Saxsquatch

Saxsquatch is a 7’ tall multi-instrumentalist, producer, and electronic music artist from North Carolina. He has accumulated over 3 million followers online through releasing music with legends such as John Oates, Billy Ray Cyrus, the band WAR, and songs with the infamous electronic music label Monstercat. In 2021, Saxsquatch created theme music for Rocket League, and the following year had music featured in Fortnite. Saxsquatch has been trending on Rolling Stone’s website twice and on the front page of Forbes for his music releases. Showcasing his spell binding stage presence, he has been a guest on Jimmy Fallon’s “That’s My Jam!’ and Tosh.0 and has shared the stage with Walk the Moon, Billy Strings, Tedeschi Trucks Band, Sister Hazel, Goldfish, Andy Frasco, Here Come the Mummies, Sam Bush, St. Paul & the Broken Bones, and Pigeons Playing Ping Pong. Saxsquatch’s live show is a mind bending experience showcasing his music production, stage plot, and saxophone skills over original music, remixes, and crowd participation. His dream of creating the “Bigfoot Rave” tour came to fruition in 2024, adding a laser show to an already dynamic set. His next tour, “Footprints” sold out 27 shows across the United States, ending at a sold out show in Denver at Cervantes Ballroom. After being so well received across the United States and selling out major markets, the search for this cryptid won’t be hard. You can find him on tour or at major festivals across the world.

Saxsquatch

Saxsquatch is a 7’ tall multi-instrumentalist, producer, and electronic music artist from North Carolina. He has accumulated over 3 million followers online through releasing music with legends such as John Oates, Billy Ray Cyrus, the band WAR, and songs with the infamous electronic music label Monstercat. In 2021, Saxsquatch created theme music for Rocket League, and the following year had music featured in Fortnite. Saxsquatch has been trending on Rolling Stone’s website twice and on the front page of Forbes for his music releases. Showcasing his spell binding stage presence, he has been a guest on Jimmy Fallon’s “That’s My Jam!’ and Tosh.0 and has shared the stage with Walk the Moon, Billy Strings, Tedeschi Trucks Band, Sister Hazel, Goldfish, Andy Frasco, Here Come the Mummies, Sam Bush, St. Paul & the Broken Bones, and Pigeons Playing Ping Pong. Saxsquatch’s live show is a mind bending experience showcasing his music production, stage plot, and saxophone skills over original music, remixes, and crowd participation. His dream of creating the “Bigfoot Rave” tour came to fruition in 2024, adding a laser show to an already dynamic set. His next tour, “Footprints” sold out 27 shows across the United States, ending at a sold out show in Denver at Cervantes Ballroom. After being so well received across the United States and selling out major markets, the search for this cryptid won’t be hard. You can find him on tour or at major festivals across the world.

Coma Cinema

Nothing

Nothing have always been rule-breakers. Shoegaze renegades who’ve rebuilt the stereotypically lightweight genre in their own bloodyknuckled American image. Outlaw poets spilling existential dread on mile-wide canvasses of fuzz and reverb. Beginning as a Philly-born bedroom solo project in 2010, Nothing’s music has always captured the full scale of the human condition, both the blaring anger and the whispering sadness. A Short History of Decay, Nothing’s fifth solo album and first for Run For Cover Records, widens that aperture even further, providing the most hi-def rendering of Nothing to date. The band have never sounded this colossal, never felt this intimate, never been this honest.   With the strongest arsenal in Nothing’s ever-shifting lineup locked in -- guitarist Doyle Martin (Cloakroom), bassist Bobb Bruno (Best Coast), drummer Zachary Jones (MSC, Manslaughter 777), and third guitarist Cam Smith (Ladder To God, also of Cloakroom) -- singer-songwriter Domenic “Nicky” Palermo knew he had the manpower to make the band’s most ambitious record yet. Co-written and produced with Whirr guitarist Nicholas Bassett, and with additional production and mixing work from Sonny Diperri (DIIV, Julie), A Short History of Decay is the most evolved musical statement in Nothing’s catalog. Songs like “Cannibal World” and “Toothless Coal” are cataclysmic lashings of mechanized industrial-gaze that sound like My Bloody Valentine -- except more extreme.   On the other end of the spectrum, the ornately morose “Purple Strings” boasts a beautiful string arrangement that includes harpist -- and two-time Nothing contributor -- Mary Lattimore. That baroque delicacy permeates other A Short History of Decay highlights, particularly “The Rain Don’t Care,” a lilting ballad that channels the worn-down elegance of Mojave 3, and also “Nerve Scales,” a pattering bop that resembles Radiohead in its marriage of otherworldly atmosphere and mortal precision. Palermo calls the new record “a final chapter.” Not the end of Nothing, but the conclusion of a story that began with Nothing’s 2014 debut, Guilty of Everything — another album about time, regret, and confronting uncomfortable truths -- and now resolves with A Short History of Decay. As much a snapshot of Palermo’s past as it is a leap into Nothing’s future.

