Arc de Soleil

At the crossroads of introspection and innovation lies the captivating musical world of Arc De Soleil, the brainchild of composer, producer and multi-instrumentalist Daniel Kadawatha. Drawing inspiration from transcendent sources, his compositions serve as a gateway to uncharted realms yet to be defined and discovered. Capturing fleeting moments of creative sparks, Arc De Soleil crafts melodies that encapsulate a tapestry of emotions and inner encounters for audiences to interpret and feel deeply, where every song serves as a symbol for spirit, the source from which they emerged. The soul of Arc De Soleil’s sound lies in its melodic guitar arrangements, which acts as vessels of inspiration and storytelling - guiding listeners to embark on their own journey in search of spirit in their own unique way. Daniel’s love and deep connection for the guitar springs from his childhood where his father's guitars and homemade amplifiers became keys to a new world of experiences, shaping his unique musical journey. His versatility as an artist spans genres, from intimate acoustic pieces to futuristic synthwave, amassing over 800 million streams and achieving countless syncs across his various projects. Arc De Soleil stands as the shining jewel among them. Following a sold-out 2024 world tour, Arc De Soleil kicked off 2025 with another packed run across the EU before heading to the US in the spring, including a performance at Red Rocks. With over 350 million streams and 2.65M+ monthly listeners, despite only releasing singles and EPs, the long-awaited promise of a debut LP was hinted at with his latest single "Sunchaser." As industry buzz builds and demand for his music and live shows grows, Arc De Soleil continues to captivate hearts and minds worldwide.

The Blue Stones

Since bursting onto the scene with their acclaimed debut album Black Holes, The Blue Stones have delivered a crowd-thrilling live show that defies the laws of physics, generating an impossibly massive sound from its two members alone. On their third album Pretty Monster, the duo fully capture the controlled chaos and combustible energy of their live set for the very first time—all while expanding on the potent songwriting and sonic ingenuity shown on Black Holes (a 2018 release that earned them a JUNO Award nomination for ‘Breakthrough Group of the Year’) and its 2021 follow-up Hidden Gems (a JUNO nominee for ‘Rock Album of the Year’). Despite the colossal growth they’ve experienced since getting their start playing dive bars in their small hometown, The Blue Stones instill every track with equal parts unchecked passion and a joyfully adventurous spirit. Mainly produced by multi-GRAMMY Award-winner Joe Chiccarelli (The White Stripes, The Strokes, Spoon), Pretty Monster came to life over 35 consecutive days of recording at an off-the-grid studio in Kingston, Ontario. During that time, lead vocalist/guitarist Tarek Jafar and drummer/backing vocalist Justin Tessier worked tirelessly in preserving the raw vitality of the album’s demos while embedding each song with so many unexpected details (gritty beats, restless grooves, elegantly frenetic textures). A striking departure from the more atmospheric sound of Hidden Gems (a widely lauded effort that spawned three Top 5 radio hits in Canada), the result is a triumphant body of work that merges the hard-hitting dynamics of rock-and-roll with the indelibly catchy hooks of pop. A wildly anthemic track built on kinetic rhythms and a commanding vocal performance from Jafar, Pretty Monster’s exhilarating lead single “Don’t Miss” reveals the unbridled creativity The Blue Stones brought to the album-making process. To that end, Jafar sketched the song during a session with writer/producer Kevin “Boonn” Hissink (grandson, Mike Shinoda), after spontaneously composing an explosive riff on Hissink’s baritone guitar. “The riff was so punchy, it inspired me to write this song about completely owning your confidence—sort of like, ‘The hype is quite real, and here’s your soundtrack to prove that,’” says Jafar. Another heady shot of fortitude, “Cards Are Down” unfolds in blistering guitar tones and fuzzed-out grooves as The Blue Stones speak to the pure power in “putting everything you’ve got on the line toward whatever you want most in life,” as Jafar puts it. On “Good Ideas,” The Blue Stones shift into a more introspective mindset, channeling a brooding urgency with the track’s hip-hop-leaning beats (an element crafted with the help of WZRD BLD, who also produced “Cards Are Down” and has previously worked with artists like Illenium and Highly Suspect). “It’s about feeling like you don’t know what to say, what to write, what to create anymore,” says Jafar. “I wrote it during lockdown when I was feeling so stuck, but then the song itself ended up proving me wrong by becoming something I’m really proud of.” Meanwhile, on “What’s It Take To Be Happy?”, The Blue Stones present a soulful meditation on the often-frustrating search for fulfillment, brilliantly twisting the mood with the song’s bright guitar work and sing-along-ready gang vocals. “That one came from trying to write a song from major chords instead of the bluesy minor chords we use a lot of the time,” Jafar recalls. “I thought it would be fun if the lyrics contrasted the happy feeling of the music, so it turned into a song about how the search for happiness can sometimes feel endless.” The most heavy-hearted moment on Pretty Monster, “Camera Roll” reflects on a particularly brutal form of post-breakup nostalgia. “Letting go of a relationship is always so difficult, especially when your phone is full of hundreds of photos of the person you’re trying to move on from,” says Jafar, who wrote the hauntingly delicate track on piano. “Getting to the point of hitting delete and finding some closure is really tough, but hopefully this song will give people the strength to find closure for themselves.” Elsewhere on Pretty Monster, The Blue Stones push into such previously uncharted sonic terrain as the stoner-rock intensity of “Stay With Me.” “There’s usually more of a swagger to the beat in our songs, but that one’s this straight-ahead, driving, four-on-the-floor rock song,” notes Tessier. For The Blue Stones, there’s an undeniable sense of both purpose and pleasure in boldly following their creative impulses. “Our approach has always been to make the music we want to hear,” says Tessier. “Every song we create is something we wanted to see in the world, and hopefully if that goes far enough, it’ll help move things forward for the whole genre.” And by staying true to their instincts, the duo ultimately hope to make a profoundly positive impact on their audience as well. “We want our music to be cathartic, but we also want it to motivate and uplift people and make them feel more confident,” says Jafar. “And when they come to our live show, we want everyone to feel absolutely energized by the time they leave, like they’re ready to take on the world.”

