MAYFLOWERS – Night One
with OGI Kidd, Allahdamniit, ELTV, Brodie1 DJ Surreal The MC on the 1s and 1s We come out of winter every year with MAYFLOWERS… and 2025 is no different! Year 5 of this crucial series kicks off on May 8th at Reverb Lounge! presented by Obscure DiamondNice Enough EntHybrid PromotionsSelf-Made The Label and as always, in honor of our friend Desolit and all of the people who never got a chance to realize their creative dreams.
Conan
Conan’s doom is singular. Carved of granite. Yes, of course there’ve been changes since guitarist/vocalist Jon Davis founded the group in 2006, but the intention at the time toward superlative heavy – tonal extremity wrought with impressionist lyrics stripping ideas to the core where sometimes the whole line is just one word; they’ve always called it “Caveman Battle Doom” – remains at the root of everything they’ve done since. And across five studio records in the decade from 2012-2022, Conan have set the standard by which much of “heavy” anything is judged. And in comparison, most is found wanting. But for every time you’ve heard about Conan’s music being like galloping steeds or frost-covered sharp-peaked mountains, etc., imagery of largesse and violence, the truth is Conan are an exercise in frequency. It’s the low resonance that shakes your chest, the depth of the bass – now handled by David Ryley (ex-Fudge Tunnel) – the push of air from Johnny King’s kick drum, or the way the dark-fuzz distortion of Davis’ guitar is offset by shouting vocals cutting through that sometimes punishing onslaught, rarely to offer comfort so much as add viciousness to the crash, plod and pillage. In 2024, Conan sign to Heavy Psych Sounds as a recognized name and one of the foremost acts of their generation, wildly influential in their home country of the UK and well beyond; headliners in practice and theory alike. Their fifth LP, 2022’s ‘Evidence of Immortality,’ brought a dark ambience to coincide with its outright attack. With experiments in darkwave and synth adding breadth to the stated root purpose of aural force, it’s never been harder to guess where the next few years might take their sound, but whatever’s coming, Conan will make it kill. The better part of two decades later, their reliability remains unshakable. Which you want when your band is so heavy that the floor and your ribcage both start to vibrate. __ Canadian mixed-race mixed-gender duo Mares of Thrace deal in a brand of heaviness that draws as much from noise rock and hardcore as it does from the doom metal they’re commonly grouped with. The band came roaring back to life in 2022 after a considerable hiatus; while 2012’s The Pilgrimage (released on Canada’s Sonic UnyonRecords) catapulted them onto the world stage, garnering a premier on Pitchfork and praise in Decibel, Terrorizer, Metal Hammer, and countless other outlets, their currentera is fast eclipsing it. Their relentless schedule in support of 2022’s The Exile saw them tour the USA, Canada, and Europe (including a full tour with UK doom legends Conan,and stints with Bell Witch, Dopethrone, and KEN mode) and headline a showcase at new “North American Roadburn” festival Prepare the Ground.The band’s new incarnation sees vocalist and guitarist Trez (hailed as “absolutelyriveting, an unrivalled monster of a frontperson” by Exclaim! Magazine; a professional illustrator, she also creates the album, merch, and poster art) joined by Casey ondrums,a multi-instrumentalist and audio engineer whose bona fides include being tapped to replace Gene Hoglan in Zimmer’s Hole.2025 looks to be their most ambitious year yet, as they prepare to release their fourth full-length album–The Loss– on illustrious joint Toronto-Reykjavik label ArtoffactRecords (home of Kaelan Mikla and Gggolddd).
Boundaries
Abi Carter
With her unparalleled vocal abilities and virtuosic piano skills, Abi Carter is a standout among the next generation of artists. Abi cut her teeth as a young teen busking on the streets of California’s Coachella Valley, breaking into the public eye in 2024 with her soulful, emotion-dripping performances on American Idol. Earning praise from superstars such as Billie Eilish and Katy Perry, Carter won American Idol in what was rumored to be a landslide vote. She’s since headlined Acrisure Arena, where she played to a packed room of thousands of fans. Also inspired by Billie Eilish as well as artists like Lizzy McAlpine, Phoebe Bridgers, Renee Rapp and Manchester Orchestra, both Abi’s story and her songwriting express a battle between light and dark, having battled a life replete with tumult while never allowing her inner light to dim. Her music can be succinctly defined as a gorgeous blend of powerful, dynamic, dramatic vocals and ethereal, cinematic pop.