Worry Club

Sports (18+ Event)

Hip-Hop Weekender - 2 Night Pass (Ghostface Killah, Armand Hammer)

Wu-Tang's Iron Man sums up his move to Def Jam succinctly: "Same music, different label." For Tony Starks's legions of fans, those four words should bring dope music to their ears-literally. Yep, Ghost is back with his fourth solo LP, The Pretty Toney Album, and ain't nothing changed but the imprint. Nearly three years have passed since 2001's Bulletproof Wallets, and Ghost is anxious to inject his lyrical wizardry back into the rap game. "When you get something real vintage and out of the ordinary, best believe that shit gonna stand out," says the Staten Island native. "That's how I try to keep my music." A quick check of his resum makes it clear that Ghostface's music always makes a splash. From his 1996 debut Ironman, to 2000's epic Supreme Clientele, to his last release Wallets, Ghost has more front-to-back classic albums than most rappers have singles. Add his appearances from the Wu-Tang galaxy of hits on songs like "Can It Be All So Simple," and "Ice Cream" and it's no idle boast when Ghost describes himself as "one of the most creative niggas in the game." What sets the Wally Champ apart from other MCs is his inimitable style. "I'll make a n'gga cry in a minute. I'll make you happy. I'll make a bitch wanna fuck you," says Ghost. "Those are my techniques. And that's the advantage I have over a lot of MCs, because a lot of them is stuck so much in one way, once they try to come out of that realm, people might not take them seriously. I'm a universal rapper." Whether it's heard in the club or in your headphones, The Pretty Toney Album proves that Ghostface's run of instant classic is far from over. "I'm not going nowhere for a minute," says Ghost. "I see myself rhyming until I'm 70... not saying I'm gonna be putting out records and all that, but this is a gift from God." And like a star player traded to a new team, Ghost is ready to show and prove for Def Jam. "I ain't finish balling out yet," he says with a smile. "This is the beginning."

Armand Hammer (18+ Event)

" Armand Hammer raps from another dimension, it's on us to catch up " - NPR " The rappers are superb foils for one another " - Pitchfork Haram is a mercurial collaboration between incendiary rap duo Armand Hammer, and living legend The Alchemist. For the first time ELUCID and billy woods have crafted an album with a single producer and the result is extraordinary. With their unmatched penchant for stirring imagery and incisive storytelling, the two rappers dive into an ocean of Alchemist’s creation: warmly inviting on the surface, black and bonecrushingly cold at depth. Haram is a collection of the profane and the pure; a reminder that that which is forbidden is also sacrosanct. The artists are joined by their friends and fellow travelers on this journey. KAYANA’s golden voice upps the wattage on “Black Sunlight,” while Fielded’s sultry alto gets chopped and screwed on “Aubergine”. Earl Sweatshirt makes a sun-soaked appearance, while Curly Castro and Amani mix like ice and salt on Brooklyn sidewalks and Quelle Chris, as always, finds a pocket all his own. Still, there is a natural rapport that belies the New York-to-Los Angeles-and-back nature of the project, allowing Haram to be more than the sum of its parts, however impressive those parts may be. This isn’t just the genre’s most insistent contemporary voices paired with arguably its best producer. This is when you buy a beautiful house only to discover, hidden behind a heavy bookcase, a stairway twisting up and away into the darkness.