Wooli

Badfish

 The phenomenon known as Sublime, arguably the most energetic, original and uniquely eclectic band to emerge from any scene, anywhere, ended with the untimely death of lead singer, guitarist and songwriter Brad Nowell in May of 1996. But encompassing the sense of place and purpose long associated with Sublime’s music, Badfish, a Tribute to Sublime continues to channel the spirit of Sublime with a fury not felt for some time. What separates Badfish from other tribute bands is that they have replicated Sublime’s essence, developing a scene and dedicated following most commonly reserved for labeldriven, mainstream acts. Badfish make their mark on the audience by playing with the spirit of Sublime. They perform not as Sublime would have, or did, but as Badfish does!

King Cabbage Brass Band

Pecos and the Rooftops

Pecos & The Rooftops have been perfecting a signature heavy blend of lowdown country and classic rock since their inception in a big five-bedroom house in Lubbock, Texas. Formed in 2019 by a tight-knit squad of college friends, the band outfits their soulful Americana with muscular guitar grit, yet remains tuneful and melodic. They’ve carved out a singular niche for themselves in the rich songwriting tradition of their home state, as evidenced by their debut Warner Records single “5AM.” Anchored by the heart-baring songwriting and booming voice of former Marine Pecos Hurley, the band is rounded out by top-tier players and songwriters Brandon Jones (rhythm guitar), Jessie Santos (lead guitar), Kalen Davis (bass), Garrett Peltier (drums) and Hunter Cassell (guitars & keys).   Big things have small beginnings. Pecos & The Rooftops chose their name—a nod to the part of the house they’d hang out, drink beers, and jam on—just before self-releasing their debut single, 2019’s slow-burning “This Damn Song.” It was a runaway success, earning an RIAA Platinum certification and going on to rack up more than 250 million streams globally. Deciding to ride the wave for as long as they could, the band hit the road directly after and haven’t stopped since, touring relentlessly on the club circuit and opening for the likes of rising country star Koe Wetzel. They released the Red Eye EP in 2020, expanding on their already solid sound with more guitar heroics and more complex arrangements, hinting at jazz and psychedelic influences.   Hurley has a gift for exploring the shadowy sides of life through his songwriting, offering a clear-eyed and unflinching look at heartbreak, disconnection, self-medication, and wrestling with dark times. On “5AM,” he’s stuck in a self-destructive pattern, trying to live up to the idea of being the man he wants to be, but thwarted on all sides by his own bad decisions. “Wish I could say that I saw it coming—problem is I never do,” Hurley sings over a gloomy guitar line. “It’s too late to let myself feel something, so I’ll just keep running from you.”   “It’s about having a habit of going to the bar and getting drunk and staying up all night,” Hurley says from his home outside Dallas. “You kind of know that when you go to bed it’s probably not going to end well—because you fucked up again and you can’t get out of the cycle. It’s about being by yourself in the early hours of the morning. It’s just one of those ‘You fucked up’ songs.”   Pecos & The Rooftops have earned a devoted fan base who’ve come out to support them both online and on the road, with the band garnering over 350 million global streams and more than 101 million video views. They’re currently on a nationwide headline tour with more dates to be announced soon. “5AM” is a telling preview of what’s to come, as Pecos & The Rooftops ready their major label debut LP—a bigger, bolder collection of songs set for release later this year. “At the end of the day, I just want to help people with our music, honestly,” Hurley says. Between the band’s wild road shows and their highly-anticipated upcoming full-length, Pecos & the Rooftops are set to do that and much, much more.      

