Motherfolk, Cincinnati’s strongest gift to the indie rock scene, have been the focus of increasing attention with every release and tour since 2014. Their last release, Fold, earned serious industry and tastemaker praise, and the energetic live shows that followed created a loyal and significant fan base.
On the road, they’ve supported such acts as Brandi Carlile, Magic Giant, Clap Your Hands Say Yeah, Lydia, Blues Traveler, and The Classic Crime. In the studio, they’ve been fortunate to collaborate with amazing producers, from Ryan Hadlock (The Lumineers, Brandi Carlile, Vance Joy) to Tony Hoffer (Beck, Chromeo, M83, Foster The People).
With their newest release, FamilyGhost, coming out October 18th everything has gotten bigger for Motherfolk. Musicianship, energy, intensity and songwriting all define a new peak for the band. This is the album that places the group in the spotlight their powerful music has earned.
The Bastard Sons of Johnny Cash
Celebrate the legendary sounds of Nirvana & Kurt Cobain with national traveling Nirvana tribute 'Smells Like Nirvana’ as they perform songs from Nevermind, In Utero, Bleach, and more (b sides/rare songs).
Make song requests/get tix at smellslikenirvanatribute.com
Smells Like Nirvana is based out of Chicago and is composed of seasoned pros and die-hard- fans of Nirvana fronted by Paul Wandtke (ex Trivium, Dead Original), Nick Shabatura on drums and Mike Petrasek (Bedlem). Their live tribute to Nirvana is a haunting episode of grunge filled angst playing songs from Nirvana's albums Bleach, Nevermind, In Utero and MTV Unplugged as well as rare b-sides and more; played without click tracks or backing tracks, a trait that is rare in today’s contemporary musical landscape, a trait and philosophy that Nirvana lived by.
The Sleepy Rubies
Come one, come all hard working men and women of these United States and celebrate the music of John Mellecamp. Hits and deep cuts performed by some of the finer rock n' rollers of St. Louis. Chili Dogs will be served, come hungry. Literally and metaphorically.
Sunday May 31st @ Off Broadway
ALL AGES WELCOME! Tickets are $8 and can be purchased in advance at our School or the day of at the door.
Show #1 : 12p - 1:15p : Decades of Punk
Show #2 : 1:20p - 2:35p : Bowie
Show #3 : 2:40p - 3:55p : 90’s Mixtape
Show #4 : 4:00p - 5:30p: Classic Metal
Doors at 5:30 | Show at 6:30
Doors at 5:30 | Show at 6:30
California soul. Yet, under that shiny veneer lays a dark heart, beating with sharp wit and cynical alienation, and the music is all the more alluring for it. TV Girl, comprised of Brad Petering, Jason Wyman, and Wyatt Harmon, was formed in 2010 by Petering as an outlet to blend the love of Spector-esque girl-group pop with an emerging interest in hip-hop. Featuring shimmering vocals and sampled beats, the self-titled debut EP of the same year turned heads online immediately; the group’s lush vintage rhythms and timeless pop hooks were even making waves on the BBC. They continued to release increasingly popular EPs and mixtapes between
In 2014, TV Girl unveiled their first full-length, the critically acclaimed French Exit. The album keeps true to the TV Girl charm with a bevy of electronic samplings infused throughout light and airy guitars, whirring organs, and ethereal vocals. However, this record is not all summer
nostalgia, and there are plenty of times where French Exit reads like disaffected fiction. The moody characters in these songs are fueled by revenge as often as love, underpinned by desperation and a deep yearning to connect.
Their 2016 follow up, Who Really Cares, finds the band doubling down on their heavy use of samples. Combining the aesthetic of 90’s hip hop with modern psychedelic pop, Who Really Cares offers a glimpse into the psyche of a love scorned twenty-something.”
TV Girl’s latest album, Death Of A Party Girl, sustains the dream pop, neo-psychedelic feel of previous work. Petering delivers prosaic storytelling in third-person narration, recounting tales of wistful, romantic flings and mini-dramas starring various shades of the archetypal manic pixie dream girl. The songs are echoing and surreal, cut with samples of dialogue from movies and radio shows that convey a grainy, vintage feel. Standouts include “King of Echo Park,” its beachy vibe conjuring images of skinny palm trees, graffitied skateparks, and humming
lowriders; "Days Til Sunday" a swaying, upbeat bop where the narrator reminisces of rooftop parties and one night stands in Manhattan; and the intoxicating "Every Stupid Actress”
Missouri brothers form a band saluting the music traditional to their homeland: The
Ozarks... where Old-Time Fiddle music received a quick flash fry of foot stompin’
Country Blues as it made its way across the Mississippi River. The songs are a
collection of stories, often ancient in verse but timeless in meaning, and delivered
with sunny reverence for this forgotten music bred to uplift from the tangle of
struggles in a bygone era. It’s music that prefers to draw you out, rather than draw
In 2018, the band released their Self-Titled Debut Album and a companion video for
their song, “Find Your Love,” recorded in an abandoned auto garage somewhere in
Callaway County. Joined by sisters Emma and Olivia Burney, the band boasts sibling
harmonies, upright bass, guitar, tenor banjo, fiddle, cello, ukelele, harmonica,
washboard, congas, shakers, and an array of foot percussion. The mission: to preserve
the rural music of our forefathers and mothers that used to fill the wooden barns that
once dotted countryside on Saturday night and the small family churches on Sunday
morning. That party is still going on.... it’s in your blood.
