Wonder Ballroom

In a darkening musical landscape where viral fads and AI-generated fakery share chart-space with the self-absorbed products of the nation’s stage schools, Buzzcocks shine out as a gleaming beacon of hope.
A constant, ever-evolving presence over the last 45 years of pop culture, the band’s legendary status will be set in stone — literally — with their inclusion in the Music Walk Of Fame in September, joining an illustrious roll call including David Bowie, The Who, Madness and Amy Winehouse.
The band’s never-better live shows, meanwhile, are electrifying reminders of rock music’s power to inspire, educate and inform. All delivered with an energy and conviction of a band half their age.
“It’s my lifeblood,” says Steve Diggle — 68 years young — of a non-stop touring schedule which over the summer will see them play to thousands of fans across Europe and the UK.
“I’ve still got the fire in my belly. Some musicians get bored of being on the road, but I’m institutionalised. I’ve done 50-odd years of staying in hotels. It’s what I signed up for. Ever since I saw Bob Dylan in the back of a black taxi in (D.A. Pennebaker’s 1967 documentary) Don’t Look Back, I always wanted to live this kind of life — being interviewed in the back of a black taxi on the way to the studio.”

While most of their punk peers are content to traverse the globe in jukebox-style revue shows, Buzzcocks continue to move with the times, attracting new fans wherever they go. A case in point being the huge all-ages crowd the band pulled at the Iggy Pop-headlined Dog Day Afternoon in July.
“There’s not a lot of intellectual or emotional thinking in music these days,” observes Steve. “People are being controlled. They’ll watch a video of someone falling over a banana skin and think they’re being entertained. They don’t realise the beauty of words, and the power of music. I’d like to think young kids who come to see us feel the same excitement I got from Little Richard and Chuck Berry. It goes back to the punk thing. It was about attitude and a way of thinking. We had the questions, but we didn’t have the answers. But the questions are the important thing.”

In a darkening musical landscape where viral fads and AI-generated fakery share chart-space with the self-absorbed products of the nation’s stage schools, Buzzcocks shine out as a gleaming beacon of hope.
A constant, ever-evolving presence over the last 45 years of pop culture, the band’s legendary status will be set in stone — literally — with their inclusion in the Music Walk Of Fame in September, joining an illustrious roll call including David Bowie, The Who, Madness and Amy Winehouse.
The band’s never-better live shows, meanwhile, are electrifying reminders of rock music’s power to inspire, educate and inform. All delivered with an energy and conviction of a band half their age.
“It’s my lifeblood,” says Steve Diggle — 68 years young — of a non-stop touring schedule which over the summer will see them play to thousands of fans across Europe and the UK.
“I’ve still got the fire in my belly. Some musicians get bored of being on the road, but I’m institutionalised. I’ve done 50-odd years of staying in hotels. It’s what I signed up for. Ever since I saw Bob Dylan in the back of a black taxi in (D.A. Pennebaker’s 1967 documentary) Don’t Look Back, I always wanted to live this kind of life — being interviewed in the back of a black taxi on the way to the studio.”

While most of their punk peers are content to traverse the globe in jukebox-style revue shows, Buzzcocks continue to move with the times, attracting new fans wherever they go. A case in point being the huge all-ages crowd the band pulled at the Iggy Pop-headlined Dog Day Afternoon in July.
“There’s not a lot of intellectual or emotional thinking in music these days,” observes Steve. “People are being controlled. They’ll watch a video of someone falling over a banana skin and think they’re being entertained. They don’t realise the beauty of words, and the power of music. I’d like to think young kids who come to see us feel the same excitement I got from Little Richard and Chuck Berry. It goes back to the punk thing. It was about attitude and a way of thinking. We had the questions, but we didn’t have the answers. But the questions are the important thing.”

Composed of Keanu, Chris, Ricky and Gavin, INOHA is defined by their intricate guitar work, impactful vocals, and catchy lyrics. Each member has their own unique musical background that collectively influences the band’s sound, delivering a familiar yet fresh take on the indie/pop rock genre.

Composed of Keanu, Chris, Ricky and Gavin, INOHA is defined by their intricate guitar work, impactful vocals, and catchy lyrics. Each member has their own unique musical background that collectively influences the band’s sound, delivering a familiar yet fresh take on the indie/pop rock genre.

JOSEPH is the Oregon-bred sister trio of Natalie, Allie, and Meegan Closner, known for
their powerful harmonies, emotionally honest songwriting, and genre-blurring blend of
indie pop, folk, and rock. Since releasing their breakout debut I’m Alone, No
You’re Not in 2016—which featured their hit single “White Flag” and landed them
on The Tonight Show, TODAY, and the Billboard charts—the band has steadily built a
devoted following through gripping live performances, national tours, and appearances
at major festivals including Coachella, Glastonbury, and Bonnaroo.

Over the years, JOSEPH has released a string of critically acclaimed records
including Good Luck, Kid (2019) and The Sun (2023), praised for their rich vocal
arrangements andsoul-baring lyricism. Their most recent release Closer to Happy (2026)
marks their boldest and most personal work to date. Co-produced with Luke Niccoli (Carly
Rae Jepsen, Miya Folick), the project explores themes of grief, self-trust, and radical selfacceptance.
Whether through triumphant anthems like “I Believe In Myself” or gut-punch
ballads like “Bye and Bye,” JOSEPH continues to turn lived experience into songs that
resonate far beyond the surface.

JOSEPH is the Oregon-bred sister trio of Natalie, Allie, and Meegan Closner, known for
their powerful harmonies, emotionally honest songwriting, and genre-blurring blend of
indie pop, folk, and rock. Since releasing their breakout debut I’m Alone, No
You’re Not in 2016—which featured their hit single “White Flag” and landed them
on The Tonight Show, TODAY, and the Billboard charts—the band has steadily built a
devoted following through gripping live performances, national tours, and appearances
at major festivals including Coachella, Glastonbury, and Bonnaroo.

Over the years, JOSEPH has released a string of critically acclaimed records
including Good Luck, Kid (2019) and The Sun (2023), praised for their rich vocal
arrangements andsoul-baring lyricism. Their most recent release Closer to Happy (2026)
marks their boldest and most personal work to date. Co-produced with Luke Niccoli (Carly
Rae Jepsen, Miya Folick), the project explores themes of grief, self-trust, and radical selfacceptance.
Whether through triumphant anthems like “I Believe In Myself” or gut-punch
ballads like “Bye and Bye,” JOSEPH continues to turn lived experience into songs that
resonate far beyond the surface.

