Upcoming Events


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Thursday 23 February
White Oak Music Hall Downstairs 08:00 PM All Ages $20.00 ADV   $22.00 DAY OF $24.00 DAY OF BOX OFFICE
Jens Lekman, The Dove & The Wolf
Jens Lekman, born and reared in Gothenburg, Sweden, is a songwriter, adventurer and retired bingo hall employee. Traveling our globe as a wide open receptor of all it has to offer, Lekman repurposes for his own oeuvre the world's great, lost pop hooks of past and present. He breathes into them his droll senses of humor, romance and melody and gives them a newfound buoyancy. Since his 2004 trifecta of EPs (Maples Leaves, Rocky Dennis in Heaven, You Are the Light) and right on through his acclaimed 2007 full-length, Night Falls Over Kortedala, Lekman has made hopeless romantics of us all. In a musical language that has roots in the work of Arthur Russell, The Magnetic Fields, Calvin Johnson and Modern Lovers, Lekman's songs serve as a reminder to look closer at the world around us, to appreciate the beauty when it's both in and out of context; at its most heartbreaking, its most loving, and its most absurd.

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Friday 24 February
White Oak Music Hall Downstairs 07:00 PM All Ages $22.00 ADV   $25.00 DAY OF $27.00 DAY OF BOX OFFICE
Screeching Weasel, 30footfall, Mr T Experience, Nobodys
Saw the Ramones, started a band, pissed off a whole lot of scenesters.

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Saturday 25 February
Raven Tower Pavilion 07:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
Pigeons Playing Ping Pong, Montu
Pigeons Playing Ping Pong brings end-of-the-world enthusiasm to their high-energy psychedelic funk. Their infectious electro-funk grooves, undeniable live energy and contagious smiles have their rabid fanbase "the Flock" growing exponentially. Based out of Baltimore, MD, this animated quartet has been scorching up the country with their explosive performances and danceable peaks... and they're loving every minute of it!

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Saturday 25 February
White Oak Music Hall Downstairs 07:00 PM All Ages $18.00 ADV   $20.00 DAY OF $22.00 DAY OF BOX OFFICE
I Prevail, Wage War, Islander, Assuming We Survive
I Prevail-Brian Burkheiser [clean vocals], Eric Vanlerberghe [harsh vocals], Steve Menoian [guitar], and Lee Runestad [drums]-explore this phenomenon within the title of their full-length debut, Lifelines [Fearless Records].

"When we started diving into the record, we all sat down and thought, ‘Wow, everything has changed in the last year,'" explains Brian. "Everyone encounters those moments that really define where the rest of their lives are headed. We've all grown from everything that's happened. When we sat down and got to work, we really wanted to share our journey through these songs."
"Lifelines are a great visual for certain points in your life," adds Lee. "It's a line you can't go backward from or ignore. For us, the path split from the moment we all created I Prevail.
I Prevail are no strangers to this experience. After the release of the quartet's 2014 debut EP, Heart vs. Mind, nothing would ever be the same. The EP moved over 60,000 copies as the Detroit band toured with the likes of Hollywood Undead and Crown The Empire. Meanwhile, the group's cover of Taylor Swift's "Blank Space" sold 300,000-plus singles, went Top 20 on Active Rock Radio, and generated over 22 million views on YouTube and 17 million-plus Spotify streams (consistently remaining in the Top 10 of the platform's Viral Chart). The band would be nominated for "Breakthrough Band" at the 2016 Alternative Press Music Awards and garner features from Billboard, Detroit Free Press, AXS, Loudwire, and many more. Everything has aligned and set the stage perfectly their debut full-length, Lifelines.

In early 2016, the boys retreated to Wall of Sound Studios in the small and secluded town of Riley, Michigan to work with trusted producers B.J. Perry and John Pregler. With nearly two years on the road under their collective belt, the group had fully realized their style, merging entrancing hooks and a powerful and pummeling sonic backdrop.

"On the EP, we were all getting to know each other's style," Brian goes on. "We spent a year working on it without ever launching publicly. We wanted to make the best impression possible. Then when we put it out, we spent the next year-and-a-half doing everything we could to promote it. Writing Lifelines was such a different experience. We had so much more time to grow together and really had a clear vision for the sound we wanted to create on the album."
The first single "Scars" gallops from a propulsive riff into an unshakable refrain teetering between a hypnotic harmony and a hard-hitting groove. It's immediately infectious.

"Being away from family members and going through relationships that have died off, sometimes made me feel anxiety and depression," admits Brian. "Sometimes, you have to look in the mirror. We wanted to create a song that was personal to us, but still relatable. That's how we got the concept of ‘Scars.'"

Elsewhere on the album "Stuck In Your Head" sees a magnetic vocal charge ahead in tandem with a bombastic drumbeat and hyper-charged guitars making the song live up to its name.

"Basically, we're comparing a relationship to a broken record," continues the singer. "It's dedicated to a certain ex of mine, and I can say a couple of the other guys dedicated it to their former relationships too. Things are really good for a while. All of a sudden, the record starts wearing, and things get rocky. In my case, I always felt like the bad guy. So, the song's a final send-off saying, ‘Thanks for the memories, but I'm glad you're out of my life. Here's a song for you to go out to.'"

Ultimately, Lifelines sees I Prevail take another big collective life step. "We wanted to create something that can showcase every emotion," Brian leaves off. "It's anything you're feeling or looking for."

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Saturday 25 February
White Oak Music Hall Upstairs 08:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Moving Units Presents The Songs Of Joy Division, Viktor Fiction, Soviet
The club lights are low. The dance floor is a sweaty blur of shadows. You can feel the blood and adrenaline surging through the crowd. There's a band on-stage and they are telepathically connected to the audience-making bodies bounce like it was a feat of mind control. This is Moving Units and this is their natural element: unadulterated grooves and constant motion.

Moving Units have bottled this chemistry since their self-titled 2002 EP debut. When Blake Miller first started writing demos and recruiting band mates to help expand his vision, the idea of fusing dance music and indie rock was practically alien. Leading the way along with groups like The Rapture, Franz Ferdinand, The Faint and Bloc Party, Moving Units were at the vanguard of bringing body-rocking grooves to scythe-edged rock and roll. They pioneered a brand of "Dance Punk" that exploded into clubs and radio stations across the globe. "Back then, no one danced at shows in LA. People were trying to play it cool," Miller says." We wanted to shake things up and make people boogie."
Tastes have changed. Members have joined and left the band. But the locomotion inspired by their music remains immutable. Credit the ease with which Miller has merged into contemporary dance culture. A DJ himself, Miller's remixes with Steve Aoki and Le Castle Vania have earned tons of spins worldwide.

"I've never abandoned the concept that a live band can turn out a hot dance party," Miller says. "It's about conveying that energy and allowing people to have a visceral and euphoric connection."

