The Go Rounds w/ Gitis Baggs & The Lasso
18+ Event standing room only The Go Rounds are one of contemporary indie rock’s most creative groups, a bold and visionary collection of talented musicians that have forged a reputation as innovators over the course of five studio albums and countless live performances. Hailing from Kalamazoo, Michigan, they’ve firmly established themselves in the Great Lakes music community, becoming staples of the local festival circuit while taking their electric live show from coast to coast, from SXSW to Otis Mountain Getdown. Having shared the stage with Jeff Tweedy, Delicate Steve, Mandolin Orange, The Wood Brothers, Caroline Rose, The War and Treaty, Liz Cooper & the Stampede, and Lucy Rose, The Go Rounds are seriously experienced performers with the material to back it up. Described as a blend of psychedelia, Americana, twang-rock and jelly-roll with a healthy dose of pop sensibility holding things together, The Go Rounds write music that sounds like bits and pieces of all your favorite bands exploded into rock ‘n roll confetti. Fingerpicked guitar, fuzzy distorted tones, introspective ambience, spellbinding vocals and effervescent synth-pop: they manage to effortlessly weave together a varied sonic palette through intricate arrangements that are at once accessible, engaging, surprising and evocative. —————— Acclaimed Kalamazoo songwriter, G’itis Baggs, performing with a stunning collection of Michigan talent, the new album Having The Same Dream
Guided By Voices w/ Deadbeat Beat
2024 Bell’s Beer Garden Summer Concert SeriesThis is a 18 and over event 17 and under admitted with a parent or guardian #1 Album Of The Year – MAGNET Magazine “The album is an unabashed, bombastic and unapologetic statement of purpose from one of America’s greatest living songwriters.” – Paste Magazine – Album of the Week “GBV’s hot streak continues with one of their best albums in ages.” – Brooklyn Vegan – Album of the Week Listen to new single Serene King: https://lnkfi.re/sereneking In 1994, 38-year-old school teacher Robert Pollard & his merry band recorded Bee Thousand in a Dayton, Ohio, basement on a 4-track cassette recorder. This improbable rock classic became an enormously influential album: Pitchfork and Spin have called it one of the best records of the ’90s, and Amazon picked Bee Thousand as #1 on their list of the 100 Greatest Indie Rock Albums Of All Time. A legendary live band with a rabid following, the Washington Post called GBV “the Grateful Dead equivalent for people who like Miller Lite instead of acid!” With 14 studio albums already under their belts in 6 years, the band’s present-day line-up is nothing less than a new Golden Age of GBV.
The Yussef Dayes Experience w/ Jordan Hamilton
2024 Bell’s Beer Garden Summer Concert SeriesThis is a 18 and over event. YUSSEF DAYES is a tour-de-force behind the drums. Widely recognised as one of the most electrifying live performers of his generation, watching the South London-raised producer, composer and drummer perform is an exhilarating combo of technical prowess, intensity and emotion – leaving audiences in no doubt as to the role of rhythm in channelling spiritual energy. Yussef grew up with three brothers in a home where musical experimentation was fully embraced. He was drumming by the age of four, tutored by Miles Davis’ drummer, Billy Cobham, aged ten, and quickly developed an ear for a wide range of musical styles: from the influence of East/West African rhythms and its journey through the Caribbean and South America, to the soundsystem-heavy impact of grime and jungle. That music, with its intertwining sonic language, are the building blocks of his philosophy around jazz as a form of black classical music. While still only in his pre-teens, he joined his two brothers – Ahmad and Kareem – and saxophonist, Wayne Francis (aka Ahnanse) in Afrocentric quartet, United Vibrations.Dayes’ meteoric rise came via the short lived duo Yussef Kamaal, with keyboardist Kamaal Williams. Black Focus (2016, Brownswood Recordings) — the pair’s sole and critically acclaimed album — instantly became the blueprint for a generation of music lovers and makers embroiled in the multicultural inner city junglism of Brexit-era Britain. In 2018, Yussef launched his own imprint Cashmere Thoughts Recordings and released a string of solo releases including the classic Love is The Message live at Abbey Road Studios, a collaboration with Alfa Mist, Mansur Brown and Rocco Palladino. In 2020, Yussef announced What Kinda Music, a collaboration with Tom Misch via Blue Note Records. The latter turned heads at an all-new mainstream level, reaching Top 5 in the UK Album Charts, garnering a coveted Ivor Novello nomination, and a BPI Silver Sales award.Since then, his list of collaborators has blossomed to include the finest talents across both music and fashion. Championed by the late polymath visionary and creative director Virgil Abloh, Yussef fronted multiple shows and multi-disciplinary collaborations between 2019 and 2022 including leading the curation of the soundtrack to the Men’s Spring-Summer 2021 show in Tokyo, the Louis Vuitton Foundation in Paris, the Freeze art fair in London, events with Off-White and the Louis Vuitton Foundation in Paris. Now ready to share his debut solo studio LP, and in a new partnership between Warner Music / Brownswood Recordings and Cashmere Thoughts Recordings, it looks as though 2023 will see Dayes ready to take his uncompromising talent and vision to new audiences globally, unrestrained by previous conceptions about where instrumentalist artists, or indeed “jazz” can go.