Hurray for the Riff Raff (18+ Event)

It had been a successful, if tumultuous, ride for Alynda Segarra, who’s been spreading a new kind of roots-conscious folk music across the country from her adopted hometown of New Orleans. But as far as the Bronx native had come with her band, Hurray for the Riff Raff, there was still a missing link to her story. “The more I toured, ending up in the middle of nowhere bars from Texas to Tennessee,” said Segarra, “I just started feeling more and more like, I don’t belong here, I gotta get back to my people, you know?”After many years in New Orleans, Segarra found herself getting antsy. Hurray for the Riff Raff had four albums under its belt, with the last one, Small Town Heroes, featuring “The Body Electric,” a song that NPR’s Ann Powers called “The Political Song of the Year” in 2014. Yet even though her musical career had begun by running away from home at 17, busking for survival and honing her craft through dreams of Bessie Smith, Ma Rainey, Memphis Minnie, and Woody Guthrie, Segarra realized she is a Puerto Rican kid from the Bronx with a different story to tell. To find her way back home, Segarra became the willing vessel for a character she calls “The Navigator,” from which her new album takes its name. She describes The Navigator, a/k/a Navita Milagros Negrón, as “this girl who grows up in a city that’s like New York, who’s a street kid, like me when I was little, that has a special place in the history of her people.” Through The Navigator (ATO Records), the listener hears an ambitiously interwoven, cinematic story of a wandering soul that finally realized she needed to connect with and honor her ancestors.Segarra quickly went to work with producer Paul Butler, whose work with British soul singer Michael Kiwanuka she deeply admired, to capture the cinematic, old but new quality she wanted. It also meant assembling a core group of percussionists like Kansas City-based Juan-Carlos Chaurand and Devendra Banhart's drummer Gregory Rogove to play everything from Cuban to Puerto Rican to Brazilian backing beats. The result is an interconnected set of introspective songs, grounded in Segarra’s eclectic rustic root style, yet adorned by elements of son montuno, plena, and a kind of Mink De Ville retro-doowop rock.Segarra drew early inspiration from cult favorite Rodriguez, a Mexican-American who translated working-class stories from Detroit into powerful rock ballads, and the Ghetto Brothers, an underground band from the 1970s South Bronx who stitched Puerto Rican nationalist messages into a rough-hewn fabric of Santana and Sly and the Family Stone Afro-Caribbean funk. She reached back to her cultural ancestors in the form of the radical political group the Young Lords and the salsa singer Héctor Lavoe. “I would just try to have the rhythm in my head and write the lyrics,” said Segarra. “Then I went back and added everything else, it was like poetry?”Poetry permeates The Navigator, like when Segarra juxtaposes the feeling of growing up in a box in the sky on the 14th floor of an apartment building with the feeling her father had flying for what seemed like an eternity in a propeller plane from Puerto Rico to New York in the song “14th Floor.” Or when, in the elegiac piano-driven ballad “Pa’lante,” named after the Young Lords newspaper that showed the way forward, she inserts the sampled voice of legendary poet Pedro Pietri reading from his seminal opus “The Puerto Rican Obituary.” The Navigator is a restless observer, perched at the nexus of Allen Ginsberg’s East Village and the Nuyorican Poets Café, confessing the blues and dancing the punky salsa steps of a lonely girl, a hungry ghost.Like a song-cycle from an imaginary Off-Broadway musical, The Navigator rises from the ashes of loneliness and striving, honky tonks and long walks by the river of urban dreams. From the wistful melancholy of “Life to Save,” to the stubborn resignation of “Nothing’s Gonna Change That Girl,” Segarra’s voice speaks with a husky weariness that coexists with a naïve curiosity. It’s the voice of a rebel who wanted everyone to think she was so tough, and nobody could take her down, but at the same time was yearning for love and magic, some kind of an awakening.Long-time Riff Raff fans should feel at home in The Navigator’s World. There’s always been a little bit of syncopated Caribbean strut to down home rock and roll, Appalachian rags share a similar root with Spanish troubadours and the blues is the same in any language. On The Navigator, Segarra’s voice has never been more soulful, whether she’s decrying urban gentrification on “Rican Beach” or mourning the lies people tell on “Halfway There.” Like the moment we’re living in, The Navigator is as much about the past as it is the future.With its 12 tracks and its Travelers, Sages, and Sirens, The Navigator comes straight at you from the intersection of apocalypse and hope. This album rides Patti Smith’s high horse while straddling Chrissie Hynde’s thin line between love and hate. Segarra may lament the Trumpsters who want to “build a wall and keep them out,” but she knows that, like the outcasts she embraces, “Any day now/I will come along.” There’ll be no more hiding at the dimly lit intersections of class, race, and sexual identity—now we will all come into the light. “I feel like my generation, through groups like Black Lives Matter, is really focusing on that type of intersectionality—if one of us is not free, then none of us are free,” said Segarra. “The Navigator’s role is to tell the story, tell it to the people who don’t know their own story, so they can be free.”

