Casual Commander Night in the Tub!
Join us for a night of Magic The Gathering "Commander Format"
Sign up at 6:30 / / / / Games at 7
Art and Film workers get happy hour prices all night. Art handlers / Art Directors / Camera Operators / Gaffers / Sound Mixers / Curators / Archivist.... on and on you know who you come by and commiserate with your peers.
This show is sold out
DOORS 7 / MUSIC 8
I got my Tascam 388 fixed, the same tape machine I had used to record my first album, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years, but I had finally dragged it out to LA. The first song I recorded on it was “Twisted On A Train”, and I was shocked by how instantly I sounded, and felt, like myself again. In fact, I wrote and recorded the whole dang song in the span of a few hours, which was basically the opposite of how I had been working in the computer. Spending hours moving waveforms around like a zombie, comping vocals, second guessing, trying to make things sound not lifeless, trying to make anything sound good at all, took months. But here on the tape it was so much more alive. More like painting or collaging. More like making actual music. Every move I made stuck like super glue. It was effortless. It was pure joy.
I stopped caring if there were mistakes. There’s not enough mistakes. I played my old, blue, Gibson SG, Jazijoo, and she spewed mangled electrified gold. For once, I sang and I didn’t hate my voice. I played the drums badly and bounced them in mono to one track and it sounded like glorious shit.
I wish it sounded even worse.
Rock & Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey, autotuned or on the grid. It is not perfect, which is why it’s perfect. And I don’t care if it’s dead or alive, cool or uncool: when I hear it, and when I play it, as a chubby and balding 43 year old punk weirdo, I FEEL ENERGIZED.
Side X Side Record fair starts at noon. (free)
Starting at 7 you’ll need a ticket to be at Tubby’s.
TICKETS
BANDS START AT 8
All day party at Tubby's. This year's 420 party features Owsley's Owls with special guests Jerry Tone Store (mems of Guerilla Toss) playing the dead, and Juma Sultan laying down the spiritual vibes. Freakout Spot will be on DJ duty.
SATURDAY 12- 7 - is FREE
The best all-day party of the spring is back baby! The Side X Side record fair starts at noon and wraps at 4. Vendors include: Freakout Spot (bargain blowout in the back room), Strange Overtones (Catskill), Meyer Media, Gridspace, Brock, Harlan.
Free Bjorn Corn / Hole in the Wall Doughnuts (while supplies last)
Tie Dye with Amanda Brooklyn in the yard!
The first part of the day is free, and then around 7 we’ll start checking for tickets. We open at noon.
Kicking it off will be Juma Sultan and Co., an absolute living legend whose bio is crazy.
Juma Sultan has a 60-plus-year history as a musician, composer, archivist, activist, and educator. His band, Aboriginal Music Society, has been an evolving collective of musicians for over 50 years, playing a unique, ever-changing, genre-morphing style of music. The current iteration of the band is a nine-piece exploration of spirit grounded in sound, playing Juma's original compositions, most of which have not yet been released in recorded form. Juma has played and collaborated with countless significant individuals -- Jimi Hendrix, Archie Shepp, Sonny Simmons, Pharaoh Sanders, James "Blood" Ulmer, Dave Burell, Sam Rivers, and many, many more.
Wrapping it up will be Owsley’s Owls playing the dead. This isn’t the slowed-down family-friendly version. They play fast and freaky! They are joined by Pete from Guerilla Toss and Jerry guitar nerd supreme JERRY TONE STORE! This one is for the real heads.
THIS SHOW IS SOLD OUT
DOORS 7 / MUSIC 8
The follow-up to 2021’s rustic, folk-tingedGreen to Gold,Blight asks many questions without offering easy answers. Over the course of nine new songs, the Antlers’ founder and primary songwriter Silberman reckons with our passively destructive tendencies–absent-minded pollution, unwitting wastefulness, and the inadvertent devastation of the natural world. But despite its heavy themes,Blight is far from a punishing listen. With its adventurous arrangements and persistent momentum, it plays more like an iridescent odyssey.The album was recorded over the course of a few years, with the lion’s share tracked and produced in Silberman’s home studio in upstate New York, a compact outbuilding perched at theedge of a neighbor’s sprawling hayfield.
TICKETS
DOORS 7 / MUSIC 8
Art of the Unseen Infinity Machine, Allegra Krieger’s second full-length album with Double Double Whammy, is a collection of 12 songs that pick at the fragile membrane between life and death. The titular ‘infinity machine,’ as Krieger puts it, “is an accumulation of interlocking forces that propel humanity forward through a persistent passage of time.”