Sarah Jarosz: Polaroid Lovers Tour
2024 Bell’s Beer Garden Summer Concert SeriesThis is a 18 and over event. Four-time GRAMMY winner Sarah Jarosz has announced her new album, Polaroid Lovers.The seventh album from Sarah Jarosz finds the highly decorated songwriter at the apex of change. A Texas native, she’s spent most of her adult life living in New York City, but shortly before writing the album Jarosz left her adopted home to join her soon-to-be husband in Nashville, TN. The geographic shake-up led to a sonic one as well for Polaroid Lovers. For the first time in her career she opened herself up to collaborators, leading to writing sessions with Daniel Tashian, Ruston Kelly and Natalie Hemby. The creative reorganization of her writing process evolved to include a much richer and more electric sound in the studio and being in Nashville meant access to a world of hot shot players. She tapped guitarist Rob McNelley (Miranda Lambert, Carrie Underwood), Tom Bukovac (Tom Petty, Vince Gill) on guitar and organ, her husband- bassist Jeff Picker (Nickel Creek), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams) for the album recording. Tashian took the helm as producer and the whole album was laid down at the legendary Sound Emporium. As it goes with all change, Jarosz’s major life events had her feeling contemplative. While sitting on the precipice of adulthood, Polaroid Lovers finds her reflecting on past loves, childhood dreams, the places she lived in and all the versions of herself that she’s been. Although the listener experiences the sonic shift forward, the album’s subject matter is a photo album of the past. Jarosz has never sounded more assured. Polaroid Lovers is filled with the kind of confidence that comes from hard won life experiences and the conviction of someone who truly knows herself. Sarah Jarosz released her debut album at the age of 18 and was immediately nominated for her first GRAMMY. Raised in Texas, she began playing mandolin at age 10 and soon after guitar and banjo. To date, she has released six studio albums, has netted ten GRAMMY Nominations and four wins.Polaroid Lovers Tour VIP Experience Includes:- 1 General Admission Ticket – Pre-Show sound check performance- Q&A and group photo with Sarah- Exclusive signed poster- Early entry into the venue
Kurt Vile and The Violators with Emily Robb
2024 Bell’s Beer Garden Summer Concert SeriesThis is a 18 and over event. Back to Moon Beach (Verve Records) is an EP by no one’s definition but Kurt Vile’s. Clocking in at just shy of an hour, this would be a long full-length record by most any other artist’s yardstick, but for Kurt, the collection is an expression of just how deep his well of non-album material runs. Culled from various sessions over the last four years, and representing a wide swath of the inspirational musical community Kurt surrounds himself with, the core 4 songs of the record (tracks 1, 2, 3 and 6) were born in the fall of 2019 at Panoramic Studios in Stinson Beach, California alongside close musical partners Rob Laakso, Stella Mozgawa, Chris Cohen and with coproduction on tracks 1, 3 and 6 by Cate Le Bon. Later fleshed out with bandmate and producer / engineer Adam Langelotti, additional musical parts were played by “Farmer” Dave Scher and Mikel Patrick Avery. Many other moments (including hella overdubs on the Stinson Beach material) are from intense sessions on planet Philly at Kurt’s studio: OKV Central. It’s been a heavy few years and plenty of excuses to get lost in outer space behind the microphones. Mant Sounds – KV’s go-to recording studio in Los Angeles – was a third and crucial