April 8th 2016 sees the release of the band's 4th LP "Damage With Care". Miller considers it their most engaging, aggressive and visionary work since the classic "Dangerous Dreams" LP dropped over a decade ago. The perfect soundtrack for channeling urgent impulses and anxious adventures on a post punk millennial dance floor. 10 explosive tracks that wind their way up your spine and into your hearts and minds!
With "Damage With Care", Miller says he wanted to invoke a naiveté and passion he felt when he wrote the first LP over a decade ago. Fashion always plays a part when it comes to Moving Units and you can feel it in the groves… everything from Alexander Wang, Vivienne Westwood, Warhol, Basquiat and even Patti Smiths "Just Kids" biography found ways to influence the look and feel of Damage With Care. With tracks like "Opposite of Rhyming", Moving Units plaster their past all over the record, while songs like "Wishful Thinking" and "Fragile Magic" melodically wind their way to the dance floor with hooks you can't shake. "There is a satisfying balance of raw punk influences from the 70's and 80's, as well as sexy bass lines and hi fi production value throughout" says Miller.

The live show has always been a crucial aspect of what Moving Units is all about. Miller describes how things have evolved live: "This spirit has remained constant over the years, however, our production has continued to evolve considerably. I've begun to utilize playback as a way to enhance the production value of the live show. Drums, bass, guitar and vocals are our most essential instruments. Playback production has enabled us to create an environment in which the crowd is engaging with us as live musicians while key production elements are being triggered in the mix. We're blending the excitement of electronic instrumentation and studio fx with the raw appeal of acoustic rock instruments."
There is a generational experience at Moving Units performances these days and Miller believes dance music and rock and roll resonates with people of all ages. "It's so primitive and organic. I also think kids are attracted to the rebellious attitude and open minded atmosphere our music cultivates. We're having fun riffing on fundamental concepts innovated by our favorite rock and roll, punk and dance music recording artists. And I think our fans respond to that sort of authenticity and humility. I believe music is bigger than the musician. It has a life of its own. And music fans love to share music, so it doesn't surprise me to see new faces at our shows. It's rad!"

Moving Units have called Los Angeles home and Miller has always had a love hate relationship with the city… "LA has changed radically. The indie music scene was a tiny bubble in 2002. Not a lot of variety and certainly not a lot of hype. The exact opposite has occurred here since then. Obviously LA has emerged as a new mecca of American youth culture. Music, fashion, cinema and art are all mediums blowing up in this city and influencing the global scene. LA is everything you dream a city could be and everything you dread a city can become. LA don't play, so love it or leave it; that's what I say".
When talk turns of things to come, all Miller can say is: Blow minds with the new album. Tour constantly, anywhere and everywhere. Celebrate life. Repeat!

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Sunday 26 February
White Oak Music Hall Downstairs 07:00 PM All Ages $20.00 ADV   $25.00 DAY OF $27.00 DAY OF BOX OFFICE
City Club Spring Tour 2017: The Growlers
It still feels like new music, doesn't it? Each new record from The Growlers has something gripping enough that makes it as exciting as a debut. The Growlers swooned us back in 2013 with "One Million Lovers" and Gilded Pleasures, those "Humdrum Blues" with Hung At Heart, and then, within the more recent couple of years, that magnificently depressing "Good Advice" on Chinese Fountain. We've been seeing The Growlers for a while now, and we know all their tricks: bashful love songs softly cradled by opiate-euphoria, kick-shit pub songs aggravated by rum and amphetamines, and, of course, how genuinely they've always related to the everyday man when the going gets tough. But something has been different with The Growlers lately. They've been coming home later at night smelling like cheap perfume and whiskey with a slick new Members Only jacket, and they're not caressing our needs as much anymore. At this point, they know how obsessed with them we've become, and they don't feel obligated to fill our every need. Now, they've decided they're going to do what they want to do. They're going to stay out and drink for however long they want. They're going to pick up new moods and scents even if you don't like them. They're going to flirt with something new if it fancies them, and they're going to turn up their fuzz and synthesizers however fucking loudly they want.

You knew this when they came through the door a few weeks ago with "City Club" and realized who they've been hanging out with. Julian Casablancas of The Strokes produced the new album for the boys and have helped them out with a new, slick, New York-esque style. Sounds off this record spawn in the hours of the late night, and there is a more cock-out attitude, distant from what we've been used to since our affair began with The Growlers. But in the middle of all this late-night musk and confusion, they revive our faith with "When You Were Made" and let us know that that old sweetheart singing us those affectionate songs is still in there. It still makes us think: That sounded like my beloved Growlers, but everything else has changed. Is this just a phase? Moving through "Rubber & Bone" and hopping over "The Daisy Chain," we end up in "World Unglued," and it starts to make sense. Here, these new moods and swings start to come together with those old favorite sentiments. It's still our one, true love, The Growlers-they just need room to try on new garbs and taste new, dark subject matter. And with this, it's all right. We let them follow with venting about "another bar fight in a neon light" and "high-ass women who don't see me" in "Neverending Line"-all the shit they've had to put up with as a touring rock band.

After talking, tears and a few tall drinks, The Growlers drive us home with "Blood of a Mutt" and "Speed Living"-two tracks that remind us of that band we fell in love with back in high school that still satisfyingly cap the night with their cool, new swagger. This is definitely a record that's going to challenge some of The Growlers' wholehearted fans, but others will enjoy the new sleek style that's brought on by late-night antics and a craving for danger that can only be settled by exploring new scenes and avenues.

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Monday 27 February
White Oak Music Hall Upstairs 07:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Lawrence
After years of consuming Stevie Wonder, Janis Joplin, and Eggo waffles, Lawrence delivers Breakfast, their twelve-song debut LP. Led by siblings Clyde Lawrence, 22, and Gracie Lawrence, 18, the New York-based soul-pop group blends old-school and new-school vibes to create a set of songs that sound as good on the record as they do at their high-energy live shows.

To create Breakfast, Lawrence teamed up with Grammy Award winning producer Eric Krasno (Lettuce/Soulive/Tedeschi Trucks Band), and brought in several NYC soul/funk mainstays including Adam Deitch (Lettuce), Cory Henry (Snarky Puppy), and Maurice "Mobetta" Brown (Tedeschi Trucks Band) for guest appearances. Following two short runs with Blues Traveler, Lawrence is in the midst of its first national headline tour.

Clyde and Gracie have been writing and playing music together since their early childhood, performing regularly at small cafés and clubs around lower Manhattan, and of course, in their living room at their grandparents' request. During Clyde's time at Brown University in Providence, Rhode Island, they met the crew of talented musicians that would ultimately form the full-time Lawrence lineup, an eight-piece keyboard-driven powerhouse with a dynamic horn section to support the siblings' explosive vocal arrangements. It was with this group that they began to garner a passionate following at countless venues and colleges across the Northeast.

With Breakfast, Lawrence doesn't shy away from the oft-maligned idea of "pop" music, but instead is on a mission to write the music they wish "pop" sounded like. They draw from the past and present, combining their love of The Beatles, Randy Newman, and Etta James with Beyonce, Ben Folds, and Amy Winehouse.

In addition to working with Lawrence, Clyde has composed songs and score for films such as Miss Congeniality (2000), Music and Lyrics (2007), The Rewrite (2015), and Hard Sell (2016). At age six, Clyde was admitted as the youngest member to the Songwriters Guild of America for his work on Miss Congeniality (2000). Gracie is also an accomplished actress who has performed on Broadway in Neil Simon's Brighton Beach Memoirs, films such as Did You Hear About The Morgans (2009) and The Sitter (2011), and TV shows such as The Good Wife (2012) and The Americans (2014).

