Flex your music trivia knowledge in a safe, socially distant way out on our patio! 

Every Saturday in March (3/6, 3/13, 3/20, 3/27)

6 rounds of ten questions each

4-8 people per table for 8 tables total. (minimum 4 players per table)

There will be prizes for the winners and a 50/50 raffle, so come with your game face on!

No outside drinks are allowed, but snacks and food are welcome!

Specials on Urban Chestnut and 4Hands tall cans

Doors open at 6, Games start at 6:30

FREE ENTRY | Reservations Required. Tables hold 4-8 people. 5 players needed for reservation.

Flex your music trivia knowledge in a safe, socially distant way out on our patio! 

Every Saturday in March (3/6, 3/13, 3/20, 3/27)

6 rounds of ten questions each

4-8 people per table for 8 tables total. (minimum 4 players per table)

There will be prizes for the winners and a 50/50 raffle, so come with your game face on!

No outside drinks are allowed, but snacks and food are welcome!

Specials on Urban Chestnut and 4Hands tall cans

Doors open at 6, Games start at 6:30

FREE ENTRY | Reservations Required. Tables hold 4-8 people. 5 players need 1 reservation.

Open Highway Music Festival Presents:

Flex your music trivia knowledge in a safe, socially distant way out on our patio! 

Every Saturday in March (3/6, 3/13, 3/20, 3/27)

6 rounds of ten questions each

4-8 people per table for 8 tables total. (minimum 4 players per table)

There will be prizes for the winners and a 50/50 raffle, so come with your game face on!

No outside drinks are allowed, but snacks and food are welcome!

Specials on Urban Chestnut and 4Hands tall cans

Doors open at 6, Games start at 6:30

FREE ENTRY | Reservations Required. Tables hold 4-8 people. 5 players need 1 reservation.

Flex your music trivia knowledge in a safe, socially distant way out on our patio! 

Every Saturday in March (3/6, 3/13, 3/20, 3/27)

6 rounds of ten questions each

4-8 people per table for 8 tables total. (minimum 4 players per table)

There will be prizes for the winners and a 50/50 raffle, so come with your game face on!

No outside drinks are allowed, but snacks and food are welcome!

Specials on Urban Chestnut and 4Hands tall cans

Doors open at 6, Games start at 6:30

FREE ENTRY | Reservations Required. Tables hold 4-8 people. 5 players need 1 reservation.

Open Highway Music Festival Presents:

“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.




UPDATE:

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.

From Bob:

“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.”

Mike Judy Presents:  On the surface, TV Girl is a sunny, throwback splash of ‘60s French pop and southern
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
tours.
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”

The Secret Sisters come to Off Broadway for a seated show!
w/ Logan Ledger
$20 

Moved to 5/14/21, second show on 5/15/21
 

The Secret Sisters come to Off Broadway for a seated show!
w/ Logan Ledger
$20 

Second night added!

MOVED TO 5/25/21

Moved to 8/21/21
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.

This event has moved to a TBD date in 2021. Please contact promos@offbroadwaystl.com if you wish to get a refund for your tickets.