Jackie West is releasing her sophomore record on Ruination Records and the singles have received praise from Uncut Magazine, PopMatters and Aquarium Drunkard. Kristin recently released a record on Orindal Records, with features on NPR, WXPN and airplay on KEXP.
TICKETS
DOORS 7 / MUSIC 8
Full band record release show for Nic Panken's debut solo LP 'Near Divine or Merely Rhyme' - called "earthy, elegant and accessible" by MAGNET Magazine. Born in Brooklyn and residing in Kingston, NY, Panken has toured extensively throughout North America and Europe, performing on NPR's Tiny Desk, at Newport Folk Festival and Austin City Limits, as lead singer in NYC band Spirit Family Reunion.
Ongoing is a Coxsackie, NY based band that blends the folk tradition of storytelling with experimental psychedelic soundscapes, leaning into influences of early Fairport Convention and Neil Young. You can expect the raw sound of 70s cosmic country with electronic flourishes—each song its own world while maintaining the cohesive sound of friends playing music together. They are a scrappy and spirited bunch, with the aim of exploring the limits of each song live for all to hear! The band features lead vocals by Katie Jones, Adam Netsky of Maybird on drums, multi-instrumentalist Braden Bodensteiner and Jonathan Hudack on bass.
Kingston's favorite Danish Scorpio Rakel Stammer kicks things off with a mystery performance... come see for yourself!
TICKETS
DOORS 7 / MUSIC 8
Lara Hope Band returns to Tubby’s!
Winner of an Ameripolitan Music Award, and named the “Best Up-And-Coming Band” by New York's Hudson Valley Magazine, Lara Hope Band is the Northeast's premier Roots Rock n’ Roll outfit! With their singular blend of rock n roll, country, blues, surf, western swing, rockabilly and rhythm & blues, they have released 3 full length studio albums, and a myriad of singles, including the all-original "Here To Tell The Tale", which garnered rave reviews nationally and internationally. They've spent much of the past decade on the road, both in Europe, and in the US, and have had the pleasure of touring with some of their musical heroes, including a national tour with The Brian Setzer Orchestra, and regional tours with The Blasters, and the Reverend Horton Heat. The band has also had the privilege of supporting some of their favorite artists, including Joan Jett, Tiger Army, Gary US Bonds, Dale Watson, Wayne Hancock, The 5678's, Jay Leno, and America, and has performed at at a variety of national festivals including Viva Las Vegas, Ink n Iron, The Nashville Boogie, and were invited to perform at the original site of the Woodstock Festival, Bethel Woods, for the 50th anniversary celebration. They are currently working on a new album to be released in late 2026. Describing their sound, Hope explained “I would say we are a new take on an old sound. It’s been described as ‘pan-americana’ which means we use many areas of early rock and roots music as a creative launchpad. Where it goes from there is anyone’s guess, because while we appreciate old music, we don’t want to write songs that have already been written. They’ve built a great network of venues in the US by touring heavily, and like many American bands, they have gained supportive fans and excellent press overseas as well. Hope was featured on the cover of UK Rock n’ Roll magazine, and New York’s Ulster Magazine, amongst others.
El Aris is a Hudson Valley power trio turning Mediterranean and Levantine classics into sweaty, dance-floor rock — hypnotic grooves, heavy riffs, and fearless improvisation.
A rock show that plays like a street party.
FREE SHOW SPONSORED BY OUR FRIENDS AT LIVE MUSIC SOCIETY
DOORS 7 / MUSIC 8
Whitney Johnson, Lia Kohl, and Macie Stewart are a trio who utilize string instruments, voices, and manual tape effect processing to craft compositions from alternately tranquil and disquieting improvised music. The three musicians are individually rooted in deep sound exploration, multi-disciplinary composition, and all manner of cross-genre collaboration. The musical ground covered by their solo practices is correspondingly expansive, and their individual recording and performance credits read as a veritable who’s who, ranging from DIY darlings to household names of experimental avant-garde, electronic, indie rock, and more.
The trio’s collective sound is based in improvisation—automatic, intuitive composition via their three voices and three string instruments (viola, cello, and violin, respectively). Their influences are vast—dispatched with more playful ease than a trio of string instruments is typically approached with, and just as likely to be found in the cloud-obscured mountains of Donegal, the low-rent cacophony of a midwestern basement, or the revelatory expanse of the Nurse With Wound list as in the storied halls of the academy.
