Joe Hertler & The Rainbow Seekers have been waiting for you. If you’ll only let them, they will shake the dust from your wildest expectations. They will roar into your life with rapturous frequencies, exuberant tone, and a joyfulness of purpose that has truly become a rare sight on stage. Join them in their celebration, and they will take you on a never-ending journey to a place you’ll never be able to describe in words. With spectacular energy pulsating from every member of the band, the Rainbow Seekers could illuminate the very chambers of Heaven.
Weaves released their acclaimed debut LP in 2016. The self-titled album was among the most anticipated of the year, and was lauded internationally upon its release for its exuberant approach to guitar pop, which was described as “one of the most unpredictable sounds of 2016” (MTV), and “a triumphant assault on all things conventional” (i-D). It was a whirlwind year for the band who spent a nearly uninterrupted 12 months on the road, playing festivals across the globe, and touring with their fellow 2016 breakout artists Sunflower Bean and Mitski. Propelled forward by their own momentum, which they corralled like the barely contained energy of their explosive live sets, it was a transformative experience, and upon returning home to Toronto the band’s leaders, singer Jasmyn Burke and guitarist Morgan Waters, found themselves possessed by an irrepressible burst of creative energy.
“We got back from the tour with Mitski on November 22nd and I started writing November 23rd,” Burke recalls. “We spent three months writing and pretty much figured out the album in its entirety in that timeframe. With the year we had I think we really hit this sweet spot where your brain is fully ready for something new, but has absorbed all of this information and it all just spews out. You just sort of let music happen.”
Weaves entered the studio in early 2017 to begin recording what would become their sophomore LP, Wide Open (due out October 6th, 2017 on Buzz, Kanine & Memphis Industries). Assisted by engineer Leon Taheny (Austra, Fucked Up) who worked with them on their first LP, they approached the album as a highwire act – walking the line between intention and their own gleefully anarchic creative impulses.
“The recording was mostly based around live off the floor playing with all four of us, and we tried to navigate a balance between thinking and not thinking,” says Waters. “We find that we don’t really figure anything out with words or rehearsing so for the most part we just didn’t. Sometimes it’s better that we don’t try to control it and there’s something nice about allowing yourself not to be in control.”
Weaves’ freewheeling compositional style is grounded on Wide Open by Burke’s songwriting, which is both more focused and more personal than on past releases. Burke writes in disciplined bursts, which on the last record consisted of isolated sessions with a looping pedal and a guitar recorded as voice memos on her iPhone, but this time around she varied her technique, often writing on an acoustic guitar, which expanded her songwriting palette in unexpected directions. Both Burke and Waters refer to the album as their “Americana” record, and while the statement is made with tongues placed firmly in cheeks, the album, without discarding the punky pyrotechnics that defined their first LP, displays an expansive and anthemic quality in songs like the opener “#53” and the sweeping “Walkaway,” that makes it clear there’s some truth behind the idea.
“Playing so many shows people come up to you and maybe identify with a song, or just say that what you did brought them up in some way, and it made me think about the context and what it means to share your personal experiences,” says Burke. “Maybe I was hesitant to be more forward in the past but I think I needed to get over that. It felt right to try to represent my own experience in the world while knowing that everyone in my age group is poor or having a tough time with life in one way or another, so I was thinking about how to blow those feelings up into these kinds of songs. Blowing up a regular life into something like an anthem. In a way I was thinking about it like Bruce Springsteen, but in a lot of ways my experience of the world couldn’t be less like Bruce Springsteen’s.”
The record sees Burke extend herself as a performer – moving more frequently to the center of arrangements and revealing new facets of her unique and powerful singing voice – as Waters, and the band’s dynamic rhythm section of bassist Zach Bines and drummer Spencer Cole, find ways to interpret the growing diversity of her expression. From the glammy Saturday night strut of “Slicked,” to the stripped-down, pedal steel abetted torch song “Wide Open,” to the searing “Scream,” a warped duet with Inuk throat singer Tanya Tagaq that likely constitutes Weaves’ wildest recording to date, the album captures a band for whom exploration is a compulsion making a self-assured step into the unknown.