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Wednesday 1 March
White Oak Music Hall Upstairs 06:00 PM All Ages $15.00 ADV   $17.00 DAY OF $19.00 DAY OF BOX OFFICE
Moose Blood, Trophy Eyes, Boston Manor, A Will Away
"A distinctly British twist on a sound that harks back to the glory days of Deep Elm Records and Sub Pop. A fusion of 90's British indie and American Emo."
With previous releases under their belts on Gallows' owned Venn Records and FITA records, Moose Blood followed up the ‘Moving Home' and ‘Boston/Orlando' EPs with a split 7″ with long-time friends Departures on No Sleep Records. This led the band towards a busy touring schedule throughout the UK and Europe, playing amongst the likes of The Appleseed Cast, Mallory Knox, Balance & Composure and Funeral for a Friend.
Their debut full length, ‘I'll Keep You In Mind From Time To Time' has been released to much acclaim and has garnered the band attention from both sides of the Atlantic.
The album, produced by Beau Burchall in Los Angeles, is "a record full of Summer anthems and rocking emo that has some hooks so vast that it literally takes days to shake some of these songs of your head. Singer / Guitarist Eddy Brewerton delivers an unforgettable performance on the album, backed up by Mark Osborne on Guitar, Glenn Harvey on drums and Kyle Todd on Bass."
In support of the release the band toured extensively throughout 2014 and 2015, across Europe and the UK supporting the likes of Balance & Composure, Man Overboard, Mallory Knox, Fightstar, and Lower Than Atlantis and in North America, spending 2 months on the renowned Vans Warped Tour. Their debut headline tour across the UK was completely sold out and the band were soon gathering interest in mainstream UK media, with singles 'Swim' and ‘Gum' sharing success on Radio 1 with plays from the likes of Dan P Carter and Huw Stephens and leading music magazines Kerrang! and Rock Sound heavily featuring the band, they were also nominated for Best British Newcomer at the 2015 Kerrang! Awards. A final highlight of the band's debut album campaign came at the end of Summer 2015 with a high profile slot at Reading and Leeds Festival.
2016 will see the band embark on another sold out UK headline tour, as well as a Summer packed full of European festival appearances, including main stage slots at Slam Dunk Festival, 2000 Trees, Groezrock, Y Not, and Bestival amongst others. Having sold out London's Islington Academy in under 2 hours, and a nomination for Best Underground Band at the Alternative Press Awards, Moose Blood are now fully aware of the expectations surrounding them and are therefore preparing to release the follow up to ‘I'll Keep You In Mind…' coming in August this year. Recorded again with Beau Burchall, the bands sophomore album ‘Blush' promises to continue their journey into becoming one of the UK's best new bands, and expand their fanbase worldwide.

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Wednesday 1 March
White Oak Music Hall Downstairs 07:00 PM All Ages $24.75 ADV   $28.00 DAY OF $30.00 DAY OF BOX OFFICE
Suicidal Tendencies, Crowbar, Havok
Judging from their name, Suicidal Tendencies were never afraid of a little controversy. Formed in Venice, California, during the early '80s, the group's leader from the beginning was outspoken vocalist Mike Muir. The outfit specialized in vicious hardcore early on -- building a huge following among skateboarders, lending a major hand in the creation of skatepunk -- before turning their focus eventually to thrash metal. Early on, the group (whose original lineup included Muir, guitarist Grant Estes, bassist Louiche Mayorga, and drummer Amery Smith) found it increasingly difficult to book shows, due to rumors of its members' affiliation with local gangs and consistent violence at their performances. The underground buzz regarding Suicidal Tendencies grew too loud for labels to ignore though, as the quartet signed on with the indie label Frontier; issuing Muir and company's classic self-titled debut in 1983. The album quickly became the best-selling hardcore album up to that point; its best-known track, "Institutionalized," was one of the first hardcore punk videos to receive substantial airplay on MTV, and was eventually used in the Emilio Estevez cult classic movie Repo Man, as well as in an episode for the hit TV show Miami Vice (for which the group made a cameo appearance).


Join the ArmySuicidal Tendencies proved influential for future speed/thrash metal bands, but despite their early success, their reputation preceded them, as no other record label was willing to take them on (in addition, Los Angeles banned the group from playing around this time, lasting until the early '90s). Not much was heard from the group for several years afterward (leading many to believe that Suicidal had broken up), but Muir and company eventually found a home with Caroline Records. By this time, half of the original lineup had left; Muir and Mayorga were the only holdovers, while guitarist Rocky George and drummer R.J. Herrera rounded out the group. The year 1987 saw the release of Suicidal's sophomore release, Join the Army, which spawned another popular skatepunk anthem, "Possessed to Skate," as more and more metal heads began to be spotted in Suicidal's audience. Soon after, Suicidal were finally offered a major-label contract (with Epic), as another lineup change occurred: Mayorga exited the band, while newcomer Bob Heathcote took his spot, and a second guitarist, Mike Clark, was added as well. This Suicidal lineup's first album together, 1988's How Will I Laugh Tomorrow When I Can't Even Smile Today, showed that their transformation from hardcore to heavy metal was now complete, as did a compilation of two earlier EPs, 1989's Controlled by Hatred/Feel Like Shit...Déjà Vu.
Lights...Camera...Revolution!Suicidal's first release of the new decade, 1990's Lights, Camera, Revolution, was another success; its video for the explosive "You Can't Bring Me Down" received repeated airings on MTV's Headbanger's Ball program, while the album (in addition to the Controlled by Hatred comp) would be certified gold in the U.S. a few years later. The release also signaled the arrival of new bassist Robert Trujillo, whose penchant for funk added a new element to the group's sound. The group tried to broaden its audience even further by opening a string of arena shows for prog-metallists Queensrÿche during the summer of 1991. Their next release, 1992's The Art of Rebellion, proved to be one of Suicidal's most musically experimental albums of their career. Muir and Trujillo also teamed up around this time for a funk metal side project, Infectious Grooves (including several other participants, such as Jane's Addiction drummer Stephen Perkins) and issued a debut release, The Plague That Makes Your Booty Move. Upset that the group's classic debut had been out of print for several years by this point, Muir decided to re-record the entire record with Suicidal's '90s lineup under the title of Still Cyco After All These Years.
Prime Cuts But after one more release, 1994's Suicidal for Life, Suicidal Tendencies decided to hang it up. A pair of compilations were issued in 1997: a best-of set, Prime Cuts, plus Friends & Family. Muir and Trujillo continued to issue further Infectious Grooves releases (Sarsippius' Ark and Groove Family Cyco), in addition to Muir pursuing a solo career under the alias of Cyco Miko (Lost My Brain Once Again) and Trujillo touring and recording as part of Ozzy Osbourne's solo band (appearing on Osbourne's 2001 release, Down to Earth). Muir formed a new version of Suicidal Tendencies in the late '90s (with Clark being the only other familiar face), resulting in such further studio releases as 1999's Freedumb and 2000's Free Your Soul and Save My Mind. Muir and Trujillo joined forces once more for a fourth Infectious Grooves studio release in 2000, Mas Borracho, while another Cyco Miko release surfaced, Schizophrenic Born Again Problem Child, along with a follow-up to their earlier compilation, Friends & Family, Vol. 2.
13 Busy with myriad side projects, the band wouldn't release another studio album until 2013. The aptly named 13 was recorded over a ten-year period, and would be the group's only studio album with guitarist Nico Santora, bassist Steve Bruner, and drummer Eric Moore. Muir brought in guitarist Jeff Pogan, bassist Ra Díaz, and drummer Dave Lombardo for the band's 12th studio long-player, 2016's World Gone Mad.