Daniel Nwosu Jr., better known as the artist Dax, shows no signs of stopping after riding a wave of success that has led to nearly four billion global career streams. Dax released a slew of fan-favorite singles in 2025, following his country-infused breakout song “Dear Alcohol,” which amassed over 350M streams and his genre-blending viral hit “Lonely Dirt Road,” leading to his Lonely Dirt Road headline tour last fall. The tour sold out, hitting major cities worldwide including Chicago, Los Angeles, New York and more. In 2026, Dax continues to build on that success with more new music, starting with the release of “Temptation,” “God, Can You Hear Me?” and “Caught You In The Bed,” out now. More new music and headline tour dates are on the horizon.

Sparked by his millions of devoted followers on TikTok, Dax has amassed over 48 million followers across his social platforms. He has collaborated with Darius Rucker, Elle King and Maverick City Music. His music has found space blending genres and has appeared on numerous Billboard charts, Spotify’s Viral 50 (US + Global) chart. He has received multiple Platinum certifications for “Dear Alcohol,” “Lonely Dirt Road” and “To Be A Man” ft. Darius Rucker. He has performed live on NBC News, ABC News and TODAY.

Daniel Nwosu Jr., better known as the artist Dax, shows no signs of stopping after riding a wave of success that has led to nearly four billion global career streams. Dax released a slew of fan-favorite singles in 2025, following his country-infused breakout song “Dear Alcohol,” which amassed over 350M streams and his genre-blending viral hit “Lonely Dirt Road,” leading to his Lonely Dirt Road headline tour last fall. The tour sold out, hitting major cities worldwide including Chicago, Los Angeles, New York and more. In 2026, Dax continues to build on that success with more new music, starting with the release of “Temptation,” “God, Can You Hear Me?” and “Caught You In The Bed,” out now. More new music and headline tour dates are on the horizon.

Sparked by his millions of devoted followers on TikTok, Dax has amassed over 48 million followers across his social platforms. He has collaborated with Darius Rucker, Elle King and Maverick City Music. His music has found space blending genres and has appeared on numerous Billboard charts, Spotify’s Viral 50 (US + Global) chart. He has received multiple Platinum certifications for “Dear Alcohol,” “Lonely Dirt Road” and “To Be A Man” ft. Darius Rucker. He has performed live on NBC News, ABC News and TODAY.

Los Angeles based nineteen year old Jeremiah Mark (they/he) released their first full-length endeavor under the moniker Lucy Bedroque, their deadAir Records debut. With no prior singles, the breakneck seventeen track shotgun blast of Digicore and Hardcore Hip Hop, titled “Unmusique” has established them as a bastion of these underground sounds. The release date coincided with their first show on the Jane Remover and Dazegxd tour “TURN UP OR DIE”, along with a full west coast run.

Leading up to this moment, Lucy Bedroque gained a cult following in the shadowy sectors of the online underground, with a break-out debut LP “Sisterhood” as Lostrushi. This is the name that raised them to notoriety alongside peers 9lives, prettifun, and egobreak. The new material continues further down the same path, combining cutthroat rage, with the eclecticism and sensitivities of Stereolab, Radiohead, and Deftones.

While forging their distinct multi-media surrealism, Mark also found a penchant for customized linguistics and contorting the English language. Most notably, the title “Glutmother” (the name fans chose for a hyper-active Subreddit) graces the cover art of the debut and the packaging of “Unmusique. “The role of motherhood here is representative of a superiority to everything around it. But beyond humans, it’s a reference to mother nature and creation.” They explain. As for why it’s juxtaposed with gluttony, that’s because “People want more than anyone can handle, and I’ve responded to it with a perfectionist’s mindset.” They combine into a deep resonance of identity that’d easily evade a new listener.

Los Angeles based nineteen year old Jeremiah Mark (they/he) released their first full-length endeavor under the moniker Lucy Bedroque, their deadAir Records debut. With no prior singles, the breakneck seventeen track shotgun blast of Digicore and Hardcore Hip Hop, titled “Unmusique” has established them as a bastion of these underground sounds. The release date coincided with their first show on the Jane Remover and Dazegxd tour “TURN UP OR DIE”, along with a full west coast run.

Leading up to this moment, Lucy Bedroque gained a cult following in the shadowy sectors of the online underground, with a break-out debut LP “Sisterhood” as Lostrushi. This is the name that raised them to notoriety alongside peers 9lives, prettifun, and egobreak. The new material continues further down the same path, combining cutthroat rage, with the eclecticism and sensitivities of Stereolab, Radiohead, and Deftones.

While forging their distinct multi-media surrealism, Mark also found a penchant for customized linguistics and contorting the English language. Most notably, the title “Glutmother” (the name fans chose for a hyper-active Subreddit) graces the cover art of the debut and the packaging of “Unmusique. “The role of motherhood here is representative of a superiority to everything around it. But beyond humans, it’s a reference to mother nature and creation.” They explain. As for why it’s juxtaposed with gluttony, that’s because “People want more than anyone can handle, and I’ve responded to it with a perfectionist’s mindset.” They combine into a deep resonance of identity that’d easily evade a new listener.

Montreal-born, Nashville-based Allison Russell is a Grammy, Juno, Americana, SOCAN, and Folk Award–winning artist and Polaris Prize–shortlisted singer-songwriter, producer, author, actor, and human rights advocate.

Her acclaimed solo debut Outside Child (2021) was followed by The Returner (2023), released via Concord/Fantasy. Prior to her solo work, she co-founded and toured internationally with Po’Girl, Birds of Chicago, and Our Native Daughters, and remains an active collaborator with OND and a member of Joni Mitchell’s Joni Jam.

In 2024, Russell joined Hozier’s Unreal Unearth tour across the U.S. and Europe, with their duet “Wildflower & Barley” earning her first Billboard Hot 100 entry. Her Rainbow Coalition ensemble and All Returners tour continued through 2025 across Australia and North America. She also co-wrote “Human Mind” with Hozier for Mavis Staples.

