The Urge
The Urge is an alternative rock band based in St. Louis, Missouri. Their music combines several genres, including hardcore punk, heavy metal, ska, reggae, funk, rock, and rhythm and blues. Consistent touring throughout the 1990s earned the band a reputation for high-energy live performances. Early career (1987–1994) The Urge was originally formed in 1987 by Webster Groves High School classmates Jeff Herschel (drums) and Karl Grable (bass), and Pat Malecek (guitar) of Saint Louis University High School. The band went through two singers before recruiting Steve Ewing for vocal duties in late 1987. Their first album was released on August 12, 1989, the cassette-only Bust Me Dat Forty, followed a year later by the LP Puttin’ the Backbone Back on August 9, which featured the addition of saxophonist Jordan Chalden who joined the band at the end of 1989. After Herschel left the band in May 1994 and Malecek left a few months later to pursue other career paths, guitarist Jerry Jost and drummer John Pessoni, both from Christian Brothers College High School, who had previously played together in other bands including Life Without Wayne and The Stand, joined the lineup. Frequent touring with 311 increased the band’s fan base. Success and first breakup (1995–2002) In 1995, the band independently released Receiving The Gift of Flavor. Regional radio play of songs “Brainless”, “All Washed Up”, and “Violent Opposition”, as well as successful album sales, brought the band to the attention of Epic’s Immortal imprint, which reissued the LP in 1996. After constant touring with the likes of labelmates Korn and Incubus, Master of Styles was released in 1998, containing the hit “Jump Right In” (featuring singer Nick Hexum of 311), as well as the singles “Closer” and “Straight to Hell”. “Jump Right In” can be heard in an episode of MTV’s Daria and MTV’s The Real World. Following the release of Too Much Stereo in mid-2000, and contributing their song “It’s My Turn to Fly” to the 2000 animated film Titan A.E., the band toured for nearly a year before calling it quits. In late December 2001, the band went their separate ways due to musical differences. Present On October 21, 2003, the band announced their reunion with their shows at The Pageant on December 23 and 25. The Urge later on played several reunion shows before they disbanded again in 2005. On July 15, 2011, The Urge confirmed that they would be reforming to write new music. Their new single “Say Yeah” debuted immediately following the announcement at Pop’s live on the radio. Their first show back together was Pointfest 29. During the live radio interview, the band discussed with Donny Fandango that the new music will be entirely new material, and will not be the abandoned album “Escape From Boys Town” from 2001 (which they currently have no plans of resurrecting). The band released their seventh studio album, Galvanized on November 22, 2013. On October 1, 2018, Chris Pinkert reported that the St. Louis Blues had partnered with The Urge to create a new goal song for the team. The song, eventually titled “The Blues Have the Urge”, was implemented for the start of the 2018–19 NHL season and was played following each Blues goal at home, immediately after organist Jeremy Boyer played the traditional organ rendition of “When The Blues Go Marching In”. For home wins, the song is also played immediately following the final horn (replacing Blur’s “Song 2”), followed by an instrumental version as the NHL Three Stars are announced.
REVOCATION
Revocation creates extreme music for extreme times. On New Gods, New Masters, their fifth record for Metal Blade, the quartet–spearheaded by founder/vocalist/guitarist Dave Davidson–delivers nine potent and portentous songs of brutal lyrical and musical significance. Produced by Davidson mixed and mastered by Jens Bogren (The Haunted, Spiritbox), tracks including “Cronenberged” (feat. Jonny Davy of Job for a Cowboy), “Sarcophagi of the Soul,” “Confines of Infinity” (feat. Travis Ryan of Cattle Decapitation) and “Dystopian Vermin” thematically explore AI and its impact on humanity. “I’ve been very fascinated with the development of Artificial Intelligence, and I’m deeply concerned where this could lead humanity,” says Davidson, “whether it’s the slow march towards a technological dystopia or the all-out annihilation of our species.” New Gods, New Masters marks the band’s 20th anniversary. Revocation debuted with 2008’s Empire of the Obscene and subsequently released seven critically acclaimed albums and toured over 25 countries, bringing their technically charged, high-energy extreme metal to North America, Europe, and Asia-Pacific. New Gods follows up 2022’s Netherheaven, where Davidson’s lyrics took hard looks at Catholicism, hypocrisy, politics, the occult and demonic symbolism. Critics raved about Netherheaven, calling it “Revocation’s best record in a decade” and praising the “darkest, heaviest songs of their career.” That album set a high bar, but an even sharper musical and lyrical focus was achieved on New Gods, New Masters, which is deftly captured in the album artwork by Paolo Girardi. “He did an incredible job of bringing the lyrical themes of a bleak techno-nightmare to life,” Davidson says. “The ‘New God’ being birthed from the abyss of teeth and wires was even better than what I envisioned. I absolutely love the color palette he used. He even included some easter eggs from our first demo and first full-length album cover, which adds even more depth and meaning to the artwork for me.” Titling the album New Gods, New Masters reflects his belief about humans’ need to worship various gods. “It seems as if that desire is encoded in our DNA. As science and our understanding of nature and the universe as a whole, increases, the religions of the old gods start to become obsolete,” believes Davidson. “However, I believe we’ve replaced our old gods with new ones, worshipping technology and creating a cult-like idolatry of innovators.” Revocation, unafraid to upend musical and lyrical tropes with forward-thinking and sounding approach, with songs that excoriate society’s addiction to phones (‘Sarcophagi of the Soul”) and animal experiments that illuminate/replicate societal issues (“Dystopian Vermin”), Davidson’s science-backed observations all the more terrifying for their reality. If technological advances create worse problems alongside “solutions,” Revocation forge ahead, four guys plugged in, fighting existential threats with metal, “waiting to see what the next trial of the human experiment brings.” Music grounds and uplifts the band members-and fans. “I’m proud that I’ve been able to evolve as a musician and songwriter with every release. I never want to stagnate, and I think we’ve achieved real growth with every album,” says Davidson. “I’m also extremely proud that I’ve been able to keep this band going after all these years; it’s crazy to think of how far we’ve since the beginning.”