ZAO
Creeping Death & Kruelty
Dan Tedesco
Dan Tedesco is an American singer-songwriter, musician, recording artist and producer, originally from the far west suburbs of Chicago. Raised on the classic songwriters of the 60s/70s – The Beatles, Dylan, Neil Young, Springsteen and Tom Petty – Tedesco layers those early pop/folk influences with both his deep background in jazz and the crunch of early 90s grunge. His records are collections of stories set to sonic landscapes representing what he believes to be the crux of his generation – the balance between humanity and technology. Tedesco’s live show, as recently described by a fan, borders on performance art – “He’s one of a kind, truly. I genuinely love his performance. It’s raw. It SO real. It’s a one man show, that parallels that of a UFC match. But it’s him against his guitar. They (him and his guitar) just go so hard at each other. And you can see it. Most apparently on his guitar, but it’s abundant on his face as he sings with it in his clutches, like a snake that’s trying to strangle him. And he doesn’t always win. And he knows it. But he NEVER stops fighting. It really is an original kind of performance that I’ve never seen.” Tedesco has been fortunate to tour nationally, on both festival and club stages, and join artists such as Blues Traveler, David Lindley, Chris Shiflett (Foo Fighters), Chuck Prophet, Alejandro Escovedo, Anders Osborne, Gin Blossoms, Langhorne Slim, Lucero, Old 97’s and Josh Rouse. In 2020, amidst the pandemic, he launched a unique platform, the DTMC, which has challenged the way music is being both released and consumed. Described by MusicInMinnesota as what, “could very well be the new groundwork for how musicians share what they create”, Tedesco’s music channel serves as a mainline to his artistic world. As such, his current album, ‘The Overwhelming”, is being released on the the DTMC one song a month, and you can catch him on tour in support of the new record.
Hayes Carll
VIP PACKAGES CAN BE PURCHASED HERE. VIP PACKAGES ARE AN ADD-ON EXPERIENCE AND DO NOT INCLUDE A TICKET TO THE SHOW. We’re Only Human Hayes Carll isn’t preaching or teaching. He’s not interested in telling the rest of us what to do or think. But he is charting out a personal guide for his life, quieting the noise, and sitting with his real voice – the one that’s candid, consistent, and often inconvenient. We’re Only Human is Carll’s tenth album. Like his best lyrics, it is also an understated masterpiece, an honest snapshot of one man’s confrontation and delight with humanity’s biggest and most intimate questions. Where do we find forgiveness for ourselves and grace for others? How do we hold on to peace of mind and stay present? What can we—and should we––trust? And how can we moor ourselves to, well, ourselves, in the midst of confusing, trying times? We’re Only Human offers audiences the chance to listen to Carll as he listens to himself. “I’ve lived outside of myself for so long,” Carll admits. “Distractions, fear, anxiety, insecurity, and the complexity of being human in this world have so often pulled me away from being present or at peace.” “I feel like there’s been a voice riding shotgun all my life, pushing me to do better, but I’ve struggled to listen to it,” Carll says. “The idea behind this record was to do the personal work I needed to do, then codify those lessons in song to serve as sort of breadcrumbs to get me back on the trail if, and inevitably when, I get lost again.” Carll is more than two decades into a celebrated career. Praise from places such as Pitchfork and the New York Times––the latter of which yoked Carll’s ability to tackle tough issues with wry humor to Bob Dylan––punctuate a resume that includes Americana Music Awards and a Grammy nomination. His songs aren’t safe, but many of Nashville’s stars have recorded them, including Kenny Chesney, Lee Ann Womack, and Brothers Osborne. As a solo recording artist, Carll has long-since established himself as one of Americana’s most-played––and most loved––voices. His warm but crackling vocals, wit, and heart dance through wordplay that’s always clever, and never too precious. Through it all, whenever Carll points a finger, it’s most often at himself. As We’re Only Human collects moments of Carll figuring out how to be with himself, the songs feel forthright, hopeful, and timely. In today’s onslaught of instant gratification, rage-baiting headlines, glorified intolerance, and falling empathy, the record is a startling outlier: an artist’s raw, real-life effort to live well—both with himself and others. Carll embraces private epiphanies, and shares them with the world, allowing them to unfold for all to see and share. In the end, Carll’s latest album is a lovingly and purposefully written collection of reminders. “I hope other people find something in it, too” Carll says. “Through it all, I am trying to stay appreciative, knowing that I did what I set out to do: write something that can help me navigate this journey with a little more grace and peace.”