“In making this album I didn’t feel any pressure or any fear, and I think that might be the difference between this album and the last,” Burke reflects. “It’s been a weird year, and even on the album cover we’re in bright colors, but we’re covered in soot and we look like we came out of an explosion and I think that’s kind of the way life is. Hopefully you can bring some light to people.”
Thick As Thieves are an eclectic musical band of artist collectively communicating through the art of sound. Supplying Homegrown Michigan Music together for the last four years and individualy for most of their lives.
Seth Bernard has a uniquely Michigan anatomy: knee deep in glacier-folk with a belly full of whiskey and peaches smuggled from the root cellar of a '70s guitar god. Fingers resinous with fresh cut white pine, and sacred north star geometries whirling around his brow.
Born on April Fools Day, and playing the trickster-bard every day since, he's grown from a potent young Interlochen idealist into a black-bearded surprise-eyed psych-rocker singing the woods and water, souls and soils of the Great Lakes.
The tools! He's got a pine-box-full, from his Gretsch (and the chops to play it, mister), to the many iterations of Seth-music. I mean Airborne or Aquatic, bristling with fuzz-poem arena-anthems, to Starlight Six, the madly talented hybrid of Michigan royalty (May Erlewine, Joshua Davis of Steppin' In It, Mike Shimmin of, well, everything, and the power duo of Dominic and Rachael Davis). Or he can roll solo, with a catalog of hundreds of original tunes, thousands of covers and millions of improvisational licks. And the waltzes. By god the waltzes.
And more tools: Earthwork Music Collective, Family Weekend, Harvest Gathering, The Water Festivals, On the Ground, 350 dot org (you gotta google this stuff, links below), youth engagement, and partnerships with dozens of local non-profits. Like a true old-school folker, he plays the songs because they mean something, and that something they mean drives a life beyond just playing songs.
His most valuable tool, though, doesn't live in that box: two good ears. Seth listens like a priest. To his audience, to his community, to his deep-rooted intuitive star-born aurora borealis campfire ancestor soul. That alone makes every show - EVERY SHOW - worth the price of admission.
-Brad Kik, co-founder of the Crosshatch Center for Art & Ecology
“The national release of “The Good Stuff” by Gregory Stovetop marks the official launch of Higher Grounds Trading Co’s foray into co-production and promotion of cultural creatives through collaborative projects with the aims to build sustainability to artists and their craft. We begin with a powerful musician grown strong in the fields of Earthwork Music. His music and his careful craft are sublime. —Chris Treter
Grand Rapids' native son Mark Lavengood has toured the Regional, National, and International music circuits for over 10 years. Wearing a multitude of hats as multi-instrumentalist, singer/songwriter, band leader, educator, mentor, active member of Michigan's Earthwork Music Collective, emeritus member of Lindsay Lou & the Flatbellys, source of motivational energy, hobbyist massage therapist, Spanish translator and idea generator, Lavengood (affectionately known globally as "Huggy Bear") employs his many skill sets to engage and collaborate with communities through song and voice.
Anyone that has witnessed Lavengood perform will attest to these three key attributes: his big heart, wild energy on stage, and the aptitude on the many instruments that he plays. Having released 3 LPs and a 7 inch vinyl under his own name in conjunction with several albums with Lindsay Lou, Mark Lavengood is no stranger to the hustle of the music industry. He is currently touring & promoting his many projects while actively writing and recording new music to be released with Earthwork Music.
2018 is going to be a big year for the Mark Lavengood Band. National and International tours, writing and recording, and breaking into new markets are among the top of the "to-do list" for Lavengood and his Grand Rapids-based entourage. Having recently relinquished his full-time position with Lindsay Lou, Lavengood is eager to bring his "Folk - Roots - Americana" sound to audiences he's performed for near and far!