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Saturday 4 March
White Oak Music Hall Downstairs 07:00 PM All Ages $25.00 ADV   $30.00 DAY OF
Backspace Goes To The Movies
On Saturday, March 4, 2017, "Backspace Goes to the Movies." Backspace is a rock ‘n roll band that formed in 2007 as a group of like-minded professionals who found a way to benefit the community through their music. Their annual show is a themed one-time only performance for charity. For this show, they will cover songs from many of cinema's most iconic scenes, take you on a nostalgic journey of movie theme songs and play other fun and memorable moments from the silver screen.



All band proceeds from ticket sales benefit Child Advocates, a non-profit that trains everyday people to advocate for the best interests of abused or neglected children in court. No opening act. All ages welcome. Doors open at 7:00 pm and show will run from 7:30 pm until 11:00 pm. Come dressed as your favorite movie character! Tickets are $25 in advance or $30 at the door. See you at the movies!

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Saturday 4 March
Warehouse Live The Studio 08:00 PM All Ages $18.00 ADV   $20.00 DAY OF
Deafheaven, This Will Destroy You & Emma Ruth Rundle
As 2012 came to a close, George Clarke and Kerry McCoy were living off of food stamps in a small apartment in the Mission District of San Francisco with six other roommates. They slept in closets and partitioned corners, licking their wounds after a year of touring with their band Deafheaven. While their debut album Roads To Judah was met with high praise, there wasn't a large audience for their signature hybrid of black metal, shoegaze, and post-rock. Consequently, the band amassed a mountain of debt on the road and lost 3/5ths of their members to the financial security of full-time employment. In the rare moments of solitude within those cramped quarters of the Mission apartment, Clarke and McCoy began piecing together musical fragments that would become their sophomore album Sunbather, an album thematically fixated on the un-punk dream of climbing out of poverty and living among the leisure class. Despite the underground's aversion to such open pining for comfort, stability, and luxury, Sunbather was a massive critical success and an unexpected crossover hit. With their new bandmates Dan Tracy (drums), Stephen Lee Clark (bass), and Shiv Mehra (guitar), Deafheaven began selling out clubs and landing high profile festival slots across North America, Europe, Australia, and Asia. No one could have anticipated a band that drew from equal parts Weakling and My Bloody Valentine ascending to such heights, and that incomprehensibility added to the band's singularity and allure.
Two years later, George Clarke and Kerry McCoy were living in their own apartments in LA. They no longer had to worry about where their next meal was coming from, and they could begin working on their new album, New Bermuda, in a proper rehearsal space as a full band. In many ways, it was an ideal scenario, but doubts lingered in the back of Clarke's mind. "Sunbather yearned for something better. New Bermuda focuses on the idea of false promise, achieving something and wondering if it's what you really wanted in the first place. Moving to LA, living with the person you love, meeting new people-you're inexplicably let down by the situation, or let down by your own perception of it because you thought it was everything you wanted, but yet you still feel displaced." McCoy shares that sentiment: "Sunbather sounds like people who have nothing but are satisfied with life. There's an uplifting quality to it. But New Bermuda is a very tense record."
That tension can immediately be felt in the opening charge of "Brought To The Water", where McCoy excises the triumphant melodicism that typified Sunbather for bleak chord changes set against Clarke's howled first line: "where has my passion gone?" McCoy cites death metal demigods Dissection and Morbid Angel, the blackened death pioneers Behemoth, and Cliff Burton-era Metallica as influences on the new album. Within the ten-minute span of "Brought To The Water", you can hear the ferocity, discord, and dexterity of those heavier predilections, but you can also hear the electrified melancholy of post-hardcore and post-rock. As New Bermuda progresses, Deafheaven travels further outside of their comfort zone, feasting on other niches of underground metal and offsetting the blunt force of their feral rage with more complex and nuanced beauty. On "Luna", the band storms out of the gate with a snarling thrash riff, barrels through their trademark barrage of decimating drums and corrosive guitars, and seamlessly drops down into a morose clean-picked breakdown that would make Johnny Marr proud. A similar sophisticated and subdued pop element kicks off "Baby Blue", before the band abruptly shifts into an amalgam of NWOBHM's anthemic urgency and thrash metal's racing chugs. There's a brief comedown where the band veers into the musique concrete soundscapes and hushed melodrama of early Godspeed You! Black Emperor before "Come Back" resumes the band's merciless assault of stampeding drums and vitriolic guitar harmonies, only to shift mid-song into the somber territories of 4AD's early catalog.
Clarke says that the he came up with the idea of a "New Bermuda" to describe a new destination in life, a nebulous point of arrival, and an unknown future where things get swallowed up and dragged into darkness. It's a premise most aptly demonstrated on the album closer "Gifts For The Earth", where Clarke opens the song with the harrowing lyric "I imagine the gracious, benevolent ritual of Death" before describing a fatalistic descent to the ocean floor. Despite the morbid theme and tortured vocals, the song is perhaps the biggest musical departure for Deafheaven, with metal instrumentation largely excised in favor of lush, stately indie rock. Given Deafheaven's inverse relationship with real world hardship and creative beauty, it's only fitting that the most musically uplifting song on the album is the track about suicide.
Some of the most joyous music in history came from the most impoverished and oppressed societies. Meanwhile, some of the most nihilistic art has come out of countries of affluence and security. Music has always been a salve, an anodyne. But it's also an outlet, a reminder of the ugliness lingering in the shadows of a sterilized world. Ultimately, art is a counterweight, and Deafheaven reinforces this principle by making the most punishing music of their career in the wake of their greatest success.
Saturday 4 March
Rudyard's 08:00 PM All Ages $10.00 ADV $11.00 DAY OF BOX OFFICE
Venomous Maximus, Eternal Champion, Sumerlands, Snakeway
Venomous Maximus is a Metal band from Houston, TX. The sound combines intense, unabashed metal riffing that locks into heavy rock grooves featuring interjected dual leads and surprisingly darkened atmospheres. Add to it the distinctive voice of towering front man Gregg Higgins and his unorthodox, unsettling tone, and unholy sinister laugh.

