El Desmadre Party
“Omaha! We are el desmadre. A rave party by latinos, for latinos. Donde el rave se encuentra con el perreo. We cannot wait to party with you!”
Origami Angel
Feeling Not Found, the third full-length record from Washington, D.C. duo Origami Angel, is the one—the rare, undeniable piece of work that defines a sound, a moment, a subculture, a band’s position in the continuum of music. Vocalist/guitarist Ryland Heagy and drummer Pat Doherty have been building to this record since they started the band in 2016, growing it quickly into one of the most exciting and volcanic bands in the American punk and emo communities. A 14-track epic recorded with producer Will Yip at his Studio 4 Recording, Feeling Not Found revolves around the deeply modern experience teased in the title: an emotional and spiritual 404 error, a sensation of cellular-level malfunction and data corruption, of being lost in an oblivion of digital information, and the desperate struggle to reconnect to how it feels to be human and whole. “I was looking at America as this digital silicon hellscape,” says Heagy. “What came to me was, in this amalgamation, this sea of randomness, I felt not found, you know? It speaks to where we were as a band, and where I was as a person. For about three years until we finished this album, I was in a very, very lost place in my life, and everything felt very random and unstable.” Heagy and Doherty explore and explode that limbo on a record that demonstrates Origami Angel at the top of their class, cementing their status as a boundary-pushing, breakneck, cross-culture and cross-genre phenomenon. The record is choreographed like a roller coaster, driving seamlessly between sunny easycore jams, crushing metalcore riffing, jazzy indie rock, misty emo, electronic, and so much more. It sounds like precisely what it is, the thing that makes Origami Angel so special: Heagy and Doherty’s twin brains poured out into an audio file, refined but unrestrained, unhinged and profound and in dogged pursuit of a creative expression of their lived experiences. Heagy and Doherty have been working on the material that comprises Feeling Not Found for years, through the time periods of both their previous LPs, 2019’s Somewhere City and 2021’s breakout smash Gami Gang. Those releases (and the intense, infamous live shows that supported them) established Origami Angel as a unique force that interspersed elements of ’90s math and emo with early 2000s pop-punk and easycore to grow something new and contemporary, something that felt as breakneck and relentless and teetering-on-the-edge as this era of human history. But the juxtaposition of the band’s rise in notoriety with the pandemic’s sudden requirement of online-only existence for musical performers fucked with Heagy’s head—a duality that runs through the new LP. “Growing up a DIY kid, a punk kid, it was all about the community, and that’s something that I strived to find,” he says. “Then it was like overnight, we had it, then we didn’t, but it’s growing into this thing that I can’t physically interact with. I just triggered my own personal anxieties and my own mental health was really fucked up by that. I was so puzzled by the way that my brain reacted to it.” All the difficult shit that Origami Angel have tried to work through on Feeling Not Found might not be solved or fixed forever, but there’s a mutual understanding that’s been established along the way, one that provides enough of a reason to keep trying. Heagy’s resolve is clear and powerful: “And I may not feel found, but I’m not as lost as I used to be/And it may not be right, but it’s not as wrong as it usually seems/I can be as here and as real as I want if I want and you’ll never take that away/This out of date software’s here to stay.” Feeling Not Found is out September 27 on Counter Intuitive Records.
Swans
Michael Gira founded Swans in 1982. Initially known for their brutal, high-volume onslaughts of sound and the extreme, abject imagery of Gira’s lyrics and his thundering vocals, Swans underwent a series of startling transformations over the next 15 years. After early punishing albums like Filth and Cop, they explored proto-industrial rock with Greed, atmospheric and martial elements on Children of God (1987), acoustic meditations on The Burning World (1989), and grand, melody-dense sonic whirlwinds with White Light from the Mouth of Infinity (1991) and Love of Life (1993), before becoming more dissonant and sharp-edged with The Great Annihilator (1994). Finally, the ultimate statement of that epoch of Swans, Soundtracks for the Blind, combined all of these elements across well over two hours of music. Gira disbanded the group, shifting focus to Angels of Light and his Young God Records label, fostering artists like Devendra Banhart and Akron/Family. In 2010, he revived Swans with My Father Will Guide Me Up a Rope to the Sky to ecstatic critical response followed by The Seer (2012) and To Be Kind (2014), with both earning critical and commercial success, leading to sold-out tours and multiple Billboard chart placements. The Glowing Man (2017) marked the end of that Swans incarnation, with Leaving Meaning (2019) and The Beggar (2023) continuing Gira’s work with an evolving lineup.