PRAISE FOR THE MUSIC
“On “We’ve Come Along,” Mark shows his diversity as a musician and a dobro player. This record has it all. Bluegrass, jams, solo slide performances and more! It’s band centric but the standout slide playing and singing make this a must listen!
— Andy Hall of the Infamous Stringdusters
“Mark Lavengood embodies the enthusiasm needed to take music and listener to new places.
— Paul Hoffman of Greensky Bluegrass
“Mark is a compelling musician and entertainer. His playing is refined, full of personality, and extremely fun to listen to. Amazing body.
— Jon Stickley, of the Jon Stickley Trio (Town Moutain, Broke Mountain Bluegrass Band)
“Lavengood has woven together a sound quilt of friendship and American Roots music that could have only happened in Michigan.
— Seth Bernard Earthwork Music Founder, Artist, Activist
“Paying homage to tradition and blazing a trail all his own, Lavengood’s slide work is both playful and thoughtful. “We’ve Come Along” is an album of honest performances played and sung from the heart.
— Mike Witcher, resonator guitarist (Peter Rowan, Jordan Tice, Missy Raines)
“Mark Lavengood’s undeniable passion for music is an incredible thing to behold. His superhuman drive is infectious and awe-inspiring. He is a pirate of love - a swashbuckling, slide-slinging, tide-turning old fashioned good time rambling man. He’s the last slick picker standing at the all night Jamboree and the first one up playing sweet gospel with the sun. Thanks, Mark.
— Joshua Davis, singer/songwriter and band leader of Steppin' In It
The Worn Flints are a Three-piece Rock group from Columbus, Ohio. Their music draws influences from Blues, Psychedelic Rock, and Folk, with a focus on abstract song structures and extended heavy instrumentation.
Pool Holograph is an indie art-rock four-piece based out of Chicago. The band was first conceptualized in 2010 as a solo recording project by designer/painter Wyatt Grant, who was looking for a creative outlet to complement his visual art. The project has since evolved into a full band affair with the addition of fellow designer, Zach Stuckmann (bass), and brothers Jake Stolz (drums) and Paul Stolz (guitar). They've spent the last two years establishing their presence in the Chicago scene, touring the region, and opening for high profile acts like Cherry Glazerr, Carseat Headrest, Spiral Stairs, Chad VanGaalen, and Wolf Alice. Pool Holograph released Transparent World on October 13th, their second LP as a full band. The album is a mix of 60's British invasion pop with angular, syncopated guitars, and Flying Nun style post-punk flourishes.
Detroit bred heartthrobs bringing you easy tunes in these historically crazy times
Leland Blue is a 4-piece indie rock band from Michigan.
One of Michigan's most beloved singer-songwriters, Nathan K. creates music that is "a curious mix of sadness and joy, haunting in the sense that it lingers but not completely morose or scary. A nostalgic and poignant amalgamation of fondness and love and regret, something crushing yet life affirming." (Wake The Deaf)
With his deeply personal music and intimate live performances, Nathan K. is "on the cusp of being part of the next generation of artists to achieve success along the lines of Bright Eyes, Sufjan Stevens, Jens Lekman, etc." (Songs Illinois)
"A gorgeous example of Michigan spirit." (Mostly Midwest)
"The melodies feel easy and soothing like the setting sun. It feels simultaneously Michigan-born, but at other moments pained or world-weary or endearing searching. It feels location-less, set on by the considerable traveling he's done through his not-yet-many years". (Real Detroit Weekly)
“Nathan Klages is a classic sort of songwriter, one who tells intricate stories with vivid details. Like John Darnielle, except with a better voice, Nathan K. reaches emotional truths that don’t require glossy production.”