Primal Descent
THIS PERFORMANCE IS AGES 21+
Beast Eagle
The Barbarians of California
The Toxhards
A cult band in the making, The Toxhards bring a chaotic shot of adrenaline with their rousing live performances and genre-bending songs. With 8-foot-tall pig suits, t-shirt tosses, AirDropping unreleased demos from the stage, constant instrument swapping, and free coffee, The Toxhards have built a rapidly growing and devoted fanbase – many of whom attend shows cosplaying as characters from the band’s eclectic catalog such as “Ængus, The Prize-Winning Hog,” “Satan’s Little Hell Song,” “Beatrice,” “Doombop!” and “Get Creative! Or Get Radicalized!” No two Toxhards shows are ever the same. The Get Destructive Tour promises to be the band’s most ambitious and interactive run yet, featuring a completely different setlist every night, brand-new visuals, and new songs the audience will vote on during the show (the band needs that sweet, sweet market research!) plus all the Toxhard classics fans love to experience live. The Toxhards’ music has racked up tens of millions of streams and views online, with millions more for their comedic bits and skits. Their debut LP Your Neighborhood was released in spring 2025 via Hopeless Records to critical acclaim, and was followed by extensive touring across North America. The Get Destructive Tour marks a new era for The Toxhards, and promises to outdo everything before it.
Bennie and the Gents
Join us for our tenth annual tribute to our Space Boy, David Bowie! A night full of Bowie classics in costume, makeup, and 70s splendor. Bennie and The Gents will salute the Glam Icon with songs such as Ziggy Stardust, Under Pressure, Heroes, Changes and many more. Bennie and the Gents is an Omaha […]
Virtua dx
Emerging from the East Coast US city of Baltimore, Maryland, Virtua dx (@virtuadx) have already carved out something of a cult following after the release of their colourful, dance-influenced shoegaze album Guitarpop Forever in mid-2025. With a DIY production style and engrossing mixes of nostalgic samples alongside raw guitars, there’s a charm to the band’s music that few in the US shoegaze underground can replicate. (Josh Holmes, The Mic)
In Her Own Words x Every Avenue
For the last decade, In Her Own Words have quietly become one of the most beloved and consistent voices in modern pop punk, building a dedicated fanbase through brutally honest songwriting, massive singalong choruses, and the kind of emotional connection that only comes from lived experience. In 2026, the band celebrates the 10 year anniversary of their breakthrough album Unfamiliar, the record that helped define a generation of emotionally charged pop-punk and introduced fans to songs that still hit just as hard today. From bedroom speakers to packed clubs around the world, Unfamiliar became more than just an album. It became a soundtrack for growing up, falling apart, and figuring yourself out along the way. To celebrate the milestone, the band will be performing Unfamiliar in full on a special anniversary co-headline tour alongside longtime scene favorites Every Avenue. Bringing together two bands whose songs helped shape the soundtrack of the late 2000s and 2010s emo and pop punk scene, the tour is designed as both a nostalgic celebration and a reminder of why these songs continue to resonate with fans years later. While the anniversary tour celebrates the album that changed everything for the band, In Her Own Words aren’t simply revisiting the past. Behind the scenes, the band has spent the last year working on a brand new full-length album, one they describe as their most ambitious and emotionally honest material to date. With new music expected in 2026, this tour marks both a celebration of where the band came from and the beginning of an entirely new chapter. —- Every Avenue is a Michigan-born alternative rock/pop punk band known for the nostalgic anthems that helped define the late-2000s Warped Tour era. After multiple years performing on Warped Tour and worldwide touring alongside Boys Like Girls, The Summer Set, New Found Glory, Secondhand Serenade, and Yellowcard. The band built a loyal international following through fan-favorite tracks like “Tell Me I’m a Wreck” and “Mindset.” Now returning with renewed momentum, Every Avenue is making their official comeback in 2026 with plans to release new music and launch a six-week U.S. legacy tour alongside In Her Own Words — bringing the energy, emotion, and nostalgia of the golden pop punk era back to stages across the country. —- Public Works came ripping out of New Jersey this past year. After years of releasing music and content under different names and genres, Public Works fell back into his roots. His single “Long Island” took the internet by storm and launched his name around the world overnight. Public Works has not slowed down since, releasing a song a month, along with a 5 track EP titled, “Pocket Knife” in June 2025. His shows are.. let’s just say eccentric. After his first run of shows in the north east in April of 2025, Public Works found a new obsession in connecting with fans through performing. It’s something you have to see in person. —- FELICITY is an Orlando-based “trash rock” band formed in 2013, blending pop-punk, hard rock, and metalcore