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Tuesday 7 March
White Oak Music Hall Downstairs 07:00 PM All Ages $20.00 ADV   $23.00 DAY OF $25.00 DAY OF BOX OFFICE
The Brian Jonestown Massacre
Named in tribute to the legendary Rolling Stones guitarist and his influence in introducing Eastern culture and music into the world of Western rock & roll, the Brian Jonestown Massacre formed in San Francisco, CA, in 1990. Some 40 different members passed through the group's ranks over the next half-decade, but their focal point always remained singer/guitarist Anton Newcombe, who along with bassist Matt Hollywood, guitarist Dean Taylor, organist Mara Regal, accordionist Dawn Thomas, drummer Brian Glaze, and "Spokesperson for the Revolution" Joel Gion, recorded the Massacre's 1995 shoegazer-influenced debut LP, 'Methodrone.' A collection of early recordings, 'Spacegirl and Other Favorites,' followed on the band's own Tangible label in early 1996, and was the first of four Brian Jonestown Massacre LPs to appear that year. Next up was the brilliant, 'Their Satanic Majesties' Second Request,' a full-blown homage to the Stones' glorious psychedelic-era excesses. Recorded live in the studio, the grittier 'Take It from the Man!' found the band exploring even broader territory. Finally, the year ended with the release of 'Thank God for Mental Illness,' a showcase for strong country and blues leanings.
Thursday 9 March
White Oak Music Hall Upstairs 08:00 PM All Ages $12.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Moon Hooch
'm realizing more and more every day that you can make anything happen for yourself if you really want to," says Moon Hooch horn player Mike Wilbur. "You can change your existence by just going out and doing it, by taking simple actions every day."
If any band is a poster child for turning the power of positive thoughts and intention into reality, it's the explosive horn-and-percussion trio Moon Hooch. In just a few short years, the group-Wilbur, fellow horn player Wenzl McGowen, and drummer James Muschler-has gone from playing on New York City subway platforms to touring with the likes of Beats Antique, They Might Be Giants, and Lotus, as well as selling out their own headline shows in major venues around the country. On ‘Red Sky,' their third and most adventurous album to date, the band uses everything they've learned from their whirlwind journey to push their sound to new heights, bringing together the raw, transcendent energy of their live performances and the sleek sophistication of their studio work into a singular, intoxicating brew that blends elements of virtuosic jazz, groovy funk, and pulse-pounding electronic dance music.
"I think ‘Red Sky' is more focused than any of our past albums," reflects McGowen. "We practice meditation and yoga, and I think that we're more evolved as people than we've ever been right now. That evolution expresses itself as focus, and through focus comes our energy."
It was two years ago that the band released ‘This Is Cave Music,' an exhilarating thrill ride that earned rave reviews from critics and fans alike. NPR hailed it as "unhinged" and "irresistible," praising each musician's "remarkable abilities" and naming their Tiny Desk Concert one of the best in the prestigious series' history. The album followed their 2013 debut, which had Relix swooning for their "deep bass lines, catchy melodies and pounding rhythms," while the Wall Street Journal celebrated their "electronic house music mixed with brawny saxophone riffs." Though the band-whose members initially met as students at the New School-turned heads in the music industry as relative unknowns with a charismatic, unconventional sound (they play with unique tonguing techniques and utilize found objects like traffic cones attached to the bells of their horns to manipulate tone, for instance), they were already a familiar and beloved sight to straphangers in New York, who would react with such joy and fervor to their impromptu subway platform sets that the NYPD had to ban them from locations that couldn't handle the crowds. NY Mag once referred to their sound as "Jay Gatsby on ecstasy," while the NY Post fell for their "catchy melodic hooks and funky rhythms," saying they had "the power to make you secretly wish that the short [subway] wait becomes an indefinite delay."
While the band's busking days are behind them now, the lessons they learned from all those platform parties helped guide their approach to recording ‘Red Sky.'
"What we discovered playing in the subway," McGowen explains, "is that the more focus and the more energy you put into the music, and the more you listen to everything around you and integrate everything around you into your expression, the more the music becomes this captivating force for people."
Recorded at The Bunker studio in Brooklyn, ‘Red Sky' is nothing if not captivating. The album opens with the tribal urgency of the title track and proceeds, over the next 45 minutes, to utterly demolish any and every possible barrier that could stand between your ass and the dance floor. On ‘Shot,' Wilbur sings a stream of consciousness vocal line over an airtight groove, while "Psychotubes" channels the apocalyptic fire and brimstone of death metal, and the staccato intro of "That's What They Say" gives way to a gritty, late-night come-on of a saxophone line that's far more suggestive than any whispered words ever could be.
Though the band is heavily inspired by electronic music, they made a conscious effort to use as little in the way of "studio tricks" as possible on ‘Red Sky,' aiming instead to capture the sound of their live show, which has evolved significantly from their days underground.
"When we were playing in the subways, we were playing entirely acoustic," explains Wilbur. "It was just two saxes and a drum set. Then Wenzl acquired a baritone sax and we all started getting into music production and incorporating electronic music into our live shows."
At their performances, the band now plays through what they call a Reverse DJ setup, in which the live sound from their horns runs through Ableton software on their laptops to process recorded effects onto the output. In addition, to flesh out their sound on the road, the band began utilizing Moog synthesizers, an EWI (an electronic wind instrument that responds to breath in addition to touch), and other more traditional instruments like clarinets. Wilbur added vocals to his repertoire on some tracks (something the subway never allowed him to do), and Muschler, meanwhile, traveled halfway around the world to expand his percussion skills.
"I went to India, and the first morning I woke up, it was like 5am, and I followed this music along the banks of the Ganges," he remembers. "I eventually ended up finding this amazing tabla player, and after his performance, I asked him for lessons. He agreed, and I went for daily lessons with him and another guy for the next two weeks. After that, I took a train to Calcutta, where I met with the guru that I'd studied with in New York, and I did morning lessons with him and practiced throughout the day. It was an incredible musical immersion experience."
The band members all speak reverently of meditation and consciousness and the role it plays in their music (McGowen believes his introduction to it, spurred on in part by Wilbur and Muschler, saved his life), but equally close to their hearts are the environmental causes they champion. Moon Hooch tries to live up to their green ideals while traveling as much as possible, playing benefit shows, supporting local farmers and co-ops, participating in river cleanups, filming informative videos for their fans, and more. The band even runs a food blog, Cooking In The Cave, in which they highlight the healthy, sustainable, organic recipes they utilize with their mobile kitchen setup on tour.
For the members of Moon Hooch, commitments to consciousness and environmentalism and veganism and philosophy and peace aren't separate from their commitment to music, but actually integral parts of it. It's all tied into that same core approach that led to their discovery on the subway platform: try, even if it's just a little bit every day, even if it's just with the power of your mind, to make the world less like it is and more like you wish it could be.
"I'd say all of our songs express the essence of that kind of energy," concludes McGowen, "because before you can even think any thoughts, there exists the energy that drives those thoughts, and that energy is intention. I feel like we're putting the intention of positive change constantly into our music. While we're playing, I often see the future emerging: skyscrapers getting covered in plants, frowns turning into smiles, fistfights into hugs. I can see the energy of love and collaboration and trust replace the energy of fear, hatred and violence."
It's an ambitious vision, to be sure, but considering the band's track record at turning their thoughts and dreams into action and reality, perhaps it's only a matter of time.

