlanta, GA. Fronted by Shane Hurst, Adjust The Sails is known for catchy, acoustic driven songs and heartfelt lyrics exploring death, love, and addiction. FFO: The Front Bottoms, Mom Jeans., and Modern Baseball Sunday Cruise is a Chicago-based indie/alternative rock band built on raw emotion and infectious energy. Fronted by songwriter Zoe Garcia alongside Camden Kiefer (lead guitar), Cassidy McGill (bass), and Nolan Manke (drums), the band has been quietly building something special, earning over 5 million streams since their 2020 debut Am I Pretty? Their 2024 album The Art of Losing My Reflection marked a natural evolution for the band, exploring themes of self-discovery, mental health, and the messy complexities of young adulthood with warmth and vulnerability. In 2025, they followed it up with Eat My Heart — a 5-track EP that centers queer relationships with the same emotional honesty and melodic heart that has always defined their sound. At their core, Sunday Cruise makes music for the moments that are hard to put into words. With a growing catalog and a community of listeners who keep coming back, they’re a band that only gets more interesting with time. Follow along at @sundaycruiseband. FFO: Indigo De Souza, Clarion, and Destroy Boys Bridging the gap between humor and sincerity, HummusVacuum is a tongue-in-cheek EmoPunk outfit based out of Columbus, Ohio. Mixing earnest, anthemic emo/power-pop songs with fast-paced eccentrics, HummusVacuum aims to bridge the gap between poignant punk ferocity and light-hearted sensibility in a way that feels fresh. FFO: Jeff Rosenstock, Origami Angel, and Motion City Soundtrack worlds greatest dad is an emotive indie band from Atlanta, GA. We make music that we like and we hope you like it too. FFO: Tigers Jaw, Microwave, and Pool Kids Proving with every show that pop punk is alive and well is Connecticut band, Cinema Stare. The four piece powerhouse of emo and pop brings a distinct energy to their performances. In 2023, the band released their debut album, “The Things I Don’t Need”, to a heartwarming reception. After multiple US tours, the band is gearing up for a fun 2026 with a new record release, more tours, and even sillier shenanigans. FFO: Daisy Grenade, Like Roses, and Sweet Pill
Dayshift
Violent Femmes
Violent Femmes – Femmeslandia Package Includes: • One Premium Balcony -OR- One General Admission Ticket • Early entry into the venue • Limited edition tour poster; autographed by Violent Femmes • Specially designed Violent Femmes beanie • Violent Femmes cinch bag • Exclusive merchandise item • Commemorative tour laminate and lanyard • Priority merchandise shopping • On-site VF host Violent Femmes formed in 1981 as an acoustic punk band playing on the streets of Milwaukee, Wisconsin. Their main influences at that time were Gene Vincent and the Blue Capsand The Velvet Underground. Their goal was to rock harder than any other acoustic act on the planet. After being rejected for an audition by a local nightclub, the Femmes set up outside a Pretenders gig and began to play. Pretenders’ lead singer Chrissie Hynde asked them to open that night’s show, which gave the young band a publicity boost and caught theattention of Richard Hell, who invited the Femmes to open for him in NYC. A rave review in the New York Times eventually led to a record deal, which in turn spawned worldwide touring. Violent Femmes eponymous debut album became the first and only album in Billboard history to enter the charts with a platinum certification-eight years after its release. Over the ensuing three decades, the Femmes became a mainstay of festivals, clubs, and theaters in more than 20 countries worldwide. MTV’s “Unplugged” show was inspired by the Femmes, although they never actually appeared on it. Their raw sound and honest lyrical perspective has been cited as an influence by artists as diverse as Pink, Keith Urban, The Smiths, The Pixies, John Cusack, Mark Morris, and Wim Wenders. More than 40years into their careers, Violent Femmes continue to attract young audiences on tour, create lasting music, and inspire people of all ages.
