Magic City Hippies (18+ Event)

We can all take solace in the simple pleasures awarded us through our senses. Imagine, the memorable clink of ice hitting a rocks glass, the scent of muddled limes and mint, the faint crackle as the tipple is poured, the effervescent fizz of soda about to broach the rim, the straw insertion and swirl, the first sip of vacation... Life would be miserable without these gifts, and life would most certainly suck without the perfect soundtrack to the first cocktail of some much needed time off. Pop the cork on some Magic City Hippies. MCH initially floated onto the scene as Robby Hunter Band, yet once their album titled Magic City Hippies dropped, it became clear they had accidentally found their identity through an album title. Renamed in 2015 as Magic City Hippies, the Miami boys tasked themselves with marrying the funk sweat of a midafternoon sail with the syncopated shoulder shimmy of a late night out. They quickly gathered steam and took to gracing stages across the planet, from packed night clubs, to sold out concert halls, to earning performances at Bonnaroo, Austin City Limits, and Lollapalooza, Magic City Hippies cater to those simply looking to escape with a welcoming, never-haughty, yet delightfully naughty, thwap. Their Hippie Castle EP (2015) was just the tip of the proverbial ice cube in a cocktail glass of hippie sass. It mixed pool-side melodies and three day weekend grooves with a soulful, upbeat, vacation-heavy inflection of what can only be described as their own brand of musically casual psych-pop. Modern Animal (2019) brought MCH beachside, adding even more sultry swank to an already damp pair of chinos. A few years later, Water Your Garden (2022) brought the world out of a socially isolated pandemic, with a brilliantly shimmering and joyous celebration of dancing on our own, yet now together. While the studio albums have each received both fan and critical acclaim, their engaging and unapologetically energetic live show takes even the most dance-stubborn attendee and persuades a sort of hypnotically voluntary participation. Seeing first timers become lifelong fans is a galdarn tradition when it comes to a live Magic City Hippies experience. Whether this sunshine funk is all up inside your alley, or even if pink neon signs flashing the words SENSUAL AUDIBLE MASSAGE just have you curious, Magic City Hippies deliver a rare blend of musical talent and touring tenacity, with an uniquely cool and pastel fashion sense offering up funky sweaty smiles aplenty.

54 Ultra

In the kaleidoscopic world of music, 54 Ultra emerges as a beacon of sonic fusion, weaving synthy indie rock with a Latin soul heartbeat. Based out of New Jersey, 54 Ultra is the musical project of songwriter and producer JohnAnthony (Johnny) Rodriguez. Offering music that is both honest and melodic, with a charismatic stage presence to match, 54 Ultra is carving out a space uniquely his own, defined by a garage pop and soul sound. Through a combination of interning in a New Jersey studio and self-teaching, Johnny built a solid foundation in music production before stepping into the spotlight with his own artist project. In early 2025, Johnny headed to Miami to work with Kali Uchis on her latest album, Sincerely, where he produced the track “All I Can Say.” In 2024, he shared his debut single, “Where Are You,” which quickly gained traction online, introducing listeners to a sound that feels both timeless and fresh. A year later, he released his debut EP First Works, which Billboard named one of the Best Projects of the Year (So Far). The six-track collection features fan favorites like “Upside Down” and “No Tengo Valor”, and was followed by four sold-out shows in New York and Los Angeles. Most recently, 54 Ultra shared “I Won’t Go,” a Spanglish synth ballad that further showcases his ability to blend emotional depth with vibrant, genre-blurring soundscapes. Just a little over a year after releasing his first single, it was announced that 54 Ultra will perform at Coachella 2026. Leading up to the festival, he will be opening for Kali Uchis at her San Jose show, embarking on a nearly sold-out North American tour, and playing his first European headline shows in London, Amsterdam, and Paris, before closing out the year with a performance at Festival Color Caribe in Puerto Rico.

Congress the Band

The Floozies

Brothers Matt and Mark Hill are the sonic visionaries behind electronic-funk powerhouse The Floozies. Certified heavyweights in the world of jam and future-groove, the Kansas City-based tandem champion authentic funk in the digital age. Familiar with sold-out shows across the country including their annual hometown Funk Street festival, prominent festival appearances at Bonnaroo, Electric Forest, High Sierra, Summercamp, Wakarusa, Camp Bisco, Summerset, Bumbershoot, and headlining Red Rocks shows, their formidable sound is continuously celebrated from coast to coast.