- The Owl Mag
"If one could take all the suffering and beauty of Michigan. It’s many closed factories and depressed economy, and contrast all the dark negative reality with the natural beauty found in the more rural aspects of our environs; the running rivers, those deep blue lakes, the white tail, and the wild turkeys. Take all this and distill it into song. Nathan K. provides those songs, narrates our state of being into beautiful odes. Songs forlorn and gorgeous with hope and a relentless optimism." - Mitten Mouth Music
"Nathan K. crafts beautiful, emotionally gut-wrenching, songs with his direct lyricism and honest vocals."
- My Folking Heart
"Nathan K has a subdued yet strangely invigorating sound. He brings something unique to the game in his song crafting." - Ear To The Ground Music
"A gorgeous example of Michigan Spirit"
- Mostly Midwest
"The melodies feel easy and soothing like the setting sun. It feels simultaneously Michigan-born, but at other moments pained or world-weary or endearing searching. It feels location-less, set on by the considerable traveling he's done through his not-yet-many years". - Real Detroit Weekly
"Guthrie-tinged folk jams; a golden, jangly folk style. Earthy, soothing sounds, tinged with ruminations on metaphysics alongside matters of the heart. His songs, and any self-references, are rapt with modesty and reverence." - Current Magazine
Nydge is a producer and songwriter from Detroit, MI. He was born in a hospital, and despite being named after a race car driver, he drives a reliable Honda Civic. He loves podcasts, but he hates the talkshow ones. He likes plants, but all of his plants are dead and he feels bad about it. He can replace the brake pads on your car. He knows more about synthesizers than he does about microeconomics. Like most of America, he dropped out of community college. He used to love Trent Reznor.
In summer 2017, He stepped out from a behind-the-scenes producer role and started releasing the tracks he's produced and co-written as the artist "Nydge". Since beginning his steady release of singles, his music has been streamed over 900,000 times and he's opened for acts like BANKS, SG Lewis, Flint Eastwood & Vesperteen. This winter he's going on tour as direct support to Flint Eastwood. With the help of Spotify's curated playlists (Alternative R&B, Young & Free, Indie-pop, etc), Nydge has received the attention of blogs and listeners alike and garnered the reputation of being "Another rare gem from Detroit, some wonderful collision of atoms. Straight chemical; the perfect high." (Indie Shuffle).
Nydge has also placed and composed custom songs for TV and film, and is played in retail stores around the world.
The Running Youngs are a Livonia, MI-based rock band.
Over 16 years ago Sprout and the Orange took root on the jamband scene and they have been growing ever since. SATO is Aaron Johnson on lead guitar, Justin Weisenbach on keys, and brothers Matt and Steve Nyquist holding down the rhythm section on bass and drums respectively. Together they are one of the longest playing MI jambands and have the mature, developed sound to show for it. The group moves solidly as a unit through their sets, which include a generous helping of original music woven together, creating the fabric that has held this band together for so long. When you go to a Sprout show you know you are going to hear some of the catchiest tunes and best improv that the jamband scene has to offer. Sprout is currently working on recording their catalog of over 50 originals and are filling up their calendar for 2016. With so much going on don't miss your chance to see this budding band!
Photo Credit: Ryan Watkins
Tiger and Frame is a four-piece Indie Rock/Alternative group from Grand Rapids, MI. Lead singer and songwriter, David, has added close friends and family to his sound to create what it is today. Being heavily guitar driven, David has used his influences from blues, alternative, and other genres to write a music style that is all his own. Adding in the talents of his band mates, Miranda Stout (Drums), Nathan Porter (Bass), "...and you get a pop sensation" (Scott Whiteman, Mic'd Up Magazine, July 11, 2016).
James Gardin (formerly known as P.H.I.L.T.H.Y.) has used his music to fuel dance floors, radiowaves, and varied social causes. But before opening for national acts (The Pack, Grieves, Cool Kids), teaching music to children in South Africa and using his lyrics to champion cultural unity and HIV/AIDS awareness, James Gardin had to learn to create for himself.
