Stiff Little Fingers

Stiff Little Fingers were formed in 1977 in Belfast, Ireland. Along with the likes of the Clash, Sex Pistols,The Jam, Buzzcocks, Undertones, Sham 69, Stranglers, et al – Stiff Little Fingers were at the forefront ofthe punk movement. They wrote initially about their own lives, growing up at the height of The Troubles inNorthern Ireland, in songs like “Suspect Device” and “Wasted Life”. In November of ’77, they releasedthose two songs on their own Rigid Digits label, and sent a copy to BBC Radio One DJ John Peel, whostarted playing it every night.These were the first of what became SLF’s signature style: lyrics that meld the personal and political,music that combines the energy of punk with infectious hooks, and delivery that rings of honesty andcommitment. In 1979 they became the first band ever to hit the UK top 20 album charts on an independentlabel with their debut Inflammable Material. The album chronicles the band’s anger and frustration at “theTroubles” in Northern Ireland, and calls on youth to create their own reality.Over the years, their live shows continued to be special events of energy and power. Their studio albumsdemonstrate their passion and anger, each in its own way. In ’94 they released the Get a Life LP. Thealbum helped renew interest in SLF just as newer bands that sited them as a major influence, such as BadReligion, Sugar, Rancid and Therapy, were coming to prominence. In August 2003, Stiff Little Fingersreleased their ninth studio album, Guitar and Drum, which includes a moving tribute to Joe Strummer,entitled “Strummerville”.After many studio albums and countless tours, Stiff Little Fingers find themselves more in demand thanever. They are currently working on a new album, and many of the new songs have been debuted at livegigs, with tremendous response from fans. With song titles like Trail of Tears, My Dark Places and Liar’sClub covering topics such as the recent economic collapse, Jake’s personal struggle with depression, andcontinuing racism in the west. Jake has said, “You’ve probably worked out by now, I don’t do “comedy”songs !!” But the songs continue to inspire fans old and new. Countless people have already contacted Jaketo say that “My Dark Places” gave them the strength to tell others about their own bouts with depression.Though focused on their new material, they always play the old favorites at gigs. Jake said, "You have tostrike a balance. The difficulty with a band like ourselves is to try not make it sound like a cabaret band.Obviously, it’d be very easy to go, ‘Hey, here’s another old one you may remember.’ A lot of the old songsthe audience greet like old friends. I suppose it’s the same as any band that’s been around for any length oftime. And yes, there are nights that we don’t particularly want to play “Alternative Ulster” or “SuspectDevice” because we’ve heard them ‘til they’re coming out our ears. But there’s always the possibility thatsomebody out there has never seen the band before, never heard them."Using the band’s rich musical foundation as a building block, the time has come to bring the newest chapterof the band’s music to the world. The new songs, penned over the last decade, show a definite musicalgrowth in the band. The result is the band’s latest release – No Going Back was released in March 2014.

Phantogram

Lauded as an experimental and alternative band and one that’s never been married to a particular genre, Phantogram – comprised of lifelong friends Josh Carter and Sarah Barthel – have continued to change the zeitgeist for almost a decade by consistently challenging it with their signature blend of hard-hitting beats, guitar driven dark psychedelia and electronic pop. Since the arrival of 2010’s debut release, Eyelid Movies, the duo has amassed over a billion streams, achieved one platinum-certified single, two gold-certified singles, collaborated with legends such as Tom Morello, Billy Corgan, The Flaming Lips and Miley Cyrus, partnered with Big Boi of Outkast to form supergroup Big Grams, headlined sold out shows worldwide, become a festival staple and toured with artists including Arcade Fire, The xx, Muse, M83, alt-J and more. With major campaigns for Apple TV+, Peloton and Apple Watch, and additional placement in multiple TV shows, the band’s reach has never been so wide FANS WHO BOUGHT TICKETS SAY: "Everything about the Phantogram show was awesome...the new songs, the energy, the lights, the encore! They really showed their love and appreciation for their fans." "Phantogram rocked it. They packed the house and had awesome energy levels! Their sound is really their own and the vocals from both of artists were impressive." "Unreal. Phantogram brought so much energy, had an incredible light setup, and played an incredible set."

10cc

Platinum-selling band 10CC achieved massive success during the 1970s with classic hits like Rubber Bullets, I’m Not In Love, I’m Mandy, Fly Me and Dreadlock Holiday. The current line-up, helmed by Graham Gouldman and Paul Burgess, is constantly in demand all over the world.