Russell has received eight Grammy nominations and one win, alongside multiple honors including Americana Award nominations and Album of the Year, a Juno Award for Contemporary Roots Album of the Year, International Folk Music Awards, Canadian Folk Music Awards, and UK Americana Awards. She was also named Billboard Women in Music Canada’s Breakthrough Artist of the Year and shortlisted for the Polaris Prize.

She made her Broadway debut as Persephone in Anaïs Mitchell’s Hadestown in November 2024 and has since completed a second run in the role. Offstage, Russell is a powerful advocate and organizer, curating the historic Once and Future Sounds set at Newport Folk Festival and co-founding Love Rising, which has raised over $550,000 in support of LGBTQIA+ communities.

Her forthcoming memoir will be published by Little, Brown, and her third album is slated for release in 2026.

Montreal-born, Nashville-based Allison Russell is a Grammy, Juno, Americana, SOCAN, and Folk Award–winning artist and Polaris Prize–shortlisted singer-songwriter, producer, author, actor, and human rights advocate.

Her acclaimed solo debut Outside Child (2021) was followed by The Returner (2023), released via Concord/Fantasy. Prior to her solo work, she co-founded and toured internationally with Po’Girl, Birds of Chicago, and Our Native Daughters, and remains an active collaborator with OND and a member of Joni Mitchell’s Joni Jam.

In 2024, Russell joined Hozier’s Unreal Unearth tour across the U.S. and Europe, with their duet “Wildflower & Barley” earning her first Billboard Hot 100 entry. Her Rainbow Coalition ensemble and All Returners tour continued through 2025 across Australia and North America. She also co-wrote “Human Mind” with Hozier for Mavis Staples.

Russell has received eight Grammy nominations and one win, alongside multiple honors including Americana Award nominations and Album of the Year, a Juno Award for Contemporary Roots Album of the Year, International Folk Music Awards, Canadian Folk Music Awards, and UK Americana Awards. She was also named Billboard Women in Music Canada’s Breakthrough Artist of the Year and shortlisted for the Polaris Prize.

She made her Broadway debut as Persephone in Anaïs Mitchell’s Hadestown in November 2024 and has since completed a second run in the role. Offstage, Russell is a powerful advocate and organizer, curating the historic Once and Future Sounds set at Newport Folk Festival and co-founding Love Rising, which has raised over $550,000 in support of LGBTQIA+ communities.

Her forthcoming memoir will be published by Little, Brown, and her third album is slated for release in 2026.

A dance party designed for women and gender-expansive folks that starts at 6pm and ends at 10pm — because we have shit to do in the morning! At Decades Night, DJ z!ta has us time traveling from the 80s through the 2000s and back again!

9–10PM: All 3 decades represented in a grab bag of pure dance-floor euphoria.

A judgment-free dance floor built on joy, kindness, and connection

Come solo, come with friends, come ready to sweat

10% of ticket proceeds benefit the Susie Lee Legacy Fund, supporting nonprofits that uplift women, gender-expansive people, and communities that need it most. 🪩✨

Note: While we don’t police identity at the door, we ask that everyone who purchases a ticket respects this as a safe space for women and gender-expansive folks.

By purchasing tickets, you consent to event photography and video for promotional use.

A dance party designed for women and gender-expansive folks that starts at 6pm and ends at 10pm — because we have shit to do in the morning! At Decades Night, DJ z!ta has us time traveling from the 80s through the 2000s and back again!

9–10PM: All 3 decades represented in a grab bag of pure dance-floor euphoria.

A judgment-free dance floor built on joy, kindness, and connection

Come solo, come with friends, come ready to sweat

10% of ticket proceeds benefit the Susie Lee Legacy Fund, supporting nonprofits that uplift women, gender-expansive people, and communities that need it most. 🪩✨

Note: While we don’t police identity at the door, we ask that everyone who purchases a ticket respects this as a safe space for women and gender-expansive folks.

By purchasing tickets, you consent to event photography and video for promotional use.

Platinum certified singer, songwriter, producer, and multi instrumentalist Sueco has established himself as one of alternative music’s most versatile independent artists, amassing over 1 billion global streams and billions of views across social platforms. Since breaking onto the scene in 2018, he has been at the forefront of a new generation of internet native artists, leveraging viral storytelling, digital marketing, and direct fan engagement to build a global audience. By consistently creating moments that resonate both online and on stage, Sueco has cultivated a loyal worldwide fanbase while establishing himself as one of alternative music’s most recognizable voices.

Known for seamlessly blending rock, punk, metal, hip hop, and pop into a sound entirely his own, Sueco has built a catalog that refuses to be confined by genre. Equal parts songwriter, producer, and performer, his ability to pair massive hooks with raw emotion and explosive energy has earned him a reputation as one of the genre’s most exciting crossover artists while maintaining an unmistakable artistic identity.

That momentum has continued throughout 2026. Sueco returned with “REARRANGING SCARS,” featured in the latest installment of the Scream franchise, before joining forces with blackbear on the explosive single “ENEMY.” He followed it with “ARE YOU ENTERTAINED?” alongside longtime friend and collaborator Jeris Johnson, delivering one of the year’s standout alternative collaborations and further showcasing his versatility as both a songwriter and artist.

Platinum certified singer, songwriter, producer, and multi instrumentalist Sueco has established herself as one of alternative music’s most versatile independent artists, amassing over 1 billion global streams and billions of views across social platforms. Since breaking onto the scene in 2018, he has been at the forefront of a new generation of internet native artists, leveraging viral storytelling, digital marketing, and direct fan engagement to build a global audience. By consistently creating moments that resonate both online and on stage, Sueco has cultivated a loyal worldwide fanbase while establishing himself as one of alternative music’s most recognizable voices.

Known for seamlessly blending rock, punk, metal, hip hop, and pop into a sound entirely his own, Sueco has built a catalog that refuses to be confined by genre. Equal parts songwriter, producer, and performer, his ability to pair massive hooks with raw emotion and explosive energy has earned him a reputation as one of the genre’s most exciting crossover artists while maintaining an unmistakable artistic identity.