The English Beat – SOLD OUT
The English Beat is a band with an energetic mix of musical styles and a sound like no other. The band’s unique sound has allowed it to endure for nearly four decades and appeal to fans, young and old, all over the world. When The English Beat (known as The Beat in their native England) rushed on to the music scene in 1979, it was a time of massive social and political unrest and economic and musical upheaval. This set the stage for a period of unbridled musical creativity, and thanks in large part to the Punk movement and it’s DIY approach to making music, artists like The Beat were able to speak out and speak their mind on the news of the day, as in “Stand Down Margaret”, things that mattered to them and the youth culture, as in “Get A Job”, and universal matters of the heart and soul, as in their classic hits “I Confess” and “Save It For Later”. The Beat first came to prominence as founding members of the British Two Tone Ska movement, with their classic first album “Just Can’t Stop It” fitting squarely in that genre. Along with their contemporaries The Specials, The Selecter, and Madness, the band became an overnight sensation and one of the most popular and influential bands of that movement. However, band leader Dave Wakeling never felt constrained by the movement. The band crossed over fluidly between soul, reggae, pop and punk, and from these disparate pieces they created an infectious dance rhythm. The band’s sound continued to evolve over their three studio albums, through the General Public era (a band formed by Dave with The Beat’s toaster, Ranking Roger), and it has continued its evolution with the forthcoming English Beat album “Here We Go Love”, a PledgeMusic crowd-funded album set for a 2016 release, the band’s first new album since 1982’s “Special Beat Service”. Consummate showman that he is, Dave Wakeling continues to keep The Beat alive and strong, touring the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat, General Public, and songs from his new album “Here We Go Love”. You just can’t stop The English Beat!
Samia
Each Samia VIP Experience Includes: • One (1) GA ticket to the show • Early access to venue + merch table • Intimate acoustic set and Q&A with Samia Bovine excision, a mysterious phenomenon involving the bloodless surgical removal of cattle organs, serves as the eerie inspiration for the opening track of Samia’s third album, aptly titled Bloodless. Her voice flows through the evocative lyrics with ease, weaving through the gentle strum of a lone acoustic guitar. The quiet intimacy builds into a storm of sound, culminating in Samia’s layered, ethereal harmonies that pierce with a haunting, macabre refrain: “And drained, drained bloodless.” These emptied cattle evoke a grotesque vessel she unwittingly nurtured in an attempt to embody something both untouchable and on display, overflowing with infinite projections and capable of driving an unrelenting pursuit of the unattainable. Through sharp images—Diet Dr. Pepper and Raymond Carver as parallel pursuits of minimalism, white underwear and leeches, a Degas dancer poised at the bannister—Samia examines a paradoxical existence where merit transforms into a calculated act of extraction (“I felt the pea, can I eat it?”). This is just one strand Samia weaves into the intricate tapestry of Bloodless. Her 2020 debut album, The Baby, marked a confessional coming-of-age —an intimate love letter to those sentiments that are most difficult to articulate. In her 2023 album Honey, Samia deepens this exploration of young adulthood, offering a more introspective take as she searches for clarity. These releases, including her 2021 EP Scout, alongside her magnetic live performances, have earned her widespread critical acclaim, over 150 million streams, and a devoted fan base who sing along passionately to every word at sold-out shows. She’s also won over new audiences opening for artists like Maggie Rogers, Lucy Dacus, and Courtney Barnett. “I’ve spent the past two decades unintentionally conflating an abstract idea of men with my understanding of God,” Samia explains. “The person I became in order to impress this imagined figure is inseparable from who I am today. With this album, I’ve tried to confront that head-on.” Bloodless explores her relationship with a fragmented, symbolic version of Men—a patchwork of expectations and imagined standards she tried to meet, which ultimately shaped her sense of self. “I suffer from decision paralysis,” she admits, “where I’ll mentally play out every possible choice and endure the consequences in my head. God and Men provide some aspect of relief here in that they will make choices for you. The great thing about God and my Figment Man is that I decide what either of them wants me to do. So, in this convoluted way, I still get to do what I want, while offloading the responsibility.” Recorded in North Carolina and Minneapolis, Bloodless is a richly layered album that shifts seamlessly from sparse folk to sweeping indie-pop epics. Across these thirteen songs, Samia grapples with the hollow form she once embodied—a vessel that gained value through its own absence, until playing dead became its own form of life. With Bloodless, she endeavors to disinter the self buried beneath these carefullyconstructed personas, ultimately reaching a place of acceptance for her whole, imperfect being.