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Friday 10 March
White Oak Music Hall Downstairs 07:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
The Wild Reeds And Blank Range, Dollie Barnes
The Wild Reed:

The Wild Reeds can be defined by one word: Harmony. The sound from this LA based band fronted by Kinsey Lee, Mackenzie Howe, and Sharon Silva dips in and out of multiple genres - some ethereal folk, some rock and roll rhythm and a hint of country twang (from Nick Jones and Nick Phakpiseth), but it all comes back to the root of this bands power: harmonies that create an instrument in and of itself.
The Wild Reeds released their formal debut albumBlind and Brave, in August 2014 at The Troubadour in West Hollywood. The album, produced by Raymond Richards at Red Rockets Glare Studios (Local Natives, Parson Redheads, Honey Honey, Dustbowl Revival), expounds on loss, love, growing up, and the experience of artists and workers pursuing their dreams.
The Wild Reeds spent most of 2016 on the road with stops at SXSW, Nelsonville Music Festival, Pickathon, Summerfest, Winnipeg Folk Festival and support and headline tours throughout the USA and Canada. In May, the band released a 3 song EP called Best Wishes that continues to display the growing and maturing artistry from the 3 unique songwriters. The EP was recorded by the band at NRG Studios in Los Angeles and was mixed by Doug Boehm (Girls, Dr Dog, Twin Peaks). The band are finishing 2016 in the studio working on their next album...


The Blank Range:
"It's a snapshot of transition, of worldview formation, of deciding which questions to try to answer, and which ones to leave alone." That's Grant Gustafson (guitar/vocals), theorizing about the genesis of Blank Range's new EP, Vista Bent.
Blank Range was born in Nashville in 2012, by accident. Jonathon Childers (guitar/vocals) and Matt Novotny (drums/vocals) were touring the Southeast with their college band, and through an acquaintance, stayed at Grant's on their way through Nashville. The last stop on the tour after Nashville was a Memphis house show that was canceled, leaving Childers and Novotny in Nashville for a few more days than originally planned. The seeds of the band-to-be were planted during those days and within six months, Childers and Novotny moved to Nashville. Blank Range was formed shortly thereafter as two separate creative conversations fused into a conversation between two front men and two songwriters.
After making the decision to end an eight-year relationship in favor of forging ahead with a then young creative partnership, Childers slipped into emotional disarray, finding discrete and temporary refuge in the bottoms of bottles. The recording process of Vista Bent forced Childers to reckon with his past face-to-face, unearthing a sober purpose and previously buried optimism. The concluding optimistic outlook of "Gardens" and "Circumstances," Childers' two contributions to Vista Bent, are his statements of intent.
Jonathon Childers' songs are raw, they read like attacks on himself and his circumstances. His voice bears the imprint of more years living than he has been alive, getting gritty when he reaches: "Just take me back," he pleads, in vain, as "Circumstances" approaches its refrains."
Gustafson's questions of intent are communicated partially through a lens that was developed during his music studies at North Central College in Chicago, particularly improvisational jazz. "Jeff Parker was the guy. I took a guitar lesson with him - he was involved with everybody. People didn't have regular bands at North Central. One guy would get a gig, and invite a bunch of friends to play. It was all improvised."
Gustafson plays a baritone guitar, custom built by his brother, Alex Gustafson at Chicago Fret Works. An obsession with 1960's Italian Spaghetti Westerns and soundtrack composer Ennio Morricone led Grant and Alex to collaborate on a baritone guitar that would become part of the foundation of the Blank Range sound. Alex rounded out the Blank Range six string customizations with a recent build for Childers.
Will Brown (keyboards) and Matt Novotny also studied music in college. Novotny gravitated toward the complexity of Latin rhythms. "Matt had a lot of ideas for subtle percussion additions that had been floating around in his head," Childers indicates. "Seeing him get to realize some of those on Vista Bent was a real joy." Taylor Zachry's (bass/vocals) persistence for pursuing The Byrds' four-part harmonies and Brown's draw to Duke Ellington's composition style, round out the Blank Range sound that is ever evolving.
Their shared study of music gives Blank Range a wide sonic palette to draw from, and therefore, the ability to craft more refined portraits of feeling. The execution of communicating those feelings in a live setting has been crafted, in part, by members' performances on tours playing with Jessica Lea Mayfield, Michael Nau (of Cotton Jones), Quiet Life, Jonny Fritz, and Rayland Baxter.
Blank Range spent the last three years touring North America, supporting national tours for Benjamin Booker, The Mountain Goats, The Cave Singers, and Black Joe Lewis & The Honeybears. On an enigma of a weekend, they opened for Alice In Chains in a few Midwestern casinos. Blank Range's live performance has blossomed, in part due to the education witnessed while sharing the stage with Spoon, Drive-By Truckers, Houndmouth, Strand of Oaks, Kevin Morby, The Wild Reeds, and Diarrhea Planet.
Vista Bent speaks straight to the heart of the transition into adulthood, where the emblems of youth live on as indelible parts of a full-fledged identity.

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Friday 10 March
White Oak Music Hall Upstairs 08:00 PM All Ages $13.00 ADV $15.00 DAY OF BOX OFFICE
Flynt Flossy And Turquoise Jeep & Yip Deceiver, iLL Faded & Hiram
Flynt Flossy
----------
"Everything is not meant to be understood," says Flynt Flossy co-CEO of the musical phenomenon Turquoise Jeep. Like many other visionary artists, founders Flynt Flossy and Whatchyamacallit felt industry boundaries were stifling their creativity. This encouraged them to combine their own talents with other like-minded friends and create their own label/ genre of music, EMB (Existing Musical Beings).

Turquoise Jeep Records is the definition of complete artistic freedom with no limitations. Their videos on Youtube accumulated millions of views and began their international notoriety. Since then they have been impacting the lives of people all over the world through their songs, vi"Everything is not meant to be understood," says Flynt Flossy co-CEO of the musical phenomenon Turquoise Jeep.

Like many other visionary artists, founders Flynt Flossy and Whatchyamacallit felt industry boundaries were stifling their creativity. This encouraged them to combine their own talents with other like-minded friends and create their own label/ genre of music, EMB (Existing Musical Beings). Turquoise Jeep Records is the definition of complete artistic freedom with no limitations. Their videos on Youtube accumulated millions of views and began their international notoriety.

Since then they have been impacting the lives of people all over the world through their songs, videos, live shows, clothing line, etc. "Turquoise Jeep is the art of expression, another world. And for those who want to be a part of that world, we welcome them with open arms." deos, live shows, clothing line, etc. "Turquoise Jeep is the art of expression, another world. And for those who want to be a part of that world, we welcome them with open arms."

Yip Deceiver
---------------
All talent, no leniency.

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Saturday 11 March
The Secret Group 07:00 PM All Ages $12.00 ADV $13.00 DAY OF BOX OFFICE
Rainbow Kitten Surprise
Rainbow Kitten Surprise and all five of its members hail from the mountains of Boone, North Carolina. With chilling harmonies, dynamic instrumentation, and introspective lyrics, their unique sound will keep you humming their tunes all day long. The Alternative/Indie-Pop band takes influence from great artists like Modest Mouse and Kings of Leon.

RKS was formed in early 2013 when the first two members, Sam Melo and Darrick "Bozzy" Keller, decided to begin writing and composing music together in their freshman dorm. What started out as just two college students with acoustic guitars would soon turn into a full fledged indie band. The addition of Ethan Goodpaster on lead guitar, Charlie Holt on bass, and Jess Haney on drums brought the group full circle.

