Genre: Rock

Baile Tumbado

LA PRESIÓN PRESENTA: BAILE TUMBADO 🇲🇽 🥃 🔥 Corridos pa’ pistear 🍻, banda pa’ bailar 💃 Bienvenidos a Baile Tumbado, una noche pa’ las morras, los tumbados y toda la plebada 🤠 Cáiganle con su crew pa’ un pari lleno de corridos tumbados, regional mexicano 🇲🇽, reggaetón mexa 🔥 y puro pinche rolón toda la noche. Ponte tumbado 😎 y ponte bellaka 😈 porque estamos afuera toda la noche 🥃 I   NFORMACIÓN: 📍REVERB LOUNGE 📅 FRIDAY 9.18.26 🎟 $10 PRESALE / $15 DOS 🕘 9PM–1AM 🔞 21+

Bright Eyes

Bright Eyes has partnered with PLUS1 so that $1 per ticket goes to supporting the Poison Oak Project, and their work advancing equity for LGBTQ+ people, with a particular focus on supporting the trans community. Bright Eyes began in 1995 in an Omaha basement as a recording moniker for a then 15-year old Conor Oberst’s work with producer/multi-instrumentalist Mike Mogis. Mogis and composer/arranger/multi-instrumentalist Nate Walcott became fully fledged members in 2006.  Over the last two-plus decades, as Bright Eyes has released one after another time capsule LP’s – urgent dispatches from transcendent, fleeting eras of our collective lives – they’ve also simultaneously been assembling a robust, mature, narratively cohesive discography.  Bright Eyes’ impact and influence has been significant throughout pop-culture, appearing in countless films and television shows, their songs covered by dozens of artists including Lorde, The Killers, Mac Miller, Phoebe Bridgers, Jason Mraz and beabadoobee, and sampled by rappers like Young Thug and Lil Peep.  ​For a band that’s often been perceived as an outlier, the depth, breadth, and impact of the Bright Eyes canon is remarkable. 

LUCY (Cooper B. Handy)

Born in Cape Cod, Cooper B. Handy started releasing music as LUCY in 2009. In the years since, the Western Massachusetts based singer/producer has made a career of self-releasing music and videos, unpolished & posted in near real time. LUCY’s captivating live performance has earned him a cult following on the DIY circuit, playing shows in basements and warehouses across the country. His music is experimental and raw – at times even abrasive. His GarageBand-based production has never swayed far from the sample packs and synth sounds he started writing music with 14 years ago. Aggressively prolific, Handy has amassed an extensive catalogue that is both eccentric and earnest. His music channels a sense of creative exploration, and his lyrics pack real wisdom into unassuming one-liners.

Graham Hunt & Prize Horse

Graham Hunt can’t stop making records. Since 2019, the Madison, WI-based songwriter has been amassing a dense catalog of singular music at a pace rivaled only by the quality of the output itself. Now already on his sixth album, American Pyramid, Hunt pushed himself out of his comfort zones, eschewing the homespun, computer-oriented explorations of his previous work and instead entering Minnesota’s legendary Pachyderm Studio with an eight-piece band to try and capture a different side of his boundless creativity. The result is an album that stretches out musically and lyrically, with Hunt using his surrealist spin to dissect both the traditions of American indie rock as well as the unnerving detachment of the American experience itself. American Pyramid arrives barely a year after Hunt’s 2025 album, Timeless World Forever, the final release in a trilogy of records and a capstone on a significant part of his life. “I knew I was going to be moving from this house where the home studio is, so I gave myself the limitation of making those three albums that specific way, and then I knew I’d do something different,” he explains. “Part of me felt like I could live in that house and make an infinite amount of records there with the same process forever, but for a long time I’d also had this vision for tracking an album live with a band in a studio–I knew that’s how I wanted to make the next record even before I wrote any songs for it.” Hunt’s innate creative restlessness has always served him well but it wasn’t enough to simply record the songs with a group rather than alone: he even self-imposed limitations on the writing process itself, choosing to avoid demoing on the computer or even fleshing out the songs beyond simple iphone voice memos. “I wanted to keep it to just chords and melody and then figure out the rest with a group of people in a live room studio setting, I just hadn’t done it like that in a very long time.”  And this would be no ordinary live band, instead a group of eight fellow multi-instrumentalists, each an impressive creative in their own right, all assembled to help Hunt see his vision through. “I was thinking about all the people who have played in my band in all its different iterations over the years, and I just wanted to try and get as many of them involved as possible,” he explains. “We only did two rehearsals before we went into the studio and everyone ended up swapping instruments and changing roles throughout recording. That sort of helped to recreate some of the feeling of what I do when I’m making music with the computer, but executed with a full band.”  — Minneapolis’ Prize Horse make “a fuzzy, dreamy form of alt-rock that manages to be heavy and spaced-out at the same time” (Stereogum). The trio’s debut album, Under Sound, embarks their musical evolution which takes flight with ethereal, fuzz-laden tones departing from the grittier layers of their previous 2021 Welder EP.

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