Dropkick Murphys

Pop Punk Nite

Bingo Loco (21+ Event)

49 Winchester

Last October, while standing onstage in front of 20,000 people at London’s 02 Arena, it dawned on 49 Winchester lead singer/guitarist Isaac Gibson that on the same day, exactly 10 years ago, he formed the rapidly rising alt-country band. “There’s been nothing in my life that’s ever lasted a decade,” Gibson says. “We had just gotten out of high school when we played our first show — 10 years later we’re opening for Luke Combs at the O2 Arena.” On the heels of Combs’ European tour, 49 Winchester has been selling out storied venues across America, including a wildly successful Canadian run alongside Corb Lund. And, in celebration of these recent milestones, comes the release of 49 Winchester’s latest album, Leavin’ This Holler. “We were on a slow simmer for a lot of years before things really started to pick up with our last record Fortune Favors the Bold,” Gibson says. “And this new album is going to do it even bigger.” Leavin’ This Holler is 49 Winchester’s fifth studio album, and second collaborative work with Virginia-native producer Stewart Myers. In addition, the project also features the Czech National Symphony Orchestra, singer-songwriter Maggie Antone on backing vocals, fiddler Philip Bowen, and guitarist Cole Chafin. Chafin is not only the guitar tech for 49 Winchester, he’s also the younger brother of the band’s founding member and bassist, Chase Chafin. “We take influence from a lot of different avenues,” Gibson says. “We don’t shy away from any of the music we like.” Being in front of massive audiences, all eager to witness 49 Winchester’s raucous, live wire shows, Gibson felt it was a moment where he could honestly reflect on the hard-earned, unrelenting determination and grit within the band that’s brought them to this current juncture of increasing notoriety. “It’s a testament to the uncommon fact that we’re musicians from a very specific place in the world,” Gibson says. “And it’s a testament to viewing each other more as family than as friends.” Hailing from Castlewood, Virginia (population: 2.045) in the desolate backwoods of Southern Appalachia — a place where opportunity seldom knocks — 49 Winchester came to fruition when Gibson, his childhood best friend, Chafin, and his hometown crony, guitarist Bus Shelton, decided to step off the front porch (on Winchester Street) and take their music to whatever stage would have ’em. “It’s always been a family affair,” Gibson says. “When you can look at it that way, as lifelong friends and not business associates or hired guns, you can look at it through a different lens, which just lends itself to longevity.” Since its formation, 49 Winchester has fiercely retained this inner resolve to transcend one’s lot in life with a reckless abandon that’s led to widespread acclaim and fandom in the country, Americana and rock realms. “We’re happy to be doing what we’re doing and never could have imagined doing it on this scale,” Gibson says. “Everyday we’re out there is a blessing for us.” Captured in a handful studios around the country whenever there was a rare moment between relentless touring schedules — including recording stints at White Star Sound (Louisa, Virginia), Pet Moose (Richmond, Virginia) and Echo Mountain (Asheville, North Carolina), as well as Nashville’s Blackbird and Front Stage — Leavin’ This Holler is that signature 49 Winchester sound of rollicking country and searing rock music, but with a matured approach this go-round. “We’ve all grown a lot in our personal lives since Fortune Favors the Bold,” Gibson says. “Several of us have started families, and that’s kind of played into the lyrical themes — things are a little different with this record.” Beyond its upbeat country tempos (“Hillbilly Happy”) and sorrowful ballads (“Tulsa”), whirlwind guitar riffs (“Make It Count”) and rumbling vocals (“Traveling Band”), Leavin’ This Holler offers up a more focused sense of self — this new, bountiful level of intent and purpose. “Each album captures a kind of different season in my life,” Gibson says. “In terms of what I’m dealing with, what lessons I’m learning, what lessons I’m failing to learn sometimes.” Both “Fast Asleep” and “Anchor” incorporate the Czech National Symphony Orchestra, with the stirring melodies showcasing Gibson’s voice erupting into the ether of an unknown tomorrow. “We love the string arrangements from those great country acts of the 1960s, 70s and 80s,” Gibson says. “We wanted to explore every possible sound we could on this record. No stone left unturned sonically — we got it exactly where we wanted it.” Now with a decade under its belt, 49 Winchester is also going through this full circle of emotions and sentiments as of late. Still calling the rural countryside of Castlewood, Virginia, home, Gibson shakes his head in appreciation and gratitude for the simple things in life, which, as you get older, become the most important. “There’s no place like home — it’s a constant source of inspiration,” Gibson says. “I’ll be riding down some backcountry road and there’s just something about that movement, that hum of the motor, and the thoughts running through your mind that spark a song.” With Leavin’ This Holler hitting the streets, 49 Winchester is gearing up for more worldwide touring featuring several arena gigs with Tyler Childers and their debut at Bonnaroo. And, in a highly-anticipated appearance, 49 Winchester will also be headlining the famed Bristol Rhythm & Roots Reunion — a homecoming festival of sorts for the band, who played some of its earliest gigs at the renowned gathering. “We’ve all just come along so far as musicians and as friends,” Gibson says. “The way we think musically has changed, the way we perform has changed — we’ve just grown and evolved.”