Jonah Kagen

Singer and songwriter Jonah Kagen shares his new EP, ‘The Roads,’ out on Arista Records. The 6-track EP includes recent hit singles like “The Roads,” “Pollution,” “Made Up My Mind (ft. Lily Meola),” and “18,” as well as two brand new songs, “This Life Ain’t Easy” and “Save My Soul.” The EP’s title track, “The Roads,” has had recent momentum climbing at US Triple-A radio, with support across 15+ stations and counting, and received a stamp of approval from Zach Bryan.  Jonah continues to challenge the boundaries of folk, rock, and pop with his new EP. Pairing his signature acoustic-driven sound with heartfelt musings, Jonah captures the universally relatable feeling of trying to figure life out.  “‘The Roads’ is a story of decisions and consequences,” Jonah says. “Each song represents a distinct moment in my ongoing quest to ‘figure it out’ and what those moments did and continue to do to me. Each is a road that I’ve taken that has shaped and continues to shape who I am. I hope people can find a piece of themselves in these stories, and I encourage you to listen with an open heart and an open mind. I wrote these songs to land anywhere—take them as they are, or as they are to you.” Ironically, ’The Roads’ arrives as Jonah returns home from two months on the road. He started his US run in October with his first ever headline tour, which included sold-out shows in Charlotte and New York City, before joining Phillip Phillips as support on ‘The Drift Back’ tour.  Embodying contrast, Savannah GA native Jonah Kagen approaches the guitar with the instinctual know-how of a jazz virtuoso, but also pens the kinds of lyrics that turn into festival singalongs. At just 23 years old, Jonah Kagen has already cut impressive figures with over 200 million global streams and 2.6 monthly Spotify listeners. An exciting new voice bringing undeniable energy and sincerity through his multifaceted sound, Jonah Kagen is one to watch.