After riveting performances at CMJ 2016 and Savannah Stopover, their fan base has grown from the small college town of Boone to all over the world. In 2015, their hit "Devil Like Me", was included on Spotify's Viral 50 Chart peaking at #16 in the U.S. and #6 in Canada. Whether you've been a fan for years or are just now hopping on the RKS train, you can bet this is just the beginning for Rainbow Kitten Surprise.

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Saturday 11 March
White Oak Music Hall Upstairs 08:00 PM All Ages $12.50 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Dorothy, The Georgia Flood
"This guy was telling me all this stuff that no one else could possibly know," says Dorothy Martin, the singer and namesake of Los Angeles rock quartet Dorothy. "The theme from The Twilight Zone was playing in my head. It was a ritual cleaning, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But, the weirdest part is that I had written the song before this happened."

As Dorothy Martin talks about her favorite song ("Medicine Man") from her band's forthcoming debut on Jay-Z's Roc Nation label, you begin to realize the precise reason why her music is so bewitching.


No, it's not because she might be more of a shaman than that mystic she met in Mexico City. It's because despite drawing from a familiar musical tradition-they are a rock band after all-Dorothy's music is rendered anew by this front-woman's singular vision. All of it is channeled through her. There is no one quite like her. So it follows, there has been nothing quite like this band before now.


"We're not trying to fit into a box. We're not trying to write songs we think should be on the radio," Martin says. "We just want to write good music. For me, the challenge is to be as honest as possible. I cannot live my life as a lie, at all. Every day, I wake up and think, 'What can I learn today and how can I give something back?' This is not selfishly motivated. The picture is bigger than me. It has nothing to do with me. It has to do with everybody. How is this going to make me better, other people better, the world better? If you don't have that, then why even do it?"


Even her contradictions make sense. She is filled with humility, yet wants to change the world. She has managed to tame any trace of an ego, yet knows instinctively she has something. In conversation, she pauses thoughtfully and expresses gratitude. On stage, she's intimidating and maybe a little scary, but the possibility of danger that lurks inside of her music is what makes you move a little closer. It's curiosity. You can't take your eyes off her. But, she is the first to remind you that Dorothy might be her name, but Dorothy is a band. It is both her and not her.


"It's like having three older brothers," she says. "I had to magically bump into these people and it's almost like it was predetermined, or predestined. It really feels that way."


Rounding out the quartet is drummer Dylan Howard, guitarist DJ Black and bassist Gregg. Rehearsing and touring and recording for well over a year, they've become a close-knit gang.


Martin is adamant about Dorothy being a group effort, but she no longer has to make that plea once you've heard the songs. The music they make is undeniably the sound of four, a muscular rhythm section elevated by the melodic counterpoint of guitar and vocals, all woven together into something not exactly rock, or blues, or punk, or even a combination of all three. Dorothy is its own invention, built upon familiar foundations, but sounding only like itself.


Take "Raise Hell," a song that shuffles along with nothing less than the blues-rock audacity of a lost Led Zeppelin track. The first verse arrives and Martin upends the whole affair, floating high above the floor-stomp kick drum and slide guitar, conducting this sinister orchestra without a baton, but the singular force of her incomparable voice. Go ahead and make your comparisons, you are not wrong. This is music that belongs on the historical timeline that runs from Black Sabbath up to Rid of Me-era PJ Harvey and right through recent bands like the Dead Weather. But this is Dorothy-next on that list, written in bold, not hiding inside an overcrowded timeline.


The momentum of Dorothy's rise speaks for itself. Just as Martin describes the formation of the band as something akin to fate, Dorothy's recent tour in support of Miguel, Rolling Stone putting them high on their list of new bands to know, Levi's grabbing the track "Wicked Ones" for an international campaign, and the band's self-made clip for "After Midnight" captivating none other than the decision-makers at Jay-Z's Roc Nation to sign the four-piece to a label not usually interested in rock bands-Dorothy's ascent is as transcendent as that pyramid in Mexico City adorned with the flapping wings of magic butterflies. In other words, you can't really explain it, so step aside or join in. Either way, this thing, this Dorothy, it's coming right at you.


"I'm just glad that they welcomed us and saw something special," Martin says of signing to Roc Nation, while pondering the band's future on the eve of their debut. "I try not to have any expectations. I'm always pushing us to be better. I'm my own toughest critic and I think this record is great. We'll just have to wait and see what the world thinks."

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Sunday 12 March
White Oak Music Hall Upstairs 07:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
Kane Strang, Cleen Teens, Since Always
Kane Strang's first album, Blue Cheese, picks up on the rough disaffection of his earlier demo collection, A Pebble And A Paper Crane, which he recorded in a WWII bomb shelter in Germany. Now back in his hometown of Dunedin, New Zealand, Kane spent two curious months alone, housesitting for his parents. Relocated, yet still isolated, Kane composed all of Blue Cheese over those quiet days. Lead-off track "The Web" channels pummeling bass lines punctuated by a twinkling synth that calls upon microscopic pop principalities of restlessness ("Yeah, I met someone else/ Without leaving my little house/ No, I haven't held her yet/ I met her on the internet"). Its abrupt ending parallels Strang's own disconnect. "She's Appealing" weaves day-glo guitar motifs into distant, detached ‘80s garage pop vocals. "Never Kissed A Blonde" is driven by a slapping delay on both vocals and guitar. Kane never doesn't surprise with his path towards a melody, nor does he miss a hit-on-the-head-obvious-in-retrospect memorable line.

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Monday 13 March
White Oak Music Hall Upstairs 06:30 PM All Ages $12.00 ADV $13.00 DAY OF BOX OFFICE
POTTY MOUTH + PARTYBABY
POTTY MOUTH
-------------------Potty Mouth are Western MA-based trio Abby Weems (guitar, lead vocals), Ally Einbinder (bass) and Victoria Mandanas (drums). Originating in 2011 from the hometown of guitar rock predecessors Dinosaur Jr., Potty Mouth emerged from a casual, "why not?" attitude when Einbinder, who met Mandanas at Smith college, set out to form a band with like-minded women who shared her interest in learning and growing together as musicians. Though no singer was chosen at the time of formation, Weems emerged as having a knack for melodies and lyric writing, and what started out as a casual pastime turned into a way of life; recording, making t-shirts, and planning tours soon came in natural succession.

One year after their formation, the band recorded a 12" vinyl EP, entitled 'Sun Damage,' released through three small, independently-run labels. 'Sun Damage' garnered the attention of Pitchfork, who called the six-song EP an "an impressive, no-filler debut," as well as local big-hitters The Boston Globe, who named Potty Mouth one of the top five indie-rock bands to watch in 2013.

In 2013, Potty Mouth signed with Brooklyn-based indie label Old Flame Records to release their debut full-length album, 'Hell Bent.' NPR music premiered the album, calling it "one of the best rock albums of the year." As Potty Mouth garnered national attention, the band began to tour more extensively, co-headlining their first full US tour with Perfect Pussy and Swearin' in summer 2014, as well as supporting artists like Waxahatchee and Juliana Hatfield.