That momentum has continued through 2026. Sueco returned with “REARRANGING SCARS,” featured in the latest installment of the Scream franchise, before joining forces with blackbear on the explosive single “ENEMY.” He followed it with “ARE YOU ENTERTAINED?” alongside longtime friend and collaborator Jeris Johnson, delivering one of the year’s standout alternative collaborations and further showcasing his versatility as both a songwriter and artist.

Now fully independent, Sueco continues to build momentum through major film placements, high profile collaborations, and a growing international audience while maintaining full creative control over his music and career. His fearless songwriting, genre bending creativity, and instinct for connecting with fans have positioned him among a new generation of artists redefining what an independent career can look like.

Eivør is one of the most distinctive voices to emerge from the Nordic music scene, an artist whose work bridges ancient tradition and contemporary sound. Raised in the Faroe Islands, her music is deeply shaped by the stark landscapes and communal singing culture of her homeland, where music is both ritual and everyday expression.

Blending elements of Nordic folk, cinematic composition and modern production, Eivør has built a genre-defying catalogue across 11 studio albums. Her sound moves fluidly between the primal and the refined, combining raw vocal techniques, atmospheric textures and rhythmic intensity. In 2021, she was awarded the Nordic Council Music Prize, recognising her unique artistic voice and contribution to contemporary music.

Alongside her solo work, Eivør has gained international recognition for her compositions for film, television and games, including The Last Kingdom and God of War, where her voice and writing have helped define expansive, emotionally driven sound worlds.

Some artists need to be experienced in person. Eivør is one of them.

Originally from the Faroe Islands, Eivør brings her extraordinary voice and full band to the Wonder Ballroom on November 18th —a rare chance to encounter an artist whose music feels both deeply intimate and otherworldly.

Dark atmospheric rock, pulsing electronics and primal vocals meet in a live show that moves from a whisper to overwhelming power. Having opened for Heilung as their special guest on numerous tours, she now brings her own world to Portland.

Known for her unmistakable voice on The Last Kingdom and God of War soundtracks, Eivør is celebrating her new album TUNGL, released 16 October on Nuclear Blast.

“Gave even the mighty Chelsea Wolfe a run for her money” — Kerrang!, ArcTanGent live review, 2026

For fans of Chelsea Wolfe, Wardruna and Heilung.

Jamila Woods is a musician, poet, and multidisciplinary artist from the South Side of Chicago. Her critically acclaimed debut album HEAVN – an ode to Blackness, girlhood, and home – was released by JagJaguwar Records in 2017. Her sophomore project, LEGACY! LEGACY!, features twelve tracks named after writers, thinkers, and visual artists who have influenced the creator’s life and work – including James Baldwin, Nikki Giovanni and Frida Kahlo. Her most recent album, Water Made Us, is a genre-blending song cycle on love and the wisdom of surrender.

Jamila has been featured on NPR’s Tiny Desk, CBS This Morning, and The Late Show with Stephen Colbert. She has shared stages with Corinne Bailey Rae, Rafael Saadiq, Bonobo, Common, Chance the Rapper, Brittany Howard, Macklemore, and many others. An award-winning poet, Jamila’s work often blurs boundaries between poem and song. As cultural critic Doreen St. Felix writes, “It makes you wish all singers were poets.”

Jamila Woods is a musician, poet, and multidisciplinary artist from the South Side of Chicago. Her critically acclaimed debut album HEAVN – an ode to Blackness, girlhood, and home – was released by JagJaguwar Records in 2017. Her sophomore project, LEGACY! LEGACY!, features twelve tracks named after writers, thinkers, and visual artists who have influenced the creator’s life and work – including James Baldwin, Nikki Giovanni and Frida Kahlo. Her most recent album, Water Made Us, is a genre-blending song cycle on love and the wisdom of surrender.

Jamila has been featured on NPR’s Tiny Desk, CBS This Morning, and The Late Show with Stephen Colbert. She has shared stages with Corinne Bailey Rae, Rafael Saadiq, Bonobo, Common, Chance the Rapper, Brittany Howard, Macklemore, and many others. An award-winning poet, Jamila’s work often blurs boundaries between poem and song. As cultural critic Doreen St. Felix writes, “It makes you wish all singers were poets.”

Since 2018, Growing Pains have been writing and performing blue-tinted indie rock, spritzed with emo, power pop, and shoegaze influences. Formed at an after-school music program, the members of Growing Pains communed over a shared love for Joyce Manor and Blink-182. They soon made the rounds through the Portland DIY circuit, playing scene staples such as Blackwater and Fail House. After releasing their debut album Heaven Spots, the band temporarily relocated to Eugene, where they wrote their next project. Leaving their pop-punk influences at home, the group took influence from the frenzied side of indie rock, choosing to channel the phantasmic soundscapes of My Bloody Valentine and disarranged stimulantics of Broken Social Scene. This came to fruition in the 2023 EP Thought I Heard Your Car, a 5 song meditation on nostalgia; l’esprit d’escalier in song form. Playwright Antonin Artaud wrote: “I abandon myself to the fever of dreams, in search for new laws.” For Portland-based indie quartet Growing Pains, the dream world is where apathy ends, and euphoria begins.

Since 2018, Growing Pains have been writing and performing blue-tinted indie rock, spritzed with emo, power pop, and shoegaze influences. Formed at an after-school music program, the members of Growing Pains communed over a shared love for Joyce Manor and Blink-182. They soon made the rounds through the Portland DIY circuit, playing scene staples such as Blackwater and Fail House. After releasing their debut album Heaven Spots, the band temporarily relocated to Eugene, where they wrote their next project. Leaving their pop-punk influences at home, the group took influence from the frenzied side of indie rock, choosing to channel the phantasmic soundscapes of My Bloody Valentine and disarranged stimulantics of Broken Social Scene. This came to fruition in the 2023 EP Thought I Heard Your Car, a 5 song meditation on nostalgia; l’esprit d’escalier in song form. Playwright Antonin Artaud wrote: “I abandon myself to the fever of dreams, in search for new laws.” For Portland-based indie quartet Growing Pains, the dream world is where apathy ends, and euphoria begins.

Portland, let’s get ready for an 80s synth wave party! 📼✨

Get ready for a massive night of New Wave anthems at the Wonder Ballroom.