The Union Underground and Spineshank

Jonny Santos (Vocals) – Rob Garcia (Bass/Vocals)- Tommy Decker (Drums) Tommy Decker, Jr. (Guitar) – Jason Hager (Guitar)  Formed in 1996 in Los Angeles, Spineshank exploded onto the late 90’s Metal scene with their 1998 Roadrunner debut Strictly Diesel, and quickly built a rabid underground following, hitting the road alongside current and future luminaries like Sepultura, System of A Down, Fear Factory, Biohazard, and Static-X.  Known for their fusion of industrial metal, alternative metal, and nu-metal elements, Spineshank gained prominence in the late 1990s and early 2000s as part of the emerging wave of heavy music influenced by electronic textures and aggressive rhythms. Known for their emotionally charged compositions and intense live performances, Spineshank left a lasting impact on the metal scene, blending heavy riffs, electronic undertones, and introspective lyrics to craft a distinctive sound that has resonated with fans worldwide for over 30 years. Their sophomore effort, 2000’s The Height of Callousness (2000), Produced by Garth Richardson (Rage Against The Machine, Mudvayne) marked a turning point into a more polished and aggressive sound, leading to critical acclaim and wider exposure, with tracks like "Synthetic" and "New Disease," quickly turning the band into a staple of the nu-metal era. Spineshank joined the ranks of Ozzfest 2001 and toured alongside a who’s who of modern Metal greats including Slipknot, Linkin Park, Type O Negative, Mudvayne, and more. In 2003, Spineshank released Self-Destructive Pattern, which included the Grammy-nominated single "Smothered." Despite their success, internal tensions led to the departure of vocalist Jonny Santos in 2004, who formed SILENT CIVILIAN, and the band went on hiatus shortly after. Santos eventually returned, and Spineshank reunited in 2008, releasing their fourth and final album, Anger Denial Acceptance, in 2012. In 2023 Santos and Decker announced the forming of a new project, The Less Dead, which led to further speculation about the future of Spineshank. Now in 2025, Hell has indeed frozen over, as Spineshank returns with a revamped lineup featuring original members Jonny Santos, Rob Garcia, and Tommy Decker, along with new recruits Tommy Decker, Jr. (Guitar) and Jason Hager (ex-Chimaira - Guitar) to celebrate the 25th anniversary of their landmark release The Height of Callousness.  “We are beyond excited to be able to celebrate 25 years of The Height of Callousness. This is the record that defined us as a band and changed our lives. We can’t wait to play all of these songs and share the memories with all of you who lived it with us.” -Tommy Decker "We are extremely excited to celebrate the return of SpineShank for the 25th anniversary of The Height of Callousness tour, and get to share this milestone with the people who were there back then, and the new fans that never got the chance to see us play. Truly an honor!!! " – Jonny Santos “It’s amazing that 25 years later people still react to The Height of Callousness the way they do. We’re excited to get out and play these songs again, see old friends, and throw down for all the new fans who never got to see Spineshank the first time around!” – Rob Garcia

Soccer Mommy

Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting and beloved artists of the last decade. Allison has used Soccer Mommy’s songs as a vehicle to sort through the thoughts and encounters that inevitably come with the reality of growing up. After all, Soccer Mommy began as a bedroom-to-Bandcamp exercise with teenage Allison posting her plaintive songs as demos. Over the years, though, she has often enhanced that sound, using the endless production possibilities, newly at her fingertips, to outstrip singer-songwriter stereotypes. The records would start with songwriting’s kernels of truth, and she would then imagine all the unexpected shapes they could take. Every Soccer Mommy record has felt like a surprise.    On Soccer Mommy’s fourth album, the tender but resolute Evergreen, Allison is again writing about her life. But that life’s different these days: Since making her previous album, 2022’s Sometimes, Forever, Allison experienced a profound and also very personal loss. New songs emerged from that change, unflinching and sometimes even funny reflections on what she was feeling. (Speaking of funny, this is a Soccer Mommy album, so there’s an ode to Allison’s purple-haired wife in the game Stardew Valley, too.) These songs were, once again, Allison’s way to sort through life, to ground herself. She wanted them to sound that way, too, to feel as true to the demos—raw and relatable, unvarnished and honest—as possible. The songwriting would again lead where the production would follow. Nothing overindulgent, everything real.

Deafheaven

For the past ten years, the seminal San Francisco band Deafheaven has been driven by evolution and innovation within themselves and their respective genres. With their forthcoming album Infinite Granite, available August 20th via Sargent House, they’ve taken another giant leap forward. With production from Justin Meldal-Johnsen, known for his stellar work with M83, Wolf Alice, Paramore, Metric, among others, Deafheaven embarks on a new chapter of defiant beauty.    Across the album, vocalist George Clarke showcases a startling vocal range; falsettos, whispers, multi-part harmonies, and other adventurous vocal treatments, with his trademark black metal-inspired howls mostly absent. Guitarists Kerry McCoy and Shiv Mehra expand their sonic palette to include synth textures using them to enrich their astral guitar work rather than outright replace it.  Drummer Daniel Tracy has always been a force to reckon with behind the kit, but where he used to floor audiences with his speed and stamina, he’s now free to broaden his approach and lay down authoritative drum patterns that together with bassist Christopher Johnson’s punchy bass lines anchor the band’s lofty arrangements. Ultimately, Infinite Granite is Deafheaven’s most goosebump-inducing album to date.   Jack Shirley, who recorded all the previous Deafheaven albums, remained on board to engineer part of Infinite Granite at his Atomic Garden East studio in Oakland, CA with additional engineering and mixing coming from nine-time Grammy Award winner Darrell Thorp (Foo Fighters, Radiohead, Beck).