Electric Guest

Co-writing and co-producing a Grammy Award-winning international hit is usually enough to make an artist’s ego visible from space. But for Asa Taccone of Electric Guest, working on Portugal. The Man’s inescapable, Grammy-winning 2017 track “Feel It Still”, as well as contributing a track to Carly Rae Jepsen’s Dedicated, was more humbling than ego-boosting.   “When you work with other artists and performers, you get to see yourself,” says the singer-songwriter, as his Electric Guest compadre and multi-instrumentalist Matthew Compton nods in agreement. “But you also get to have these intimate conversations with bands on their second or third albums, and you realize it’s not fun anymore. It’s hella stressful, and you find yourself over intellectualizing the process. I realized it was exactly the sort of thing I do.” The question was, how to make sure it didn’t happen to Electric Guest. Their third album is the emphatic answer. KIN is not just another collection of songs for Electric Guest. It’s an overdue statement of identity. “We came up in the early 2010s when indie bands were where it was at,” remembers Asa. "We got lumped into that, but it was never really the right fit, so it’s been a gradual shift away from that. I think of us as more a pop duo.” Forget what you read in a blog from 2012 and ignore what the “You Might Also Like” algorithms suggest. Electric Guest are proudly, defiantly, more Wham! than Weezer. From top to bottom, KIN feels like a warm, familiar haven, but scratch the surface, and you’ll find Electric Guest have hidden some lyrical weight underneath the positive vibes. “I wanted to make straight up, unapologetic pop,” says Asa. “I didn’t want to make a record that was angsty or artsy, but I also didn’t want to make pop that was void of sentiment either.” Opening track “Dollar” exemplifies how Electric Guest weave those threads together. Brimming with sunshine soul grooves topped with Asa’s sublime falsetto, it’s a seductive first listen and one that instantly shows Electric Guest’s musical ambition. But there’s a subtle social critique melded into that unforgettable melody. “At a certain point, the arts became about exclusivity and wealth,” says Asa. “Instead of hearing a song and breathing a sigh of relief, now it’s like ‘damn, I don’t have a girl like that, I don’t have a car like that.’ When you watch these videos, I think it actually ends up stressing people out rather than lifting them up. So I was trying to get away from that with ‘Dollar.’” “That song definitely checks a lot of boxes for us,” notes Matthew with obvious pride. “I Got the Money” continues that theme of checked aspirations (“Keep that money for yourself/I don’t need that type of wealth”) and while “1 4 Me” is the kind of top-down jam you want to hear while riding shotgun with your life-partner, it also hides an added layer for those who want to find it. “I don’t even believe in a Christian god, but it’s about having faith… faith in something bigger than yourself,” says Asa. The songs that make up KIN were mostly written at Asa’s home in Los Angeles home and if the album sounds like summer in the city, that’s because it was. “I don’t have air conditioning,” he says. “I have a little thermometer in my studio which often reads over 100 degrees and a few times hit almost 120 because of all the old musical equipment. I would usually keep a cold bath and intermittently jump in a few times a day.” Opting to work with friends as opposed to big name producers, Asa and Matthew returned to their previous collaborator Lars Stalfors, who mixed and co-produced in his North Hollywood studio. But the real test came back in Asa’s home, where the boys would crowd test the material during parties and barbecues attended by their nearest and dearest, including members of Haim, Sir Sly, HEALTH, and others in the stylistically disparate Los Angeles musical community. “That was the tipping point,” adds Asa of the family atmosphere that birthed KIN. “I have a tendency to second guess everything I write, but it was during these moments of watching our friends dancing and enjoying the songs that I reconsidered.” The good times need good time music. But the not-so good-times need it even more. 2019 has very little chill. Information, opinions, stimulus, are all exhaustingly constant. Both Asa and Matthew felt the need for some kind of respite from the confusion, so they made their own, and gravitated towards others that were seeking the same. But Electric Guest have attracted followers from the start. After Asa and Matthew’s initial collaborations as roommates, the two formed the group in 2011 and worked their way towards success with the tuneful touch of their 2012 debut album Mondo (co-produced by close friend and mentor Brian “Danger Mouse” Burton) and the laid-back funk of single “This Head I Hold.” But they soon began to suffer a minor case of the second album syndrome. An initial set of songs was scrapped, and the full follow-up Plural didn’t arrive until 2017. Asa’s drive to create goes far beyond his group. Over the years, he has contributed musical pieces to TV shows including Saturday Night Live, The Simpsons, American Dad. Aside from working with Jepsen and Portugal. The Man, he also landed credits on Anime’s “Campfire” and Melvv’s “Anything Else.” Asa and Matthew also teamed up to help Cold War Kids pen a number of tracks, including their 2019 comeback single “Complainer.” In the last decade, you’ve heard something by the members of Electric Guest -- whether you know it, or not. Matthew also co-wrote “Feels Right,” the group’s collaboration with Carly Rae Jepsen. But after enjoying the success of their hit-making magic, Asa and Matthew have reconvened for their main gig with some firm ideas. “We both love early 2000s pop music, and the way those songs sound,” adds Asa, referring to the genre-agnostic TRL-era that incorporated everything from Lenny Kravitz to Justin Timberlake. “We wanted to do something with that energy but put our own spin on it. I wanted to be nostalgic without being retro.” This time around, they had the benefit of experience, too. “It came easier this time because I think we remembered to have fun” adds Matthew. And if you don’t believe them, just ask their KIN.