launchpad to ram these sessions home… a familiar spaceship run by Rob Schnapf and often flown by Matt Schuessler as engineer. EP opener “Another Good Year For The Roses” is a richly psychedelic piano-driven earworm with swirling lap steel and catchy blues-pop guitars, and a deeply meditative yet characteristically hooky bend. Written a full year before the pandemic – and recorded in October 2019 just shy of it – “Touched Somethin (Caught a Virus)” was originally intended for Vile’s 2022 full length (watch my moves), but was ultimately left off of that record out of concern that it would be interpreted too literally, given the state of the world that unfolded shortly after its recording. Somberly, the Stinson Beach material in the collection are some of the final unreleased recordings with Kurt’s longtime creative partner Rob Laakso, prior to his passing in early 2023. The EP is rounded out with a few fan favorites — his covers of Wilco’s “Passenger Side” and Bob Dylan’s Christmas song “Must Be Santa,” (featuring vocals by Kurt’s daughters Awilda and Delphine Vile) which Kurt is excited to bring to a wider platform (“just in time for the holidays!”) after its Spotify-only release last year. The final track brings-it-all-back-home with a punched-up, radio-ready version of (watch my moves) standout “Cool Water” – originally recorded with the Violators in January 2020 by Rob Schnapf at Mant sounds and remixed by Rob Schnapf again in May 2023 for this release – and for the radio!
The Messthetics and James Brandon Lewis wsg Andrew Rathbun Tri
This is a 18 and over event with standing room only Joe Lally was onstage, playing at full throttle, when he realized that his band had found a true kindred spirit. It was the fall of 2021 and the Messthetics — the instrumental trio of Lally on bass, his former Fugazi bandmate Brendan Canty on drums and guitarist Anthony Pirog — were at Brooklyn venue the Bell House, digging into their uptempo riff workout “Serpent Tongue.” Joining them for the piece was a special guest, acclaimed jazz saxophonist James Brandon Lewis, making only his second cameo with the group after a drop-in at another New York show back in 2019. That first meeting had been a success, but this time, Lewis’ presence sparked something new.The Messthetics spent a few months in the fall of 2022 assembling and arranging material as a trio before meeting with Lewis for just one day of rehearsal prior to the recording in December. Even with minimal prep time, the material evolved considerably. Lewis added a lush, spiraling melody to the chorus section of “The Time Is the Place,” originally called “Meters Groove” in honor of the song’s Canty-written central riff, a crisp seven-beat strut. And Lewis was the key element that unlocked Lally’s “Railroad Tracks Home,” joining the bassist on the second pass through the theme and turning the subtle, swinging mood piece from something, in Lally’s words, “dirge-y and dark” to “a light-bringing thing.”Judging by the enthusiastic response the Messthetics and their esteemed guest have received during more recent live meetings, listeners are similarly eager to hear what happens when brilliant players like these stretch themselves through collaboration.
Celeste Allison Wsg. Lipstick Jodi and Public Universal Friend
This is a 18+ event with standing room only Celeste Allison is a self-made, queer independent artist from Kalamazoo, Michigan. Her breakthrough song UGLY has over 170k streams and counting on Spotify alone. With sweet but surprising powerhouse vocals paired with sassy and simple lyrics, listeners are left captivated and wanting more.