Nite Wave is bringing the ultimate tribute to Depeche Mode and New Order, joined by The Lovecats performing all your favorites from The Cure. 🎸🎹 It’s going to be an epic night of classic synth-pop and unforgettable hits!

Portland, let’s get ready for an 80s synth wave party! 📼✨

Get ready for a massive night of New Wave anthems at the Wonder Ballroom.

Nite Wave is bringing the ultimate tribute to Depeche Mode and New Order, joined by The Lovecats performing all your favorites from The Cure. 🎸🎹 It’s going to be an epic night of classic synth-pop and unforgettable hits!

Portland, let’s get ready for an 80s synth wave party! 📼✨

Get ready for a massive night of New Wave anthems at the Wonder Ballroom.

Nite Wave is bringing the ultimate tribute to Depeche Mode and New Order, joined by The Lovecats performing all your favorites from The Cure. 🎸🎹 It’s going to be an epic night of classic synth-pop and unforgettable hits!

Jalen Ngonda honours soul music’s rich history while pushing it forward into new territory, an artist who’s both archivist and explorer, a disciple of the greats actively shaping the future of music. Having spent the last three years growing this new soul vision from small clubs to arenas and festivals across the world Ngonda stands poised to become the new spokesman of authentic soul with the release of his second album Doctrine Of Love.

Doctrine Of Love is an instant classic of an album, a long player alive with a confidence and swagger that seals the young singer’s reputation as not only the spiritual heir of soul’s great leading men but a one-off songwriting talent stepping far out from the shadows of his artistic ancestors. The title track ‘Doctrine Of Love’ sets both the emotional tone and musical template for the rest of the album, “I wrote that track when I was trying to do anything to get out of the studio” remembers Ngonda. “I was listening to a lot of James Brown at the time and that was an inspiration – Doctrine to me was a word no-one ever uses, I took it to be like a certificate, the ‘Certificate of Love’ – look, I think maybe I meant ‘doctorate’, but we wrote it and recorded it and now it’s a whole thing.” The Doctrine of Love is multi-faceted of course – yes, it can be a cool word that fits the song, it can be a code, a philosophy, words to live by, words to love by, words to write some classic music by. ““I just write the song,” Ngonda enthuses, “the listener can interpret it however they want.”

Jalen Ngonda honours soul music’s rich history while pushing it forward into new territory, an artist who’s both archivist and explorer, a disciple of the greats actively shaping the future of music. Having spent the last three years growing this new soul vision from small clubs to arenas and festivals across the world Ngonda stands poised to become the new spokesman of authentic soul with the release of his second album Doctrine Of Love.

Doctrine Of Love is an instant classic of an album, a long player alive with a confidence and swagger that seals the young singer’s reputation as not only the spiritual heir of soul’s great leading men but a one-off songwriting talent stepping far out from the shadows of his artistic ancestors. The title track ‘Doctrine Of Love’ sets both the emotional tone and musical template for the rest of the album, “I wrote that track when I was trying to do anything to get out of the studio” remembers Ngonda. “I was listening to a lot of James Brown at the time and that was an inspiration – Doctrine to me was a word no-one ever uses, I took it to be like a certificate, the ‘Certificate of Love’ – look, I think maybe I meant ‘doctorate’, but we wrote it and recorded it and now it’s a whole thing.” The Doctrine of Love is multi-faceted of course – yes, it can be a cool word that fits the song, it can be a code, a philosophy, words to live by, words to love by, words to write some classic music by. ““I just write the song,” Ngonda enthuses, “the listener can interpret it however they want.”

Portland-based duo Harlee Case and Josh Smith have spent years building something real, and it shows. Their debut single “Hot Blooded” has already crossed 220 milion streams and keeps growing, fueled by major sync placements in the Netflix film Voicemails from Isabela, EA Sports FC 2026, and a recent remix with STRFKR. Their debut album It Comes in Waves(Nettwerk) is out now. Coming off 38 sold-out US shows, a headline run across the UK and EU, and festival appearances at Lolapalooza, BottleRock, Austin City Limits, and Corona Capital, this is a band hitting their stride in real time. Don’t miss them.

Portland-based duo Harlee Case and Josh Smith have spent years building something real, and it shows. Their debut single “Hot Blooded” has already crossed 220 milion streams and keeps growing, fueled by major sync placements in the Netflix film Voicemails from Isabela, EA Sports FC 2026, and a recent remix with STRFKR. Their debut album It Comes in Waves(Nettwerk) is out now. Coming off 38 sold-out US shows, a headline run across the UK and EU, and festival appearances at Lolapalooza, BottleRock, Austin City Limits, and Corona Capital, this is a band hitting their stride in real time. Don’t miss them.

feeble little horse is naturally delighted to present their third full-length LP, bitknot. The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania.

A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, bitknot by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-sufficiency” and materialism. “The album art is based on the coincidental core memory matrix, which was used in old computers to store memory / access information using 0s and 1s. Each core, or ‘bit,’ is accessed through the grid of wires, like a knot that stores secret details and memories.”bitknot asks that we find new modes of being through this grid, entrusting one another with the collaborative construction of these knots. This negotiation with an ever-developing hybrid reality is expertly exemplified in the album’s production–the buoyancy of Kinsler’s arrangements provide a perfectly balanced surface tension for the weight of Slocum’s meandering introspection as they playfully harmonize against saccharine hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework, and some of Kelley’s most laser-focused drums to date to create a sonic chimera that is as likely to be found nascently developing in the early aughts as some unknown, chromatic future.

Rhymes written with sidewalk chalk that refuse to be erased in the Anthropocene’s acid rain of destructive relationships, Herbert Marcuse’s One-Dimensional Man manifest through the spirit of a young woman born in the shadow of the Steel City’s industrial ghosts, a study of the clumsy alchemy of IRL and WWW–it is within these rhizomatic contradictions that bitknot proliferates

feeble little horse is naturally delighted to present their third full-length LP, bitknot. The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania.