Langhorne Slim

As the phenomena of instant connection and the need for constant self-improvement further implant their tendrils into our culture, the ability to truly connect with each other and ourselves has begun to fade.  As we all reach for our smartphones to gaze upon the manufactured perfection of the lives of those we admire, we lose sight of what makes our own lives important.   Nashville’s Langhorne Slim interlaces this theme throughout his new album. “Everyone's searchin' for something better around every corner, but it's already right here,” Langhorne says. “We're all born whole - through livin' we fall apart...”   The songs on Langhorne Slim’s newest album, Lost At Last Vol. 1, out November 10, 2017, challenge the idea of social rigidity: the attitude that there’s a “correct” way for us to live and a side we should be on.  He urges the world to see through the idea that by following that path and focusing only on fitting the mold, one will have lived a good life.  He re-interprets the sound of the free-spirited yet vulnerable everyman heard on 2015’s The Spirit Moves and brings forth anew the call for us to abandon “the fold” and re-connect with ourselves and each other.   Langhorne Slim is no stranger to the world of popular culture and commercial success.  Lost At Last Vol. 1 is his sixth full-length album; throughout his career he has been defined by reflective songwriting and passionate delivery. Slim’s last album cycle alone garnered him his third appearance on Conan O’Brien’s late-night show, as well as a feature on CBS Saturday Morning, and the highest charting debut of his career.  O’Brien, a personal fan of Slim stated, “After one listen, I became an instant, almost obsessive fan.” Slim has consistently toured on his own, and has appeared on extensive worldwide runs throughout his career with artists such as The Lumineers, The Avett Brothers, Grace Potter & The Nocturnals, Gregory Alan Isakov, Josh Ritter, The Devil Makes Three, Sara Watkins, and more.  He’s also appeared on many festival stages, such as Bonnaroo, Newport Folk Festival, Outside Lands, Lollapalooza, and the Philadelphia Folk Festival.     Lost At Last Vol. 1 is a record that Langhorne wanted to do differently from the start.  “Almost immediately after recording our last record, The Spirit Moves,” Slim says, “I felt a deep desire to make another album. One that would take a step sideways in order to take a step forward; one that would be very personal and raw…in the making of this record, I made a deal with myself to trust my own voice and vision more than I ever have before, and to go willingly wherever it led.”   The title alone reflects his need to pen a great wealth of songs, as if the thoughts and inspiration took on a life of their own and just needed to come out.  Recorded over the span of around six months in New Orleans, Los Angeles, and Catskill, NY, and clocking in at about 34 minutes, it’s a short but intense listening experience.  Several songs are under two or three minutes long, but they pack vivid imagery into concise packages in a way that shows a significant diversion from the songwriting on his previous records.  Slim keeps his record-making in the family with this release; longtime band member Malachi DeLorenzo co-produced the record along with Kenny Siegal, and DeLorenzo also mixed several tracks in addition to playing drums on the record.     Slim reflects truths that we may or may not want to admit; in “Life is Confusing”, he muses that “life is confusing, and people are insane”.  He stands resolute in the face of trial: “…you could break my heart, but you’ll never break me,” he sings on “Never Break”.  He calls upon the listener during this time fraught with challenges to unplug from the trajectory our culture has deemed is “right” and find strength in our own vulnerability, in our own instincts.  “We look to our phones, drugs, sex whatever to find ourselves when it's already right here,” Slim says. These songs join in the rallying call for the wild ones in us all.  

The Jack Wharf Band

Peter McPoland

At just 20 years old, Peter McPoland creates the kind of finespun folk-pop that feels both beautifully lived-in and undeniably original. McPoland picked up guitar at the age of 14 and taught himself to play, finding lessons to be too regimented. Within a year he'd started writing his own songs, mining inspiration from folk artists like John Prine and Gregory Alan Isakov. As shown on breakout hits like his self-released single "Romeo & Juliet," the Texas-bred artist has an incredible gift for capturing the most nuanced emotional experiences, then bringing that expression to life in idiosyncratic detail.

Briscoe

If Briscoe's debut album was a coming-of-age soundtrack set against the backdrop of the Texas Hill Country, then its follow-up, Heat of July, is the sound of a fully-formed duo chasing down a broader horizon. Inspired by marriage, landscapes, and the cross-country tours that took the band across America, these new songs were written on the road, as eclectic and evocative as the terrain that unfolded just outside the van's windshield. Once again, Briscoe teamed up with Grammy-nominated producer Brad Cook to bring the songs to life, collaboratively creating a record that expands Briscoe's folk-rock sound in all directions. There are bigger arrangements, sharper vocal harmonies, and enough top-tier guest musicians — including members of Houndmouth, Hiss Golden Messenger, Bon Iver, Mipso, and Watchhouse — to form their own supergroup. The result is a cinematic, widescreen version of American roots music, created by two lifelong friends who've learned to distill the thrill of the open road — and the challenges of growing up — into an ever-evolving soundtrack.