Gardin was born in Germany to two parents in the Army before moving to Arizona at four years old, and settling into Lansing, Mich. at ten years old. He got involved with music early through church choir, guitar lessons from a mentor, and his first raps as part of an anti-drug song competition. After failing a fifth grade test to play violin at school, he took matters into his own hands and dug into books to learn how to play sheet music. “I didn’t understand music in their systematic way, but today, I don’t approach music with rules set to it anyway,” he remembers. “I’m glad I learned it for myself.”
Gardin’s interest in hip-hop rekindled after seeing Eminem’s film “8 Mile,” and he joined a group with two other emcees. He invested in a home studio and took audio production classes. Inspired by the success of Kanye West’s The College Dropout, he decided to be himself more in his music by changed speaking about his faith more and cutting profanity. After his first solo mixtape entitled Young Black Hope, he released his debut Save Us All in August 2008. Fans were impressed by the authenticity, and he became a go-to opener when national acts like The Pack, Cool Kids and Grieves would perform in town. His solo success reached its apex the next year with Love Songs For Losers & Ballads For Ballers, an EP with Los Angeles producer Jansport J that garnered over 5,000 downloads and was featured on various blogs, including 2DopeBoyz. He also began to donate performances and workshops to initiatives such as Michigan State University multicultural organization MRULE, youth art programs, and more.
Shortly after Love Songs’ release, Gardin went to South Africa for three months, where he volunteered and spearheaded a music/arts program at a center for children affected by HIV/AIDS. When he returned to the States, he teamed up with fellow BLAT! Pack member The Amature for “Whatupdoe From BLAT!,” an EP that featured the two rhyming over instrumentals from a recent Blue Scholars EP (complete with a blessing and vocal drop from Blue Scholars themselves). In 2011, Gardin headlined his own successful City Limits tour, maintained a weekly leak series and fan appreciation project entitled “Coolest Dude In Sunday School,” and performed on several dates of Rhymesayers artist Grieves’ Together/Apart tour. In 2012, he is heating the blogosphere with his EP “A Little Light For You,” and with his album “The Living Daylights” coming soon, Gardinis just getting started.
For more on James Gardin:
James Gardin on Soundcloud
James Gardin on BandCamp
@JamesGardin on Twitter
stop.drop.rewind is a progressive/powerpop band from Valparaiso, IN. Members Kris Lohn and DJ Crenson have been playing together since 2000. Andy Sutton joined - with a big leap forward - in 2015; they filled out their live sound with Josh Andrews on lead guitar in late 2016. stop.drop.rewind has released 3 EP's: "Part of the Whole" (2012), "Smoke Signals" (2014) and "Polarity" (2016). They have toured regionally since 2012. They have played in 10 states, and opened for The Misfits, Hawthorne Heights, The Spill Canvas, Amber Pacific, Real Friends, among many.
"If you've ever had a conversation with me, you know my enthusiasm for music. When I was a kid my sister burnt me my first set of CD's as a birthday present. She told me music was better than video games. I didn't believe her. Before long I became obsessed with her CD's. I studied those albums and every instrument, reviewing their compositions in my head for years until I finally made the decision to learn how to compose those arrangements myself. Since that moment I have played for several bands, but never one quite this honest and transparently me" - Joshua Kemp "Steppes"
"Combining honest lyrics with a real sense of fun and optimism, Steppes are a Michigan indie/alternative band that formed in 2017. Intricate, melodic guitars mesh with pop structures that make each track memorable and singible.” - Sam Moore “my city magazine”
The Whiskey Hollow strive to make genuine and honest music. Hoping to write and perform songs that hit hard and speak to you in a unique way.
