The Emo Night Tour

Logan Crosby

Having grown up in a musical family in rural America, Crosby always gravitated towards country music. Logan first gained notoriety when a string of successful videos on TikTok, as well as other social media outlets, garnered the attention of thousands of followers.

Penelope Road

Emerging from Atlanta’s thriving music scene, Penelope Road crafts a sound that’s as bold as it is soulful. With lush, layered vocals at the core of their music, this five-piece powerhouse seamlessly weaves ‘70s rock, funk, soul, and pop into a rich, rhythmic fusion that’s unmistakably their own. Rooted in the timeless influence of legends like Stevie Wonder and Hall & Oates while channeling the modern energy of artists like Mk.gee, the five-piece group bridges eras with effortless groove and vibrant originality. Their tight harmonies, masterful instrumentation, and infectious grooves come together in electrifying, feel-good performances—creating an experience that stays with you long after the final note. Penelope Road released their first EP in the summer of 2024 through Warner Records, and they have continued to tour extensively and release new music throughout 2025.

Eli Young Band

Eli Young Band 2025 Bio   What goes around comes around, and nearly 25 years since their founding in Denton, Texas, multi-Platinum country band Eli Young Band have come home.   Led by an unmistakable vocal and bringing a Texas-rock edge to modern country, the never-changing lineup of Mike Eli, James Young, Jon Jones, and Chris Thompson have spent two-plus decades on the run, growing from hometown heroes into globe-trotting, chart-topping pioneers. Yet in all that time, EYB never forgot its raising, and today the foursome reclaim the spirit behind their success.   Returning to their independent roots, the bold creative defiance that launched them into the mainstream – and in many ways to their old stomping grounds – it’s a new chapter driven by experience and a million miles of wisdom, from a band of brothers still very much in their prime.   “We started this thing when we were like 20 years old, and it’s been such a crazy road and such a longer road than any of us could have conceptualized at the time,” says Jones. “I think right now feels a little full circle, in a really nice way.”   “Now, we get to step back into our Texas shoes,” Eli agrees. “I think this new stuff finds us reaching deep into our past as a band. We’re remembering where the magic was – all those songs we wanted to record for our Level record, that felt way too edgy for Country Radio at the time.”   Indeed, after becoming icons of Texas’ vibrant college-bar scene – and then packing arenas all over the state (without label support) – that Level album from 2005 landed like a live wire, injecting EYB into the mainstream. They followed in 2008 with their Gold-certified breakout “Always the Love Songs” and Jet Black & Jealous, one of three career Billboard Top 5 albums which include the Number One 10,000 Towns and Platinum Life At Best.   Likewise, back-to-back Number One singles came with the 5X Platinum “Crazy Girl” in 2011 and 3X Platinum “Even If It Breaks Your Heart” (2012), plus the Platinum Number One “Drunk Last Night” and 2X Platinum Number One “Love Ain’t” after that. All along they kept the intensity of their live shows front and center, and with a following which now includes more than 1.4 million Facebook followers, 2.2 million monthly Spotify listeners and more, it’s time to get back to the point.   Ready to follow up 2022’s Love Talking, the band have returned to Panhandle House Studio in their hometown of Denton – the same studio where Level was born – bringing new tunes and new excitement along with them. All co-written as a band or with long-trusted collaborators, a fresh batch of songs return EYB to the raw, grassroots energy and emotional sting of their early work, geared for the stage and recorded without digital tricks.   For the band, being independent again for the first time in years isn’t a challenge, it’s a reward – and they took the chance to embrace not just renewed creative freedom, but the fun of their self contained live-band philosophy.   “Going back to Panhandle House where we recorded Level, it feels like we got to remind ourselves why we started making the kind of music we make,” Eli says. “When this music comes out, I think fans will know it is 100% coming from us.”   “Honestly, going to Panhandle House feels like going back to your childhood house in a way,” Jones notes. “It just evokes these memories, like this slightly-younger version of ourselves comes out.”   “One thing that’s really special is we’ve come full circle and remember that energy, but we’re also older and wiser,” Thompson adds. “We have years of studio, songwriting and performing experience under our belt, so we have more of a honed edge going in. That’s a really cool advantage.”   The comfort level is plainly evident. Exploring new corners of their patented sound by day, and going home to their families each night, the band were free to bring every ounce of the last 25 years to bear. Tracks like the lead single “Home In Hometown” are proof, featuring all the elements that made EYB what it is – from the electric vocal delivery to the deeply textured sonics and soulful theme.   A true-to-experience ballad of life on the highway, “Home In Hometown” stands as a heart-on-their-sleeve tribute to those the band loves most – and what they’ve learned from 20+ years away. While atmospheric guitars and a steady rhythmic pulse capture a sense of anticipation, another euphoric chorus helps the band unpack what “home” really means.   “I was digging deep into our Texas roots,” Eli says of the modern-classic midtempo. “I wanted to write something that felt like Pat Green or Jack Ingram would cut. And when you travel like we do, a lot of times you’re thinking about coming home and being with your family – but, it’s almost like if they meet you on the road, anywhere can be home. It just feels right. I wanted to capture that.”   More new tunes will roll out as 2025 and their 25th anniversary arrive, with the band continuing to celebrate an EYB homecoming. From feel-good singalongs and heart melting wedding anthems to pure, untamable romance and clever comebacks of love, they show the same stage-rocking Texas-country hit makers fans know and love, undaunted and with new maturity baked in. We all know seasons change, but if you pay attention long enough, things have a way of coming back around.   “It’s been a blessing just to be able to do this for so long, and over our career we’ve seen a lot of bands come and go,” Young says. “It feels it’s family, and we can take that with us as we go down this next part of the road.”   “Our music, since it’s been the four of us making it from day one, has such a strong through line,” Jones agrees. “The way we sounded in the beginning, that’s the way we’re going to sound in the end.”   “There is no A&R, there’s no label head. There’s nobody saying, ‘Maybe you should do this, maybe you should push that,’” Eli explains.   “Yeah, we’ve got no one to blame,” Jones adds with a laugh. “Honestly, we just want people to know we still absolutely love making music, and this comes from a place of passion. Life is good and we’ve got stuff to say, we’ve got this thing we’ve built. I feel like we’re in a good place.”           EYB Boilerplate Version   Led by an unmistakable vocal and bringing a Texas-rock edge to modern country for 25 years, the Eli Young Band's never-changing lineup of Mike Eli, James Young, Jon Jones, and Chris Thompson have spent decades on the run, growing from hometown heroes into globe-trotting, chart-topping pioneers. … And now, they’re coming home. Founded in Denton, Texas, and rising to become arena-packing icons of the state’s independent country scene, EYB’s 2005 album Level launched the band into the mainstream, followed by three career Billboard Top 5 albums including the Number One 10,000 Towns and Platinum Life At Best. Boasting back-to-back Number One singles with the 5X Platinum “Crazy Girl” in 2011 and 3X Platinum “Even If It Breaks Your Heart” (2012), plus the Platinum Number One “Drunk Last Night,” 2X Platinum Number One “Love Ain’t” and more, the band’s unbroken streak of success has now led to a millions-strong fandom, and after keeping the intensity of their live shows front and center, it’s time to get back to the point. Ready to follow up 2022’s Love Talking, the band have returned to the Denton studio where Level was born – bringing new tunes and new excitement along with them. Also returning to their independent roots, a fresh batch of co-written songs match the raw, grassroots energy and emotional sting of their early work, geared for the stage and recorded without digital tricks. Released September 27, “Home In Hometown” starts the new era and marks EYB’s creative homecoming – a true-to-experience ballad of life on the highway, unpacking what “home” really means. Driven by experience and a million miles of wisdom, look for more new music of course more shows, from a band of brothers still very much in their prime.