On August 21, 2015, the band debuted a five-song self-titled EP under their own imprint, Planet Whatever Records. Produced by John Goodmanson (Sleater-Kinney, Blonde Redhead, Bikini Kill) at London Bridge Studios in Seattle, the new EP shows off a new level of both songwriting and production for the trio. Refreshingly candid, singer-guitarist Abby Weems weaves sarcasm and melancholia into a passionate performance held together by drummer Victoria Mandanas and bassist Ally Einbinder's solid foundation. The crisper direction emphasizes the work the triad has put in since 2013's 'Hell Bent,' with more vocal harmonies and bigger production, recalling the sounds of influences like Veruca Salt and Nirvana.


PARTYBABY
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PARTYBABY is the LA based 4 piece fronted by Jamie Reed and Noah Gersh, who, despite being only in their mid-20s, are both veterans of the modern rock scene (Gersh with Portugal. The Man and Reed with 30 Seconds to Mars). Their music can perhaps best be described as loud, hook-heavy rock in the spirit of Nirvana, Cheap Trick, Weezer, "Ziggy"-era Bowie, The Stooges, Smashing Pumpkins and The Cars. Their self-produced debut album, "The Golden Age of Bullshit", is mixed by Andy Wallace (Nirvana, The Cult, Run-DMC, Jeff Buckley).
Tuesday 14 March
White Oak Music Hall Upstairs Canceled
Ladyhawke, Me Not You
Dear all US and Canadian ticket holders we regret to say due to unforeseen circumstances we are unfortunately unable to perform in the US and Canada this spring. So sorry to everybody who bought tickets, thank you for your understanding and all your continued support. Ticket refunds will be available from your point of purchase. Ladyhawke Team.

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Tuesday 14 March
White Oak Music Hall Upstairs 07:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Nick Hakim, Norvis Junior
Nick Hakim grew up in Washington DC, went to the Berklee College of Music, and has been based in New York for the last several years. He's cited diverse influences, from Marvin Gaye and Curtis Mayfield, to Madlib and MF Doom, to the South American folk and DC punk records his family played as influences.

After building a dedicated following on Soundcloud, he released his two-part Where Will We Go EP in 2014 to praise from outlets like The FADER, Pigeons & Planes, Interview, Stereogum, Line of Best Fit, Consequence of Sound and more.

He's toured with Maxwell, How To Dress Well, KING and more; and appeared on
the DC emcee and producer Oddisee's 2015 album The Good Fight.

Nick Hakim recorded his debut full-length album "Green Twins" over the course of a year, experimenting with analog equipment in his bedroom and in Brooklyn studios. On many of the tracks, you can hear this process in the lo-fi buzz of bedroom demos layered just under the surface of fuller, more realized soundscapes. But across the album, which ranges from chaotic psychedelia to airy musings, Hakim's singular soulful voice cuts through.

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Friday 17 March
White Oak Music Hall Upstairs 07:00 PM All Ages $18.00 ADV   $20.00 DAY OF $22.00 DAY OF BOX OFFICE
Darkest Hour, Ringworm, Tombs
Darkest Hour's self titled 8th studio album is seen by some as the end of a journey spanning almost two decades. Others see it as a new beginning. Regardless, its place in history is complete. Debuting at Darkest Hour's highest ever Billboard chart position to date, self -titled allows the fresh talents of drummer Travis Orbin and bassist Aaron Deal to shine (both of which make their musical debut on this album). The cover art features the 7 sided Star of Babalon. Recoreded, mixed and Mastered over a two year period in Bethesda, MD by producer Taylor Larson, Darkest Hour was released on August 5, 2014. Music video and radio singles include: The Misery We Make, By The Starlight, Futurist, Rapture in Exile, and Wasteland. Upon release of the album the band toured along side the Rockstar Energy Drink Music Festiville with world touring expected.

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Friday 17 March
White Oak Music Hall Downstairs 08:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
William Clark Green, Flatland Cavalry
With two critically esteemed album releases already under his belt, William Clark Green is back and this time it is getting personal. Give Green a pen and paper and he is a lyrical force to be reckoned with. On his critically acclaimed third release, Rose Queen, he is puts it all on the line and makes absolutely no apologies. "Songwriting is reality. People are scared to put reality on paper, but this is 10 times more reality than my past work," he explains bluntly. The past few years have been consumed with Green touring heavily in the booming Texas scene and persistently writing a plethora of songs that are pulled from true to life experiences. Green has adamantly pushed his boundaries as a writer revealing, "Songwriting is exactly what is in your heart, in my opinion, it is not about writing a hit. It is about revealing your heart and your feelings on the paper."

The music on Rose Queen ranges from the familiar Cajan flare he is known for on "Let's Go" to the highly reflective and introspective "Welcome to the Family." In the candidly honest lead single, "It's About Time," Will tackles the harsh reality that a significant relationship must end. He explains, "I think the new record will connect with a certain demographic of people who have been effected by something in their lives and therefore can identify with my stories."

Not only has Green raised the bar with his seasoned writing and musicianship, he also enlisted a team of powerhouses to mold his full package of artistry. Music industry veteran Rachel Loy was recruited to undertake producing the new record. Green declares, "I was sold on her in just 30 minutes. She installs confidence and challenges me to be better." Also, in the last year he signed with new management, 415 Entertainment, as well as landed a booking deal with Nashville's Paradigm Agency. For the first time, Green embraced the nature of co-writing and included 4 tracks of co-writes on the new album.

William Clark Green is definitely no stranger to the music scene; he knew at the ripe age of 13 that he would embrace his passion and work vigorously in order to make a name for himself. As a 7th grader with substantial ambition, he began receiving guitar lessons and spending free time with his cousin writing music and bouncing ideas off of one another. Green draws inspiration from his personal musical hero Willis Allan Ramsey, as well as his father who Green has fond memories of with a guitar in hand.

While attending college at Texas Tech University, Green played for a live audience whenever he could and steadily gained notoriety on the Texas music scene. He credits the Blue Light in Lubbock as his unofficial home, where he spent many nights honing on his craft and gaining a loyal army of followers.

Rose Queen has already marked a number of milestones for the young storyteller. The debut single, "It's About Time", was welcomed at radio with open arms and earned William's first Top Ten song on Texas Radio. The momentum did not stop there as his follow up single, "She Likes The Beatles," recently scored the #1 position on both the Texas Music Chart (TMC) and the Texas Regional Radio Report (TRRR) in seemingly the blink of an eye. At this rate, the sky is the limit as everyone waits to see what William Clark Green has up his sleeve next. The full album released on April 30, 2013.

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Saturday 18 March
The Secret Group 07:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE


Hayley Kiyoko: The One Bad Night Tour, flor
Singer/songwriter/actress/director Hayley Kiyoko spent the past year quietly instigating the most wonderful sort of pop disruption via her breakthrough independent single "Girls Like Girls" on her critically acclaimed EP, This Side of Paradise. The music video, written and co-directed by Hayley and Austin S. Winchell, garnered over 40 million YouTube views in just the span of a year and 10 million Spotify streams.
Hayley began pondering her next creative evolution, which would ultimately drive her major label debut EP, CITRINE. In addition to "Girls Like Girls," the EP boasts five new tracks, all co-written by Hayley. Whether it's the lush and lithe celebration of a stranger's beauty on "Pretty Girl," or the airy electro-pop tribute to a lost loved one "Palace," her music comprises a hypnotic and heartfelt journey - bringing a fresh, focused, and fiery perspective to pop music.
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