Everyone knows Detroit's a great town for music, no matter what one likes to hear — soul, R&B, hard rock, punk, garage rock, blues, hip-hop, electronic and lots of flavors in between. But what about the Rodney Dangerfield of rock genres, the underappreciated form known as power pop? You know, the stuff with lots of hooks and harmonies, big guitars, soaring melodies, and lyrics celebrating the joys and perils of longing for girls? Detroit may have produced the Romantics. And early on, it was both a home and inspiration to the great Marshall Crenshaw. But past those names, casual observers would be hard-pressed to name many notable pop acts that have emerged from the city.
The band is the latest project from the Livonia-based singer, guitarist and songwriter who's been a fixture on the area music scene since the late 1980s. Richards has made fine records with other bands, but his new Gangplank album, Sad Sounds of the Summer, may be his best work to date, a top-shelf example of contemporary power pop that offers plenty of tough guitar and rocking rhythm along with glorious melodies and spot-on harmonies from Richards, bassist Todd Holmes and drummer Larry Grodsky.
Richards started playing rock 'n' roll when he was a Churchill High School student in Livonia, teaching himself to play bass and forming a band with some friends that they called the Noel Redding Experience. "I'm not sure I was a huge Jimi Hendrix fan, with the exception of maybe 'Crosstown Traffic,'" Richards recalls with a laugh. "But Noel had the coolest hair! We didn't have any real body to our hair, though, so we didn't come out with the Noel look or anything."
And although hair metal was the order of the day at Churchill in the mid-'80s, the Noel Redding Experience was covering tunes by the Hoodoo Gurus, the Violent Femmes and the Waterboys, as Richards began writing what he cheerfully describes as "moronic two- to three-chord songs."
"We were the only [local] band at that time playing original songs," Richards adds "And they were just God-awful! But I think everyone really respected the fact that we at least wrote our own songs."
By 1986, Richards had moved from bass to guitar and gotten a bit more serious about his music, forming Hippodrome with his brother Kyle Richards on bass, Doyle Dean on drums and Keith Klingensmith on guitar and vocals. The band released a cassette-only EP in 1987, Novelty, recorded by the then-fledgling Dave Feeny, who now runs Tempermill Studios. By the time Hippodrome recorded their first long-player, 1989's Dogbunny, Kyle was out of the band and Todd Holmes had stepped in as their new bassist. (Dogbunny was also one of Detroit's first locally released CDs, which Richards notes just as the format threatens to go the way of the cassette.)
Hippodrome called it quits in 1990, and after Richards and Klingensmith were invited to record some songs for a power-pop compilation, they put together a short-lived studio project, the Phenomenal Cats, who released a six-song EP. Eager to start playing live again, Richards formed the Pantookas with bassist Kenny Quick and drummer Larry Grodsky, boasting a tougher guitar sound and more aggressive approach than the cooler and more streamlined sounds of Hippodrome. The Pantookas cut an album in 1997, Salad, that earned positive press (including a rave in Option) but didn't break out locally. Two years later the band split up.
But if Richards wasn't making a major impact on the Detroit scene yet, someone was clearly listening — the international power pop community is a network that enthusiastically spreads the word about new artists around the globe; in 1994, Richards was included on Hit the Hay, Vol. 1, a compilation assembled by Swedish pop fanatic Jerker Emanuelson, who later released the Phenomenal Cats disc. Since then, Richards has contributed tunes to pop anthologies released in Japan, Spain, Australia and Canada, and he estimates that 70 percent of the physical sales on the new Sad Sounds of the Summer has been overseas. (Richards is less certain about the breakdown of growing sales through digital retailers like iTunes, though, saying "You can't really see the digital stuff — you don't know who's buying it; you just get checks!")
Keeping track of his fan base outside of the country — and outside the English language — is a challenge for him. "The blogosphere seems to be the new thing, especially in Spain," Richards says. "I've been reading, or trying to read, these [music] blogs, and we'll try to translate them but obviously there's no translation tool that gets every single dialect. So you'll get the thing and it'll say, 'Songs spoken from the word of God!' I don't think they meant to say that! [Laughs] There's no way they said this, but there's no way it's negative, either!"