The Backseat Lovers
The Backseat Lovers are an indie rock band from Salt Lake City, Utah consisting of Joshua Harmon, Jonas Swanson, KJ Ward, & Juice Welch. Since their formation in 2018, the band has amassed over 800 million combined global streams and sold over 200,000 tickets. Their 2023 World Tour found them playing their largest venues to date across North America, the UK, EU and Australia. The band will be bringing new music to their electric live shows as well as fan favorites off of their sophomore album Waiting to Spill which is the follow-up to the group’s acclaimed 2019 full-length debut, When We Were Friends, featuring the top 20 Alternative hit “Kilby Girl.
The Backseat Lovers
The Backseat Lovers are an indie rock band from Salt Lake City, Utah consisting of Joshua Harmon, Jonas Swanson, KJ Ward, & Juice Welch. Since their formation in 2018, the band has amassed over 800 million combined global streams and sold over 200,000 tickets. Their 2023 World Tour found them playing their largest venues to date across North America, the UK, EU and Australia. The band will be bringing new music to their electric live shows as well as fan favorites off of their sophomore album Waiting to Spill which is the follow-up to the group’s acclaimed 2019 full-length debut, When We Were Friends, featuring the top 20 Alternative hit “Kilby Girl.
St. Paul & The Broken Bones
Founded in Birmingham, Alabama in 2011, St. Paul & the Broken Bones consists of Paul Janeway (vocals), Jesse Phillips (bass), Browan Lollar (guitar), Kevin Leon (drums), Al Gamble (keyboards), Allen Branstetter (trumpet), Chad Fisher (trombone), and Amari Ansari (saxophone). The eight-piece ensemble burst into the world with their 2014 debut Half the City, establishing a sound that quickly became a calling card and landing the band a slew of major festivals including Lollapalooza, Coachella and Glastonbury. Critical praise from The New York Times, Rolling Stone, SPIN and NPRfollowed, leading to shared stages with some of the world’s biggest artists—Elton John and The Rolling Stones among them—and launching an impressive run of headlining tours behind what Esquire touted as a “potent live show that knocks audiences on their ass.” The group has continued to expand their sound with every record, branching out well beyond old-school soul into sleek summertime funk and classic disco on albums like 2018’s Young Sick Camellia. Their forthcoming LP, Angels In Science Fiction, stretches their limbs further afield, building on the shadowy psychedelia and intricate, experimental R&B of 2022’s The Alien Coast.
ANDY GRAMMER – MONSTER TOUR
VIP PACKAGES INCLUDE: One (1) General Admission -or- One (1) Premium Balcony Ticket Meet & Greet and Photo Opportunity with Andy Grammer Access to Intimate Pre-Show Hang with Andy Grammer One (1) Exclusive Merch Gift One (1) Commemorative VIP Laminate, Signed by Andy Grammer Crowd Free Merch Access (where applicable) ABOUT ANDY GRAMMER: You might be surprised Andy Grammer called his new album Monster. He was too. Long known as one of the most optimistic bright lights in the pop singer-songwriter sphere, Grammer found himself fighting demons and finding new corners of himself, places he hadn’t wanted to venture before. “Being happy, anger is my vulnerability,” he says. “I didn’t know how to deal with getting in touch with anger. I just pretended it wasn’t there.” Grammer embarked on a long mental health journey that mirrored an exploratory five-year interim between albums which, of course, happened to coincide with a particularly tumultuous five years for all of us. After everything, Monster, arriving October 4, became a document of someone walking through a fire they never wanted to even look at, and what happens when they emerge on the other side. Grammer wasn’t intending to make an album built around mandolin, but it happened. He wrote one song called “Bigger Man,” the genesis and skeleton key to what became Monster. It was an uncustomary track for him: grappling with anger, but striving to remain bigger than the darker sides of that emotion. Suddenly a new album began pouring out of Grammer. The folk pedigree of the mandolin proved inspiring. “There’s something about Americana and the twang that felt real to me when singing about struggle,” he explains. Grammer struck a careful balance on Monster: He laid it all out there lyrically, but it’s not as if Monster is uncharacteristically heavy in aesthetic. Complex feelings were filtered through rousing instrumentals, reflective ballads and rejuvenating jams alike. Across the album, Grammer takes on a spectrum of human experience — the mandolin rippling alongside him, like old wisdom surfacing to lead him to some kind of answer. Now 40, Grammer’s seen his fair share of real shit, and the songs on Monster capture it all — the ugly and the beautiful sitting alongside one another, each making no sense without its counterpart. From the hurt and confusion of the album’s opening, these songs trace Grammer’s process of re-centering himself with what really matters in life before concluding with “Friends And Family.” Grammer sings of all the wild turns his life has taken, but decides “It all means nothing without friends and family.” It’s a portrait of a man who has wrestled with parts of himself, and found what’s really important.
The Wingtips
Clarence Tilton
The Middle of Mayhem Tour