Ticket for 8 Shows
Festival T-Shirt and Poster
Early Bird Entrance to All Show!
July 30-August 2 and August 6-9
Full Lineup Announcement March 2020
Nick Gusman & the Coyotes
& Nick Gusman and the Coyotes
Patio open at 6, Doors at 7, Show at 8
VIP Package Info (LIMITED AVAILABILITY):
- One general admission ticket
- Early entry into the venue
- Intimate Q&A with Hayes Carll
- Exclusive preshow performance
- Group & personal photograph with Hayes Carll
- Official meet & greet laminate
Matt F. Basler
All ticket purchases will be honored for new date.
The Devil has always been there. He is the great outsider, the original iconoclast. He is a conniving little shit and never seems to tire of giving humanity a wedgie or a wet willie just for a laugh. The Devil is capable of taking many forms. He can exist as one being or spread out amongst many. He can present himself as an ordinary man or as a horrific cloven-hoofed beast depending on his mood. Above all else, The Devil lives to corrupt, to adulterate, to defile.
Electric Six has often used The Devil as subject matter for its songs because of that last bit, the part about corruption and adulteration. That’s what Electric Six has been trying to do with its music now for quite some time!!!! We want to corrupt young women….just like The Devil!!! There’s nothing more rewarding than the seduction of a young innocent maiden, forcing her to wear demonic dresses, levitating her towards the great fiery skull and watching her eyes turn black as she gives into evil and becomes the bride of The Devil!!!! That….is why we started this band….to help women realize their potential as sexy evil maidens with eyes reflecting the utter darkness of a corrupted soul.
With its fourteenth studio album Bride of the Devil, Electric Six examines the concepts of evil and corruption, humanity’s various falls from grace, the nine circles of purgatory and of course, the internet itself. Bride of the Devil opens with the thunderous opener “The Opener”, a bombastic celebration of the arena rock Electric Six never got to play. The next two numbers are textbook ear worm guitar pop numbers that deal with debilitating income inequality and nepotism (“Daddy’s Boy”) and the horrors of being forced into a pool of toxic waste by an a rabid Doberman trained to kill (“(It Gets) (A Little) Jumpy”).
And then we get to the title track, a radio anthem, where it all becomes clear that The Devil is a metaphor for Russia and the United States is the young girl who is seduced, corrupted and wedded into a Satanic covenant with the beast. It’s all there in black and white. The Carrie Underwood-esque lyrics alongside a backdrop of vodka and caviar and backchannels and Seychllian bank accounts. That’s how they did it. They went after our country performers and got the rubes to feel good about being Russian assets. And still, it is the feel-good anthem of the summer.
Finally, the haunting album closer “Worm In the Wood” is Electric Six at its most serious, most tender and emotional. Haunting. Effervescent. Corrupt. Jaundiced. Tired.
So there you have it. Electric Six is back with its fourteenth record and it’s poppy and feel-good, as well as heavy, both sonically and lyrically. Our sound will corrupt you and enslave you as the beautiful demonic bride you know you truly are. Fraulein, take this severed hand with it’s creepy long nails from the beginning of time. To do so is truly thine destiny.
Come see Electric Six on the “Russia, If You’re Listening” tour this fall and into 2019. Bride of the Devil will be released on Metropolis Records on October 5, 2018 world-wide.
Genre defying artists Aubrie Sellers and Lillie Mae join forces this Spring for one of the year’s most anticipated tours, delivering spitfire performances of songs from both of their
critically acclaimed catalogs.
Ariana and the Rose
$15, All Ages, $3 Minor Surcharge
w/ Ariana and the Rose
A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a “silver tongue.” It’s apt, then, that Mackenzie Scott—who has spent the 2010s making boundary-pushing pop music under her TORRES moniker—has chosen to call her fourth album, and first release on Merge, just that.
Recorded at O’Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over TORRES’ last few albums. Even when singing in more subdued tones, Scott’s voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday.
It’s also the first TORRES record produced solely by Scott. After having shared production duties on her first three albums, the latter two alongside PJ Harvey collaborator Rob Ellis, she found the process liberating: “I made exactly the record I want, and it feels very ‘me.’”
Silver Tongue fastidiously chronicles the impulses that make up desire—from the dreamy first blushes of infatuation through the slightly terrifying wonder that accompanies connection with another. In between, Scott wrestles with the highs and lows of what “being in love” might mean over heady guitars and swirling synths. This is immediate in album opener “Good Scare,” which details the courage one finds when chasing the person of one’s dreams: “When you said you couldn’t swing it, you gave me a good scare for a minute there / I had never seen that look from you before / You were eyeing all the exits.”