A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, bitknot by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-sufficiency” and materialism. “The album art is based on the coincidental core memory matrix, which was used in old computers to store memory / access information using 0s and 1s. Each core, or ‘bit,’ is accessed through the grid of wires, like a knot that stores secret details and memories.”bitknot asks that we find new modes of being through this grid, entrusting one another with the collaborative construction of these knots. This negotiation with an ever-developing hybrid reality is expertly exemplified in the album’s production–the buoyancy of Kinsler’s arrangements provide a perfectly balanced surface tension for the weight of Slocum’s meandering introspection as they playfully harmonize against saccharine hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework, and some of Kelley’s most laser-focused drums to date to create a sonic chimera that is as likely to be found nascently developing in the early aughts as some unknown, chromatic future.

Rhymes written with sidewalk chalk that refuse to be erased in the Anthropocene’s acid rain of destructive relationships, Herbert Marcuse’s One-Dimensional Man manifest through the spirit of a young woman born in the shadow of the Steel City’s industrial ghosts, a study of the clumsy alchemy of IRL and WWW–it is within these rhizomatic contradictions that bitknot proliferates

Frost Children is the music of New York City-based siblings Angel and Lulu Prost, who make kinetic, shape-shifting pop sounds that draw from dozens of disparate styles at once. The duo create a blend of playful, mysterious, and ridiculous sounds and genre-transcending experiments. Their 2023 album, Speed Run, referenced ’90s R&B one second and melodramatic mall punk the next, and companion piece Hearth Room was more organically produced but also moved quickly from sound to sound as Frost Children found new articulations of their surprisingly catchy pop. In 2025, the duo’s third album Sister embraced EDM styles, and 2026’s Tweaker Poem EP delved into hardstyle and trance.

Frost Children is the music of New York City-based siblings Angel and Lulu Prost, who make kinetic, shape-shifting pop sounds that draw from dozens of disparate styles at once. The duo create a blend of playful, mysterious, and ridiculous sounds and genre-transcending experiments. Their 2023 album, Speed Run, referenced ’90s R&B one second and melodramatic mall punk the next, and companion piece Hearth Room was more organically produced but also moved quickly from sound to sound as Frost Children found new articulations of their surprisingly catchy pop. In 2025, the duo’s third album Sister embraced EDM styles, and 2026’s Tweaker Poem EP delved into hardstyle and trance.

Tiny Habits were still students in Boston when they began gaining recognition for the harmony-focused song covers recorded in their dorm stairwell and posted to millions of listeners on TikTok. They released their first EP of original songs, Tiny Things, in April 2023 and soon earned a spot opening for Gracie Abrams on her ‘Good Riddance Tour’ in North American and Australia. Later that year they hit the road again supporting Noah Kahan in Europe on the ‘Stick Season Tour’.

Since their debut they have toured with music legends like James Taylor, Sarah McLachlan, Lake Street Dive, and Vance Joy. They performed with Lizzy McAlpine on her Tiny Desk concert, harmonized with Kacey Musgraves, Marcus Mumford, Matty Healy, and Laufey among many others. The band were recently profiled in The New Yorker which touted them “The Prodigies of Harmonies,” and count fans from the late great David Crosby to Phoebe Bridgers and Elton John, who called them “delicious.” Ann Powers of NPR Music exclaimed “Can’t wait for this vocal trio’s debut album to take the world by storm.”

The Habits released their debut album ‘All For Something’ via Mom+Pop records in May of 2024. The record has garnered over 50 million streams across all streaming platforms. They closed the album era with a collaboration featuring Lizzy McAlpine on the emotional track ‘For Sale Sign’ . The band just returned from performing at Noah Kahan’s ‘Out of the Blue Fest’ in Cancun and are heading into the studio to work on their highly anticipated sophomore record.

Anna Von Hausswolff is a Swedish musician and composer whose work carves out space for the celestial and the transcendent to enter into the modern world. Following her breakthrough album, Ceremony (2012), Von Hausswolff’s subsequent releases quickly cemented her as an artist of unpredictable and vast creativity, always moving forward, always melding tradition with experimentation in unimaginable ways. Taking the pipe organ, with its ancient whirring character, as her instrument of choice, Von Hausswolff’s sound has long played with the ethereal qualities of breath: of taking in, holding, and releasing it. This sometimes takes the form of colossal, doom-laden rock songs, and at other times, as intimate organ pieces. On ICONOCLASTS, her sound evolves again, bringing a poppier and more vibrant element to her moving songs. ICONOCLASTS is Von Hausswolff’s sixth LP, and her debut release on Swedish record label YEAR0001. Produced by Von Hausswolff and longtime collaborator Filip Leyman, it is an opus of stirring movement, anthemic ritualism, and maximalist composition, marking a new chapter in Von Hausswolff’s music and featuring appearances from Ethel Cain, Abul Mogard, Iggy Pop and Maria Von Hausswolff.

Anna Von Hausswolff is a Swedish musician and composer whose work carves out space for the celestial and the transcendent to enter into the modern world. Following her breakthrough album, Ceremony (2012), Von Hausswolff’s subsequent releases quickly cemented her as an artist of unpredictable and vast creativity, always moving forward, always melding tradition with experimentation in unimaginable ways. Taking the pipe organ, with its ancient whirring character, as her instrument of choice, Von Hausswolff’s sound has long played with the ethereal qualities of breath: of taking in, holding, and releasing it. This sometimes takes the form of colossal, doom-laden rock songs, and at other times, as intimate organ pieces. On ICONOCLASTS, her sound evolves again, bringing a poppier and more vibrant element to her moving songs. ICONOCLASTS is Von Hausswolff’s sixth LP, and her debut release on Swedish record label YEAR0001. Produced by Von Hausswolff and longtime collaborator Filip Leyman, it is an opus of stirring movement, anthemic ritualism, and maximalist composition, marking a new chapter in Von Hausswolff’s music and featuring appearances from Ethel Cain, Abul Mogard, Iggy Pop and Maria Von Hausswolff.

Something organic has been blooming from Asbury Park, New Jersey, and is now making its way around the world. Dogs In A Pile, a band of five twenty somethings with old souls and limitless chops, is waking people up to the timeless and ineffable joys of psychedelic-tinged jazz-funk rock n’ roll.

This is one of the busiest touring bands of today, averaging 130 live shows per year since 2022. The road has become their creative engine, generating a rapidly growing catalog of original tunes. Distroid, the band’s newest album, is a 10-song collection featuring long-awaited studio versions of some of the Dogs’ most beloved repertoire.