Heart Attack Man

Heart Attack Man is an American punk rock band from Cleveland, Ohio.

The English Beat

The English Beat is a band with an energetic mix of musical styles and a sound like no other.  The band's unique sound has allowed it to endure for nearly three decades and appeal to fans, young and old, all over the world. When The English Beat (known simply as The Beat in their native England) rushed on to the music scene in 1979, it was a time of massive social and political unrest and economic and musical upheaval. This set the stage for a period of unbridled musical creativity, and thanks in large part to the Punk movement and it's DIY approach to making music, artists like The Beat were able to speak out and speak their mind on the news of the day, as in “Stand Down Margaret”, things that mattered to them and the youth culture, as in “Get A Job”, and universal matters of the heart and soul, as in their classic hits “I Confess” and “Save It For Later”. The original band consisted of singer-songwriter Dave Wakeling on vocals and guitar, Andy Cox on guitar, David Steele on bass, and Everett Morton on drums – later additions Ranking Roger (toasting) and foundational First Wave Ska legend Saxa (saxophone) completed the outfit. The band crossed over fluidly between soul, reggae, pop and punk, and from these disparate pieces they created an infectious dance rhythm. The Beat first came to prominence as founding members of the British Two Tone Ska movement, with their classic first album “Just Can't Stop It” fitting squarely in that genre.  Along with their contemporaries The Specials, The Selecter, and Madness, the band became an overnight sensation and one of the most popular and influential bands of that movement.  However, band leader Dave Wakeling never felt constrained by the movement.  Dave has always viewed ska as a springboard, not a straight jacket.  Indeed, the band's sound continued to evolve over their first three studio albums, through the General Public era (a band formed by Dave with Ranking Roger, the toaster from The Beat), and has continued it's evolution with the forthcoming English Beat album “Here We Go Love”, a PledgeMusic crowd-funded album set for release in 2016, the band's first new album since 1982's “Special Beat Service”. Consummate showman that he is, Dave Wakeling has continued to keep The Beat alive and strong. Dave continues to tour the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat, General Public, and songs from his new album “Here We Go Love”. You just can’t stop The English Beat!

Party Iconic - HOT TO GO - The Chappell Roan Party (18+ Event)

The Incurables