Avery Anna

Warner Music Nashville recording artist Avery Anna is a vibrant talent with an expressive pen that her fans might say speaks to sad girls – and sad boys. Avery’s career started on TikTok, where she uploaded clips of her singing in an acoustic-friendly, claw-foot bathtub. Three years later, her account has more than 1.6 million followers and almost 37 million likes. She has earned recognition for nuanced lyricism well beyond her 19 years, coupled with a dynamic, piano-forward sound. Amazon Music, Apple Music, Pandora, Spotify and YouTube have all named the talented Arizona native an Artist to Watch. Avery’s debut EP Mood Swings, a seven-song introduction that has contributed to her nearly 300 million global streams, features viral hit “Narcissist.” She performed the Gold-certified smash on the 2023 CMT Music Awards, where she was nominated for Breakthrough Artist of the Year. In addition to topping SiriusXM The Highway’s Hot 30 Countdown, “Narcissist” has earned rotation among today’s biggest pop songs on SiriusXM Hits 1. Earlier this year, Avery debuted her all-too-relatable empowerment anthem “Self Love” on NBC’s TODAY. Her latest release, “I Will (When You Do)” with Dylan Marlowe, is out now. Having quickly become an in-demand touring artist, Avery will close 2023 on the road. This year alone she has opened for Cole Swindell, Jordan Davis, BRELAND, Chase Rice and more, both across the United States and abroad. She will headline her own Treat Yourself Nice Tour through December. This is still just the beginning for the rising star, as she steps out of the bathtub and into the spotlight.