Failure
Magnified VIP Includes: -One General Admission Ticket -Early entry and watch soundcheck -Hang with the band -Professional photo and autograph -Laminate and lanyard -Exclusive lapel Pin -Exclusive Location Lost tote bag -10% off on merch, and first access. For a band so closely associated with weight, density, and mass, Failure have spent much of their career writing about what happens when those things fall away. Bodies drift. Memories fragment. Signals distort. Gravity fails. But even after 30 years, the hugely influential trio of Ken Andrews, Greg Edwards, and Kelli Scott are still following the sound wherever it leads, even when it’s uncomfortable, unfamiliar, or disruptive. Location Lost, the band’s seventh album and their fourth since improbably reuniting in 2014 after a 17-year-hiatus, doesn’t arrive as a victory lap or a nostalgia exercise. Instead, it sounds like a band actively negotiating where — and who — they are now. “It’s very different,” Edwards says plainly of the nine-song follow-up to 2021’s Wild Type Droid. “There are sounds and parts that really don’t have any precedence within the Failure world.” That sense of divergence is inseparable from how Location Lost came together. Following Wild Type Droid, Failure completed a long-gestating documentary (Every Time You Lose Your Mind) and concert film (We Are Hallucinations) that chronicled their history, drug-marred breakup, and improbable second life playing for a newfound younger and more diverse audience. Almost immediately after finishing the film, Andrews suffered a serious back injury that required surgery. The operation was technically successful; the recovery was not. “It kind of messed up my brain chemistry somehow,” he says. “It wasn’t just physical recovery.” By late 2024, Failure were finally able to begin recording in earnest. As with Wild Type Droid, Andrews, Edwards, and Scott rented a studio and spent weeks improvising together as a trio, recording hours of unfiltered material without overthinking where it might lead. When Andrews took the sessions back to his L.A. home studio and began shaping them into songs, something unexpected happened. “I had a burst of creativity—especially lyrically. Since we rebooted, Greg’s been the more dominant lyrical force. That completely flipped on this record,” but not before Edwards suggested the song “Location Lost” also serve as the album’s title. “It resonated with me immediately, because at the beginning of making the record, I was lost,” Andrews says. “I lost my tether of love for the band. By the time we finished it, I felt totally reconnected.” Throughout, Location Lost delivers dose after dose of Andrews, Edwards and Scott’s utterly unique creative and instrumental interplay, from the warning bell-like guitar chimes on propulsive opener “Crash Test Delayed,” to the elastic, bass-driven groove of “Halo and Grain” and the grinding, methodical wall of sound on “Solid State,” which wouldn’t have sounded out of place on 1996’s all-time-classic Fantastic Planet. Three decades after Fantastic Planet, Failure is not attempting to relive the past. They’re still improvising, still arguing, still trusting one another enough to risk uncertainty. And while Location Lost doesn’t pretend to offer easy answers, it documents a band in motion, untethered and searching — and, against all odds, still very much alive.
Brokencyde
Emarosa
Tim Kasher
Hey, you. Sponges of Experience was written over the 4-day weekend of Memorial Day, 2025. It was a challenge to myself: when I was a wee teenager, I heard Elvis Costello mention on some talk show (I’ve long forgotten which) that he could write an album over a weekend. It was an offhand remark, a throwaway line as he was promoting something or other. As I had already become a prolific writer myself, I was curious if I could pull off something of the sort.Fast forward to 35-odd years later, I decided to give it a shot. I offered myself FOUR days rather than just the two, and perhaps that’s a cheat, but since it was Memorial Day weekend I decided to allow it. As it turned out, I absolutely needed those extra two days.The other rules were simple: I just needed to write a complete composition and completed lyrics for enough songs to fill an album. At least… eight songs, though I would’ve been disappointed with just eight. I kept pushing myself to write as much as possible, as I wanted to have enough songs to be able to weed out one or two of the crappier contributions. All of the additional arrangements you hear were written and recorded after the fact, casually over the remaining year, no rush nor rules on those parameters.I have a nice little community online, a Patreon group called, “Tim Kasher’s home phone”, that I shared the weekend challenge with. They were incredibly supportive, helping keep me to task as I didn’t want to let them (nor I) down. As soon as I finished a song I went live online to perform it. ‘Receipts’, you might say.I started strong: four songs the first day and four songs the second day. Excellent, after two days I had already hit that minimum quota of eight songs! But as mentioned, I wanted more; more songs to be able to pick and choose from.The third day was rough. Unsurprisingly, I hit a wall and had to take the bulk of the day off as I simply could not muster any inspiration. I managed to eke out one more song that day. But the fourth and final day bore more fruit, including The Collapse and Don’t Hang Up, a couple of favorites. What a ride.Spurred on by many of the kind folk in the Patreon group, I decided not to cut any songs from the album and let it be released as a complete artifact of the weekend. I can’t claim to love all these songs, but I do love some of them, and certainly, all of them are endearing to me.This funny little trifle of a weekend project wound up meaning a lot to me. I love music and songwriting in a way I don’t think I’ll ever quite be able to explain, though I’m sure I’ll continue to try, and will continue to express this adoration for the rest of my days. I feel so incredibly thankful for being a songwriter, and I encourage all of you to become songwriters as well. They don’t gotta be good songs, it’s enough that they’re simply yours. With sincerity, Tim.