Dogs In A Pile is guitarist Jimmy Law, guitarist Brian Murray, keyboardist Jeremy Kaplan, bassist Sam Lucid, and drummer Joe Babick. In addition, the Dogs In A Pile community includes the Dog Pound, the group’s extended family of fans across the country.

Besides being a lyric from the Grateful Dead song, “He’s Gone,” the name “Dogs In A Pile” is an apt description of the five-piece band’s stylistic breadth. The sonic image it conjures is a heap of storyteller Americana, bluegrass, jazz improvisation, eccentric instrumental excursions, pop-rock sophistication, and deep-pocket grooves, ranging from funk to Latin to reggae and beyond.

Distroid features material that has already become staples of the band’s live show. These studio renditions have afforded the group a chance to present the compositions just how they envision them. Distroid offers a cross-section of the Dogs In A Pile essence, tight and tuneful four-minute funk and jazz informed psych-rock songs, and then sprawling 15-minute compositions with intricate unison lines, agile genre-jumping, and dazzling improvisation.

Whitey Morgan spent the first decade of his career raising hell. For the last decade, he’s been raising his son. “I’ve been raising my kid,” Morgan says. “Those first few years of his life are important, and I wanted to make sure I was there for that. But I’m excited about music again.” Hell On The Highway is a return to form in more ways than one for outlaw country legend Whitey Morgan. After releasing six full-length albums and playing countless shows over the last decade, Morgan fell out of love with music. “I’ve been doing this a long time,” Morgan groans in a voice that’s just as gruff in the studio as it is on stage. “Anything you’re doing that long you’re not gonna love the whole time.”

In 2026, eight years after his last full-length studio project, Whitey Morgan is back with 11 new songs. Hell On The Highway is Whitey Morgan at his best: honest, yet brash; raucous, yet sensitive. With its explosive sound and hard-lived lyricism, Hell On The Highway puts on full display the life that Morgan stepped away from to raise his son, while confronting how that world coexists with the family he’s built.

Morgan wrote the album over a period of profound personal change, as his life shifted from the road to fatherhood and back again. He recorded it at Sonic Ranch with GRAMMY Award-winning producer Justin Francis (Tyler Childers, Gary Clark Jr.). “It was honestly the first time I felt I had someone on my side who was 100% ready to dive into it as much as I always have,” Morgan says. “I backed off a lot because of having that confidence in him.” For an artist accustomed to carrying the weight of the recording process himself, Francis proved to be an unexpected but natural fit. “I talked to him on the phone and I could tell immediately that he was my kind of person,” Morgan says. “He was asking all the questions that I would normally have to ask. He was pointing out all the nuances and tones in the recording that I would normally have to fix. It was nice to take that weight off my shoulders and pass to someone else for once.”

The end result of Morgan’s collaboration with Francis has left him more excited than ever about music. “I’ve never been more excited to pick up my guitar and play it.” There were years when Morgan wouldn’t pick up a guitar at home. His seven-year-old son had never even seen the iconic Telecaster that his father played on stage night after night. “But now, the living room has two drum sets set up in it, guitars and amps, and me and that boy we play guitars and drums all day. When we’re not doing something else, we’re playing music.”

Heretics of the Black Metal genre and the Kings of USBM, WOLVES IN THE THRONE ROOM have returned with sharpened teeth. Their new album Estuary carries the hallmark of their unyielding dedication to the physical craft and analog production techniques, executed with zero cut corners.
After more than twenty years, the pioneers of Cascadian Black Metal have neither withered, rested, nor recycled past glories. They continue to rise with unparalleled strength, and Estuary is their most ferocious and genre-bending record to date.

WOLVES IN THE THRONE ROOM express nature’s current, bypassing the confines of a musical landscape that trended toward homogenization. In their music, nature is not an object nor a passive backdrop. It is the evolutionary spirit which breaks into new territory.

Estuary is resonant with that hardwiring; rawer, more volatile with the storming sensuality of noisy industrial elements, evolving through the domain of warm rain, majestic forests and diffused starlight. Massive percussion and seething gothic guitars wipe the listener’s psyche clear of all stagnation, transforming them into active, evolutionary conduits.

Nathan Weaver (lead vocals, guitar) comments: “Our new album Estuary takes place 1,000 years in the future, after the death of civilization. I’ve always felt such calm at the idea of humanity vanishing from the world, and nature reclaiming everything. I dream of being alone in this setting and experiencing total calm and peace. This has been a recurring theme in all of Wolves’ music but for Estuary, it is at the forefront.”

The Movement has been winning the hearts and minds of alt-reggae fans since their inception in 2003. Drawing inspiration from Sublime, 311, Slightly Stoopid, and John Brown’s Body, they’ve made a name for themselves as reggae shapeshifters with a foundation of insightful lyrics and heavy drum and bass.

Today, the band consists of founding member, lead vocalist, and guitarist Joshua Swain; bassist Jason Schmidt; drummer Gary Jackson; keyboardist and multi-instrumentalist Matt Goodwin; and saxophonist and percussionist Kyle Jerome.

Their seventh studio album, Ways of the World (2019), debuted at No. 1 on the Billboard Reggae Chart and remained in the Top 10 for more than 40 consecutive weeks.

The band’s ninth studio album, VISIONS—released July 18, 2025, on the band’s R4RE Records imprint—features collaborations with Stick Figure, The Elovaters, 311, Tribal Seeds, and The Green.

With VISIONS, Swain charts a celestial and cerebral path through the cosmos and straight into the consciousness, leaving a renewed sense of wonder and purpose. As always for The Movement, the only path is forward—pushing the boundaries and future of alternative reggae.

Multi-JUNO nominated alternative-pop band Valley have amassed more than 1.2 billion global streams and built a devoted international fanbase with their signature blend of nostalgic hooks, heartfelt songwriting, and high-energy live shows. Following the success of their Gold-certified hit “Like 1999” and acclaimed album Water the Flowers, Pray for a Garden, the band return with “Vending Machine,” a playful, nostalgic alt-pop anthem that marks the start of an exciting new era.

Known for electrifying performances, Valley have appeared at major festivals including Boston Calling, Governors Ball, Osheaga, and Festival d’été de Québec, opened for Post Malone in front of 80,000+ fans, made their U.S. late-night TV debut on The Late Show with Stephen Colbert, and sold out their 2024 North American headline tour.