Life of Agony

New York's crossover legends LIFE OF AGONY spawned in the summer of 1989, tearing through the underground scene with an undeterred aggression, obtaining a loyal and devoted cult audience in the process. The outfit caught Roadrunner Record's eye and the band quickly signed to the independent label. The band recruited longtime friend and producer Josh Silver (of the platinum-selling goth/metal act Type O Negative) to guide them, creating the now classic, debut album, 1993's "River Runs Red." The band toured relentlessly for years building a die-hard fanbase. With each following record, 1995's "Ugly" and 1997's "Soul Searching Sun" the group seemed to morph and evolve, using different approaches and textures while never losing sight of the distinct elements that made them who they were. LOA toured with the likes of Ozzy Osbourne, Korn, Limp Bizkit, System of a Down and Incubus with great success in support of their 3 studio efforts.

Geordie Greep

Is The New Sound a tonic for these times?  Let’s ask Geordie Greep.  “Music can be so much more than learning to play the same as everybody else. It can be anything you want. With recording The New Sound, it was the first time I have had no one to answer to. Being in a band (black midi), we often have this ‘we can do everything’ feeling, but you are also kind of limited in that approach, and sometimes it's good to do something else, to let go of things.” Geordie’s debut solo album boasts a brand of high quality, all-embracing alternative pop fun not heard in a very long time, walking the line between the ridiculous and brilliant with a teflon-coated aplomb.  How the record came about is a thing to marvel at. Over thirty session musicians were involved in its making, on two continents. Greep says, “Half of the tracks were done in Brazil, with local musicians pulled together at the last minute. They’d never heard anything I’d done before, they were just interested in the demos I’d made. The tracking was all done in one, maybe two days.” The spirit of Greep’s increasingly febrile and furtive soliloquies simultaneously calls to mind both Frank Zappa and Frank Sinatra, with a healthy dash of Scott Walker sprinkled throughout.  The instrumental title track is a jazz-funk workout that could double as a soundtrack for a TV series or the intro music for a Broadway musical. Brass, wah-wah pedal and bass stabs, choruses and polyrhythms, all fizz and tumble around the place creating a sense of excitement and expectation. Tracks often oscillate from whispers to shouts, and start and end on a bang. The stories themselves act as a shopping list of the Active Male Imagination. A series of vignettes, where Geordie Greep plays the role of emcee and conductor. The characters we hear from are engaged in wild fantasies and situations in which they inevitably falter. “The main theme of the record is desperation; someone who is kidding themselves that they have everything under control, but they don’t.” Here Greep gives color to a set of imaginings which include cannibalism, being boiled alive, and a woman giving birth to a goat.  Street life is all around The New Sound: the listener is thrown into a world of cafes, bars, rented rooms, cabarets and strange museums. Here we see our heroes carry out a series of naughty assignments, military cosplay or socio-economic triumphs. The lines between parody and sermon are often blurred. The urbane romantic fantasy of single ‘Holy Holy’ tells the story of an imaginary liaison in a nightclub, soundtracked by ’noughties indie chords and bravura Latin big band arrangements - including a three-piano attack. What next?  “My plan is to ‘do a Keith Jarrett thing’, have a different group of session musicians in a different place and lean into the fact that we’re not going to get it the same.”  How can anything ever be ‘the same’ with Greep at the helm?

Cavalera Conspiracy

Panchiko

On July 21st, 2016, a user on 4chan’s /mu/ board posted a photo of a demo CD they’d discovered in an Oxfam charity store in Nottingham, UK: titled D>E>A>T>H>M>E>T>A>L, purportedly released in 1998. The listener uploaded the ripped audio to file-sharing sites, and later YouTube, where it began circulating around web forums. A cult of fans banded together to solve the origin story of the mysterious disc, until eventually a long defunct local band from Nottingham who called themselves Panchiko discovered their album (limited to 30 copies) had spread virally across the internet 18 years later.   By popular demand Panchiko reunited touring the music of D>E>A>T>H>M>E>T>A>L to sold out audiences across the US and UK in 2022 and in May 2023 self-released a new LP titled Failed at Math(s) followed by expanded tours in the US, UK, and EU. Panchiko are currently in the studio crafting a new album with news to come.