The Wellermen

Bass supergroup The Wellermen were discovered during the viral Sea Shanty trend of early 2021 and have since cemented themselves as one of the most exciting folk groups to emerge this year. Their debut album has amassed over 50m streams, and in the short space of 2 years their online following has reached several million. The four members (Jonny Stewart, Sam Pope, Luke Taylor and Bobby Waters) have never met together in person until their debut show in June 2023. The Wellermen have appeared at The Brits, Ant & Dec’s Saturday Night Takeaway, Last Week Tonight With John Oliver, The Colbert Show & ABC News Australia. They are now preparing to tour the world and are currently recording their hotly anticipated follow up album.

Winyah

South Carolina–born Winyah channels raw restlessness into pure release, fusing Southern grit with indie-rock shine in a sound that feels both nostalgic and new. With over 13 million streams thus far on their debut album Lot To Learn, the band has already made a national imprint—bolstered by standout performances at major festivals like Bonnaroo and Lollapalooza. Think flipturn meets The Backseat Lovers: magnetic, addictive, and unmistakably electric.

Die Spitz

Robert Lester Folsom

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.

Ratboys

Ratboys opens its new album, Singin’ to an Empty Chair, with an invitation. “What’s it gonna take to open up this time?” vocalist Julia Steiner sings, launching an 11-song conversation that stands as Ratboys’ most introspective and emotionally driven work yet. Before long, the song swells into the sort of musical sunshower that’s become Ratboys’ specialty, underscoring the high stakes across the band’s sixth album and how gracefully the four-piece navigates them. When Steiner asks the question on “Open Up,” it’s clear she really means it. Despite its title, Singin’ to an Empty Chair is not defined by what’s missing. Rather, Steiner says, it’s the beginning of an important dialogue. “A big, overarching theme of this record is my attempt to document my experience being estranged from a close loved one,” she says. “The goal is to update this person on what's been going on in my life and to try to bridge that impasse and reach out a hand into the void.” Singin’ to an Empty Chair, the band’s first album for New West Records, fills that space with nearly an hour of new music showcasing Ratboys at the peak of their powers — twangy, effervescent, and as confident as they’ve ever been. Emotionally piercing songs like “Just Want You to Know the Truth,” the billowing tale that delivers the album its title lyric, mingle next to bubbly power-pop, delicate Americana, and an exhilarating six-minute detour called “Light Night Mountains All That.” Steiner labels it the band’s “wormhole jam” thanks to guitarist Dave Sagan’s extraterrestrial guitar bloops and its unorthodox time structure. “It soon turned into, like, okay, we gotta granularly break it down and bring out the whiteboard,” Sagan says about the detail that went into the four members’ collaborative process. It’s no small feat, but luckily, Steiner and Sagan have long been great partners in exploration. The two formed Ratboys in 2010 before rounding out the lineup with bassist Sean Neumann and drummer Marcus Nuccio. “It’s just fun to play music in a room with your friends,” Nuccio says, highlighting the genuine chemistry that’s fueled the band through its worldwide tours. That chemistry took center stage on Ratboys’ previous LP, The Window, which found them operating at their highest level yet, becoming one of 2023’s most-praised albums. To begin crafting its follow-up, the four members decamped to a 75-acre plot of land in Wisconsin’s Driftless Area to write and demo the new songs – or, as Steiner says, “to make a bunch of ridiculous noise.” Months later, the group reconvened back at the same cabin to begin tracking with co-producer Chris Walla, the band’s trusted collaborator who also produced The Window. After a one-week cabin session, Ratboys and Walla took the songs to Steve Albini’s famed Electrical Audio studios in Chicago, and later to Rosebud Studio in Evanston, Illinois, to finish recording. As such, some songs on Singin’ to an Empty Chair are journeys within themselves, patchworked together from multiple recording sessions across the Midwest. “We wanted to approach this record like it was a quilt,” Neumann says. “We recorded the songs in all these different places, so we approached it in a way where different songs had different scenes. Certain parts of songs were recorded in different spaces, and we switch back and forth between them throughout the record to help tell the story of each song.” In different squares of the quilt, some songs on Singin’ to an Empty Chair call upon humor and whimsy to relax the tension. Some called for intentional, detailed edits between studio takes, while others aimed to capture the band in its natural four-piece element. Ratboys tracked the irresistible post-country tune “Penny in the Lake” live in a room together, while Steiner later overdubbed incisive vocals with a smile: “Today’s gonna change my life / What’s for breakfast, Jesus Christ?” Humor finds its way into the conversation on the caffeinated anxiety anthem “Anywhere,” for which Steiner found inspiration in Sagan’s family dog. “Whenever Dave’s mom leaves the room, oh man, his whole world just falls apart,” she says. “You can see it in his face. I think a lot of us can relate to that sort of anxious attachment style.” Steiner’s lyrics have always probed her mind’s inner workings, and complex family dynamics were present in early Ratboys songs like “Charles Bernstein” and “Control.” But Singin’ to an Empty Chair marks the first Ratboys album written since she began therapy, and she credits the clarity she’s found for the album’s unflinching examinations of self. “The title is in reference to a therapy exercise that I did, called The Empty Chair Technique. It’s basically an attempt to have a difficult conversation, or an impossible conversation, with someone who’s not physically present, by speaking out loud to an empty chair and imagining that the person is really there,” she says. “Just Want You to Know the Truth” continues the dialogue initiated by “Open Up” by unspooling a highly personal tale about unearthing buried secrets and the ensuing fallout. “It’s not that I don’t miss you or the way it used to be,” Steiner sings. “It’s that I can’t live my life without sayin’ anything.” An extended coda, marked by one of Sagan’s most electrifying guitar leads to date, leaves plenty of room for the theoretical reply. The gentle and lilting “The World, So Madly” presents a similar opportunity to connect. Steiner wrote it about “feeling sort of helpless that the world is spinning and there’s nothing you can do to stop it.” But in making peace with her lack of control, she found power. The same could be said for “Burn It Down,” a stadium-ready powder keg that furiously ignites with a declarative refrain, magnified by Neumann’s soaring harmonies. Fittingly, while the album begins with a hand extending into the abyss, it concludes with a scene of serenity, as Steiner finds comfort in the loved ones still at her side. “At Peace in the Hundred Acre Wood” finds Steiner once again wringing tranquility out of chaos over the swaying lull of a Hammond B3 organ played by The Decemberists’ Jenny Conlee. One moment sees her “crying in the rain,” but eventually, she concedes that she must “laugh through the pain.” On the most emotionally interrogative Ratboys album yet, the resolution hits like a semicolon — definitive about the challenges present, but hopeful for the future. “It's not all doom and gloom, ” Steiner says. “There are plenty of good days, days filled with friendship and love, and then there are days when I dwell on things and desperately want to bridge the gap. It’s my whole life, you know? So, for me, this record is a document of all of those days stitched together, like a quilt in a time capsule, just waiting to get dug up when the time is right.”