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on Gentling the Horse at the Walt Whitman Mall. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.

Gentling the Horse at the Walt Whitman Mall stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.

It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.

Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.

Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout Gentling the Horse. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday American life.

strongboi is a fresh project born in Berlin from a fiery collaboration between Ziv Yamin & Alice Phoebe Lou. Started as a passion project between two close friends, with a super lo-fi vision of using mainly casio keyboards & toys, strongboi has now evolved into a full band project that still emulates it’s lo-fi beginnings but whose live shows take you on a journey from disco dance tunes to jazzy ballads, all forms of expression are on the table. Having released 3 singles in 2020 that put them on the map, strongboi is returning with their debut self titled album, recorded at their studio, La Pot. The album is a fun and wild offering from the duo, spanning many emotions and influences but very much their own, as they ready themselves to take these songs to the stage.

Combining the revolutionary fury of punk and hip-hop with the bleakness of austerity-era Great Britain, Sleaford Mods capture the spirit of their time with blunt eloquence. Andrew Fearn’s minimalistic, intentionally cheap-sounding loops, guitars, and keyboards provide a fitting backdrop as Jason Williamson rants about politics, injustice, and pop culture with outrage, scathing humor, and occasionally, rough-edged poignancy. The duo’s first officially released albums, which included 2014’s Divide and Exit, quickly won acclaim for their brash sounds and words. Sleaford Mods’ sound grew more somber on 2017’s English Tapas, but on 2021’s Top Five U.K. hit Spare Ribs and 2023’s UK Grim, they contrasted the harsh realities of their subject matter with a more colorful, melodic approach. The Demise of Planet X is the 13th studio album by the English duo Sleaford Mods, released on 16 January 2026 through Rough Trade Records.

JERSEY move fast… and then make you question everything.

After breaking out through viral moments, the French duo took a step back to redefine their vision. French brothers Carl and Renaud channel the raw energy of UK rock, 2010s EDM, and French Touch into a sound that’s immediate, emotional, and built for the crowd.

With just two EPs (The World I’m Searching For, Over & Over), collaborations and remixes with artists like Justice, Phoenix or MGNA Crrrta, and appearances on major stages including Coachella, Portola, and Primavera, JERSEY have quickly established themselves as a global live act. Now they return with their debut album, NOTHING’S FAKE.

Named after their live mantra « Nothing’s fake, everything’s live music » the record plays with perception. Altered voices, distorted visuals, viral moments, staged or not: JERSEY blur the line between reality and illusion. The music follows the same instinct. High-energy emo tracks like Myself Behind collide with pop-driven moments like Obsessed, slower cuts like BIG, anthem like U&I or explosive tracks like Fool for U. It’s fluid, unpredictable, and unapologetically pop. Behind the concept, something real remains : a story about connection, doubt, and brotherhood, told loud, and meant to be shared.

Gus Dapperton has spent nearly a decade building one of indie pop’s most distinct visual and sonic identities. Born Brendan Rice in Warwick, New York, he began releasing music independently in 2016, breaking through with his 2017 debut EP Yellow and Such. His full-length debut, Where Polly People Go to Read(2019, AWAL), introduced his signature blend of analog synths and reverb-heavy vocals, and later that year his feature on BENEE’s “Supalonely” became a global phenomenon, driving over 7 billion views across social platforms and marking his first entry on the Billboard Hot 100. He followed with Orca (2020), a rougher-edged, entirely self-written and self-produced sophomore album, and Henge(2023), a conceptual album centered on love and fear. In 2025, he launched Loose Goose, an experimental new alias built to rediscover the freedom of making music without expectation, releasing tracks including “She Got The Funk” with Hard Life and “holding on” with A-Trak. Along the way, Gus has modeled for a luxury fashion house and stepped outside music to write and direct a feature film titled “The Isdal Man.”

Destroy Boys’ fifth album FOIE GRAS was built out of a series of risks that ultimately produced the band’s most cohesive, ambitious, and best work yet. Those risks began with the title. Alexia Roditis (vocals/guitar), Violet Mayugba (backing vocals, guitar), Narsai Malik (drums), and David Orozco (bass) landed on FOIE GRAS while touring Europe, passing names around with the same openness that defined the making of the record. Eventually, Orozco suggested the name of the dish produced by force-feeding ducks until their livers swell. The metaphor was a gamble; so was the album. “Everything we did on this record are things that made us uncomfortable in the beginning,” Mayugba says. “Like, is this too poppy, or is this too weird?” Roditis adds.

The title came to encompass the record’s larger preoccupation with all the things being force-fed to us today—disinformation, screens, consumerism, the grind, political narratives, the expectation that we accept an increasingly untenable world as normal—and the possibility of refusing to comply. “You’re either the duck or the tube,” Mayugba explains.

Formed by Roditis and Mayugba when they were 15, Destroy Boys have spent the past decade turning their coming-of-age and growing political consciousness into whip-smart, punk-adjacent songs, while massively expanding the possibilities of the genre. They quickly gained a local following at DIY shows in Sacramento while they were still in high school, then expanded from house shows across the West Coast to an international audience through increasingly assured records and relentless touring, including support slots for Blink-182, Pierce the Veil, and Rise Against.

Sweden-based, Australian-born Hazlett returns to the road following the success of his latest full-length album, “last night you said you missed me”. Hazlett divulges: “When I started this whole thing I wanted anyone who starts to listen to feel like they’re part of this whole thing with me—growing and finding ourselves along the way.” Over the past several years, Hazlett and his unique brand of Indie Folk have quietly built a devoted following through his heartfelt songwriting and captivating live performances. Whether it’s an intimate clubs, historic theatre, or on festival stages around the world, his ability to create genuine connection with audiences continues to set him apart. From lush acoustic textures to stripped-back ballads, anchored by songs like “doing my best”, “Blame The Moon” and “queen of the season, each piece unfolds like a page from a well-worn journal, exploring themes of self-preservation, distance, yearning, and quiet hope. For the restless hearts, the gentle souls, and the dreamers, the live show and albums it gravitates around are both a confession and a cathartic hug. It reminds us that home is not always a place. Sometimes, it’s a song that stays a while.