Waxahatchee w/ Tré Burt
2024 Bell’s Beer Garden Summer Concert SeriesThis is a 18 and over event. One of the hardest working singer-songwriters in the game is named Katie Crutchfield. She was born in Alabama, grew up near Waxahatchee Creek. Skipped town and struck out on her own as Waxahatchee. That was over a decade ago. Crutchfield says she never knew the road would lead her here, but after six critically acclaimed albums, she’s never felt more confident in herself as an artist. While her sound has evolved from lo-fi folk to lush alt-tinged country, her voice has always remained the same. Honest and close, poetic with Southern lilting. Much like Carson McCullers’s Mick Kelly, determined in her desires and convictions, ready to tell whoever will listen. And after years of being sober and stable in Kansas City–after years of sacrificing herself to her work and the road–Crutchfield has arrived at her most potent songwriting yet. On her new album, Tigers Blood, Crutchfield emerges as a powerhouse–an ethnologist of the self–forever dedicated to revisiting her wins and losses. But now she’s arriving at revelations and she ain’t holding them back. Crutchfield says that she wrote most of the songs on ‘Tigers Blood’ during a “hot hand spell,” while on tour in the end of 2022. And when it came time to record, Crutchfield returned to her trusted producer Brad Cook, who brought her sound to a groundbreaking turning point on 2020’s Saint Cloud. They hunkered down at Sonic Ranch in Tornillo, Texas–a border town known for cotton and pecans–and searched for another turn, waited for a sign. Initially, MJ Lenderman, Southern indie-rock wunderkind (much like Crutchfield when she started out) came to play electric guitar and sing on “Right Back To It.” But as soon as they tracked it, Cook told Lenderman he had to stay for the rest of the album. And he did.
Belle & Sebastian w/ Haley Heynderickx
2024 Bell’s Beer Garden Summer Concert SeriesThis is a 18 and over event. With a legacy spanning three decades, Belle and Sebastian have truly earned their place in music history. The unique, unpredictable, and fiercely loved band have a plethora of accolades and plaudits to their name including winning the “Best Newcomers” BRIT in 1999, selling out the Hollywood Bowl, and contributing to the soundtrack for an array of films (Juno, The Power of Nightmares). Their most recent output, a trio of EPs titled How To Solve Our Human Problems, Parts 1-3 was a return to an earlier format, allowing the music to emerge organically on EP sessions. 2019 holds new music in the form of a soundtrack to Simon Bird’s upcoming film, Days of The Bagnold Summer, due for release later this year. Still regarded as “One of the most thoughtful and compelling bands out there” (The Times) Belle and Sebastian are soon to head to The Mediterranean to launch their 4 day festival at sea, The Boaty Weekender. This event emerges twenty years on from their pioneering holiday-camp-held festival The Bowlie Weekender. Catch them bringing joy to a stage near you soon.
Sheer Mag w/ Mighty Big Rig
This is a 18 and over event.Standing Room Only Underlying every great record, every career-defining work of art, is a certain ineffable, increasingly rarified quality: unity of vision. Great songs need not announce their greatness: their marriage of idea with action, soul with sound, appears as something which is naturally effortless, unforced—they are what they are because they have no choice but to be. On Playing Favorites, Sheer Mag’s third full length and first with Third Man Records, this precise, matured clarity of vision is put on full display. Over the course of the past decade, Sheer Mag have labored to carve out a discernibly singular position within the canon of contemporary rock: toggling with ease between the refined flourishes of a “connoisseur’s band” and the ecstatic colloquialism of populist songwriting—yet displaying no strict loyalty to either camp—their sound, while oft-referenced, is unmistakably and immediately recognizable as theirs alone. With Playing Favorites, Sheer Mag have capitalized on a decade’s worth of devotion to their own collective spirit—a spirit refined in both the sweaty trenches of punk warehouses and the larger-than-life glamour of concert halls—emerging with a dense work of gripping emotions, massive hooks, and masterfully constructed power-pop anthems. This is the record the Philadelphian rock and roll four-piece has always been destined to make. Playing Favorites expands with a sense of undeniable vitality, buoyed by rock and roll’s singular capacity to channel a relentless compassion for human life. While at times marked by an intensified sense of melancholy, this newest offering takes stock of the confusing flow of daily life without moralizing, refusing to fall into antagonistic cynicism. Sheer Mag leans into the chaotic thrall of city living, of a life subdivided by Playing Favorites is undoubtedly a record by the same Sheer Mag that audiences of all stripes have spent the last decade falling in love with. In fact, for all of its sonic departures and evolutions, this record is perhaps the most “Sheer Mag” release yet. Not so much a return to form, but rather a realization of those greatest promises that the band has up until now only hinted at. With Playing Favorites, Sheer Mag cater to their tastes and their tastes alone: so long as they continue to do so, the future of rock and roll, that great human tradition, is in the best of hands.