After years of playing with a handful of bands and releasing most of his material through his own Dogbunny label, these days Richards is teamed up with trusted friends he's known for years. Subtractions Holmes and Grodsky are frequent collaborators, and Feeny not only recorded and co-produced Sad Sounds, he released it through his own Gangplank Records imprint.
"The Subtractions complement me better than any band I've ever had," Richards says. "And the reality is that Todd played bass with me in Hippodrome for about five or six years, maybe even longer. And then Larry played drums in the Pantookas, for five or six years. So in combination, I feel like I've played with those guys forever."
With more than two decades under his belt on the Detroit scene, Richards has no illusions about achieving overnight success. But it's clear he still loves playing and recording, and he isn't about to give up anytime soon. Richards displays the effervescent enthusiasm of a true fan when he talks about the bands he loves — from the Kinks, the Who and Elvis Costello to Sloan, the Posies and Teenage Fanclub. He also mentions local faves such as the Singles and the Prime Ministers, both also playing this year's IPO Detroit fest, and the Friendly Foes. And Richards is incapable of disguising how jazzed he is when he mentions that the legendary UK 'zine Bucketful of Brains contacted him for a review copy of Sad Sounds. He's also jazzed about the upcoming IPO gig, saying, "You get these bands that just love, love playing music, and getting them all under one roof is such a great experience to see. Seeing seven or eight pure pop bands together, that's an experience that you're never going to have in this city, except for these four nights."
"When people walk into a bar and you see us — not that we're old guys or anything — but you get the perception of people thinking, 'What are these guys about?'" Richards says. "Especially when we're playing with bands who are kids, maybe 19 or 20. And, really, I'm 40 and I have a 16-year-old daughter — so, yes, these guys are kids! The hipster's kind of scene doesn't quite fit the old guy mentality. And those two groups are now officially not mingling, at least not in Detroit. But sometimes we can convert a room, that's for sure. Because I still think in our heart of hearts that we're a very entertaining trio, and we don't run out of gas. Live, we definitely have to strip the songs down because we can't do those layered guitars; we can't do those layered harmonies. But we make up for it with a punch. And with a combined age of about 125 years between us, I take pride in that!"
TA-80 "were a group of poor Italian Immigrants who pulled themselves up by their bootstraps and started a band in the late nineteenth century..."
Capital Soiree is an Indie Rock/Dream Pop band from Chicago. With over 5 years of experience, they have performed at many of Chicago's best venue including Subterranean, Beat Kitchen, Bottom Lounge, Metro, House of Blues and many more. With the bands' second and latest release, "Take Me Anywhere," Capital Soiree channels influences of New Wave, Surf Rock, Synthpop and more, creating a vibe that is both nostalgic and unique. The trio has caught the attention of music lovers in Chicago and beyond, with their single "Second Home" earning over 20,000 streams across platforms. Listen to Capital Soirée on Spotify, iTunes, Apple Music, Tidal, YouTube and more
“Catchy, dreamy and melancholic pop for long drives with the windows down”— INDIE POP-UPS
An impressive songstress with a pure voice, Loren Cole delivers catchy melodies alongside lyrics that search for meaning through a heartfelt perspective. Drawing inspiration from songwriter classics like Carole King and Bob Dylan, Loren’s music is comparable to the likes of Jason Mraz and Brandi Carlisle.
This year, Loren preps for her debut album, For the Sake of Being Honest, scheduled for release May 2018.
Bewarewolves is a band composed of four humans from Northeast Ohio. Formed in 2014, they play their own unique brand of loud music that combines varying styles. The bands current line-up consists of Noah Gfell (Lead Vocals and Guitar), Aidan Matney (Vocals, Guitar, and Synths), Ben Gfell (Vocals and Drums), and Bean Krizman (Bass).
Young Ritual is the music of Dylan Grantham which he describes as "Americana from the basement".