Badflower

Beauty blooms from discomfort. The second we squirm at the utterance of a lyric or the echo of a guitar chord is the moment we learn about our limits and, perhaps, make a change in our lives. Badflower aren’t afraid of making anybody uncomfortable. The GOLD-certified Los Angeles-bred and Nashville-based quartet—Josh Katz [lead singer, guitarist], Joey Morrow [lead guitar, backing vocals], Alex Espiritu [bass], and Anthony Sonetti [drums]—siphon stress, sleeplessness, sex, sadness, mania, pain, and truth into revelatory alternative anthems. Katz’s quivering confessions seep into climactic distortion and, like any good rush, you need more. They deliver this rush on their 2021 second full-length offering, This Is How The World Ends (Big Machine/John Varvatos Records). “It’s hopefully more than just brutal honesty,” muses Katz. “To me, it’s sassy, uncomfortable, funny, clever, and sad. It wasn’t a casual process. It’s all in, so I’m all in. I don’t stop. I don’t quit. I cry a lot. I neglect everything else. There was no reason to set an alarm and wake up in the morning. There was no reason to do anything but make the best album possible. That’s what we did.” Badflower continue to commit body, blood, mind, and soul to their art. They’ve certainly grinded to get to this point. After forming in Los Angeles during 2014, they dropped two EPs before sending shockwaves throughout rock with their 2019 full-length debut, OK, I’M SICK. LoudWire hailed it among the “50 Best Rock Albums of 2019,” while the singles “The Jester,” “Heroin,” and “Ghost” vaulted to No. 1 at Rock Radio. Not to mention, the latter picked up a GOLD-certification from the RIAA and win as iHeartRadio Music Awards Rock Song of the Year. Along the way, they garnered further acclaim from Nylon, Alternative Press, Music Connection, and Substream Magazine and performed on The Late Late Show with James Corden as well as Last Call with Carson Daly. They’re the rare act who can ignite a crowd at Kaboo Del Mar or Sonic Temple in addition to sharing bills with the likes of Cage the Elephant, Ghost, Nothing More, Shinedown, Soundgarden, and many more. Thus far, they’ve also gathered over 100 million streams and counting. Meanwhile, one-off singles “30” and “F*ck The World” reached Top 5 and Top 10 at Rock Radio, respectively. Before the Global Pandemic swallowed 2020 whole, Josh and Co. had begun penning ideas for what would eventually become This Is How The World Ends. As shit got real in Los Angeles, the band and their “extended family” of crew and friends picked up and moved to Nashville. “We’d wanted to rescue animals and live on a farm forever,” admits Josh. “Once we got settled, I built a little studio in a barn where I sleep and we finished the record.” The best kind of obsession catalyzed the process. When it came to production, the band took the reins, preserving an intense unpredictability. At the same time, Josh would watch and rewatch fan-captured live performances on YouTube in order to draw inspiration for recording. “It was actually just because I’m a narcissist,” he grins. “We worked so hard to make it feel spontaneous, raw, real, and natural though. The drum takes are exactly what Anthony did in the moment. There was no demoing. We set everything up properly and pressed ‘record’. If it was good, it was good. Some of the vocal takes are first takes. We had no clock. It’s the most human thing we’ve ever done.” Speaking of human, the first single “Family” hovers over an ominous drum beat as Josh’s voice barely breaks a whisper. Clean guitar glows through the bass line as he confesses, “affection makes me nauseous, believe me, I don’t want this,” before an exhale of distorted catharsis, “Cuz I let you down, and I lost my fucking mind…What happened to this family?” “Some people have a perfect white picket fence; I certainly didn’t,” he reveals. “I have family issues that linger. Throughout my twenties, I placed so much blame on that. I allowed myself to validate slowly dipping out of everyone’s lives and not talking to my sisters or parents. It’s easier to call yourself the victim. I realized it was an excuse to be shitty, and it was my problem. I have trouble talking to family members, so I wrote the song.” Elsewhere, “Don’t Hate Me” hinges on a push-and-pull between palm-muted guitar and a chantable chorus. It culminates on a breakdown where his inner dialogue screams out before final strains of piano taper off. “It’s a lot of self-awareness,” he goes on. “On the bridge, there’s a meta dialogue where I explain how I’ve changed my entire life and my appearance.” The album teeters between searing nostalgic introspection on the acoustic intro “Adolescent Love” and the clarion call of “Machine Gun” where the title resounds, “This is how the world ends.” The ride comes to an end on the sardonically elegiac “My Funeral.” Soft strumming brushes up against visceral admissions such as “Imagine if I took my life, gave up on love, and died tonight?”, coated in a softly blissful delivery “It’s not as simple as saying, ‘I’m sad and want to die’,” he states. “It doesn’t paint me in the perfect light a lot of artists want to be painted in—or truly beaten down by the world and just trying to be the best version of themselves. I’m admitting I’m not trying to be the best version of myself. I don’t even know what that looks like. I don’t know how to change it. All I know is how to write about it. Now, we have this album.” In the end, Badflower’s honesty burns in the best way. “This band means everything to me,” he leaves off. “I’m so obsessive because the music is going to outlive me. I care a lot about what this band could mean for other people. The legacy is almost more important to me than my happiness or success. I don’t know why. It’s probably something I should analyze on the next record,” he laughs.