While potent vocal hooks punctuate songs like the sparkling “Dressing America,” which combines New Wave glitter with hovering frustration, and the brooding “Good Grief,” which gently pokes at the idea of fetishized sadness, the knottiness lurking underneath reflects Scott’s real-time processing of her emotions while making the record.
“I was trying to make sense of things as they were happening to me,” she says. “It’s more difficult for me to examine something clearly enough to write about it when I’m in the middle of it, and yet that’s what it demands. You’ve got to see things for what they are if you want to make truthful observations about them. When you’re writing about the past, you can manipulate it a little bit to fit a narrative, clean it up some—there’s less room for bending the present.” This desire to stick to the truth manifests in her lyrics, from the exposed longing of “Records of Your Tenderness” (“I can’t get one word in front of the other / You know my mind’s an overgrown orchard / Oh, I do not want this to be over”) to “Two of Everything,” the blistering letter to her lover’s lover (“To the one sharing my lover’s bed / Do you hold her when she sleeps / Does she also call you Baby / You should know she calls me Baby”).
“Like a baseball player who quietly hits 30 home runs every year or a golfer who regularly finishes in the Top Ten, Josh Rouse's continued streak of excellence is easy to ignore and maybe even downplay a little” -- Tim Sendra, Allmusic.com
You don’t have to work hard to enjoy Rouse’s music. His songs present themselves to you with an open heart, an innate intelligence and an absolute lack of pretension. They are clear-eyed, empathetic and penetrating. Without pandering, they seek to satisfy both your ear and your understanding. The verses draw you in with telling detail, both musical and thematic, and the choruses lift and deliver. They resolve without seeming overly tidy or pat.
Josh Rouse was born in Nebraska, and following an itinerant upbringing he eventually landed in Nashville where he recorded his debut Dressed Like Nebraska (1998). The album’s acclaim led to tours with Aimee Mann, Mark Etzel and the late Vic Chestnut. The followup- Home (2000)—yielded the song “Directions” which Cameron Crowe used in his film Vanilla Sky.
“Every time I’ve made a record, I’ve tried to make it different from the last one,” says Rouse. “I always became fascinated by a different style of music. But at the end of the day, no matter how eclectic I try to make it, it’s my voice and melodic sensibility that tie things together.”
For his breakthrough album, 1972 (2003), which happens to be the year he was born, Rouse decided to cheer up a bit. Noting that he’d earned a reputation for melancholy, he says, with a laugh, “I figured this is my career, I might as well try to enjoy it.” While the Seventies are often identified with singer-songwriters, Rouse was primarily attracted to the warmer sound of albums back then, as well as the more communal feel of the soul music of that time. The follow up, Nashville (2005) continued the hot streak and expanded his audience further.
After relocating to Valencia, Spain with his wife Paz, Rouse has released a steady stream of high quality songs and albums. Subtitulo (2006) contained the international indie folk hit "Quiet Town". On El Turista (2010) he even experimented with writing and singing some songs in Spanish. In 2014, he won a Goya Award (the Spanish equivalent of an Oscar) for best song for "Do You Really Want To Be In Love," from the film 'La Gran Familia Española.'
His most recent release, The Embers of Time, was one of his strongest—self-described as “my surreal, ex-pat, therapy record.” Charles Pitter astutely noted in Pop Matters. “The critics may long for drama and scandal, but The Embers of Time often demonstrates that a simple life could be for the best.”
Ever-evolving artist Bob Mould—whose face belongs on the Mount Rushmore of alternative music—decided to “write to the sunshine,” as he describes it, not because he likes the current administration. It comes from a more personal place—a place found in Berlin, Germany, where he’s spent the majority of the last three years. Here Mould would draw inspiration from the new environments.
The theme, the cathartic vocals, and the strings all amount to Mould’s catchiest, grabbiest album since Copper Blue, the acclaimed 1992 debut of his trio Sugar. Back then, Mould’s work in Hüsker Dü, as a solo artist, and in Sugar helped define the sound of guitar rock in the alternative age. Sunshine Rock finds him doing it again for an era that has ostensibly eschewed rock.
Sunshine Rock follows the 2016 release of Patch the Sky, which was hailed by Rolling Stone as “conjuring the ecstatic rage of his earlier bands for a grim new era” and as “tight, sharp musings on aging, fizzled relationships and death that are melodic enough to sound like songs of victory” by the New York Times. Patch the Sky completed a trilogy including its 2014 predecessor Beauty & Ruin and 2012’s Silver Age.
Due to the Coronavirus pandemic, all Bob Mould Solo Electric shows from Fri Mar 20 through Sun Mar 29 will be rescheduled.
We will share information about the rescheduled dates, as well as refund information, as soon as it is available. We are actively looking to reschedule to future dates. Your tickets will be honored at the rescheduled dates, so please hold on to them. Should you need a refund immediately, please go to your original point of purchase to request a refund.
“I was raised in the age of ‘the show must go on’ — but protecting ourselves, our loved ones, and our communities is paramount as we navigate this unpredictable public health crisis. Please follow the directions of local and national health authorities. Apologies for any inconvenience, thanks for understanding, and I hope to see you all in the near future.”