BACKYARD MAYPOLE
ZEUS TAP TAKEOVER - Extended happy hour to all workers
DJS: Hueman/Drew
TICKETS
A compilation CD release and benefit show for People's Place. $5 for both venues. Tubby's opens at 3pm, and Westkill opens at noon.
Tubby's
3pm Miss America
5pm Wygalator
7pm TV Sleep
8pm Tiger Piss
9pm Tiny Blue Ghost
Westkill Supply
1pm The Grackles
2pm Doug Stoley
4pm Dead Unicorn
6pm Sweet Harm
TICKETS
DOORS 7 /MUSIC 8
It’s impossible to talk about Wicca Phase Springs Eternal without talking about transformation. For over a decade the singer, songwriter and producer Adam Andrzejewski has used the moniker as a wide creative umbrella, under which he’s made a vast body of work that’s as consistently compelling as it is constantly changing. This deft ability to blend sounds and styles has become his calling card, but no matter the genre signifiers–from rap beats, to new wave synths, to goth atmospherics–the beating heart of WPSE is Andrzejewski’s singular voice and esoteric-yet-emotional lyricism. Those key elements have centered the project through musical explorations, and now on his latest full-length, Mossy Oak Shadow, Andrzejewski really puts them to the test. Shedding thumping 808s and intricate production in favor of a no-frills band and sparse live recording, the album is a stirring collection of hazy folk rock songs that prove Wicca Phase Springs Eternal can truly be anything. “I always kind of thought that as long as I have the Wicca Phase Springs Eternal name that I can do whatever I want,” Andrzejewski explains. “The name provides a framework for the lyrics and aesthetics of the project–my songwriting with a mystical overlay to it–and as long as I can make something work within that, then the genre doesn’t totally matter.” That daring creative mentality is what steered Andrzejewski when he first started the WPSE project, through his work as a co-founder of the influential GothBoiClique collective, or as member of Thraxxhouse and Misery Club, and even with his punk side project, Pay For Pain. Still, few could have guessed that the new proper Wicca Phase Springs Eternal release would be a set of country-leaning folk songs performed without a wink in sight. As with all things Wicca Phase, Mossy Oak Shadow finds Andrzejewski fully committed. “There’s always been acoustic songs on my records but usually they’re in the context of a beat-based Wicca Phase album. I think the idea here was to just kind of start fresh and go hard in this other direction,” he says. “The temptation is to call it a country record, I don't really think it’s that–but there’s acoustic guitar and slide guitar, and I think my interests and themes do have elements of country in sort of an archetypical way.” It’s certainly not hard to imagine the narrators of any number of WSPE songs as stoic loners walking into a troubled town with a guitar slung over their shoulder, and in many ways Mossy Oak Shadow feels like it’s simply leaning harder into parts of Andrzejewski’s musical DNA that have always been there. “I’ve loved Bob Dylan since I was ten years old,” he says. “I had an uncle who gave me his entire catalog on data discs and I just fell in love. I even love how he’s always reinterpreting his work to this day and I try to keep that in mind–especially for this album. That spirit, that freedom, was very influential to me with writing this record. I felt like I didn't have to think about too many specifics outside of writing lyrics and chords and whatever comes out comes out, genre be damned.” Andrzejewski teamed with producer/engineer Ben Greenberg (Depeche Mode, Drab Majesty, Show Me The Body) and brought the songs to the studio in a purposely looser form, intentionally leaving space for a live band to flesh the songs out. That band turned out to be McIlwee singing and playing guitar, Greenberg on bass, and session players Ryan Jewell and David Moore on drums and keys. “Dave and Ryan were guys Ben had worked with, but I’d never met them,” Andrzejewski says. “When we got there, I had lyrics, chords, and demos–we’d listen to the demo once, Ben would make some suggestions, and then we’d try it. I would literally ask ‘do I need to teach these guys the songs...’ and Ben would say ‘no they’d figure it out’–and they did! There was no discussion, they just got it. They were so perfect, Ben included, that it was no different than just singing over a beat or something I'd created.” The band setup alone would have been a significantly different approach for a Wicca Phase Springs Eternal recording, but tracking the vast majority of the album live added another wrinkle. “I didn’t know we were going to be recording live until I got there,” Andrzejewski says. “At first I thought we were just practicing and didn't even know we were doing takes. I had no idea and it was probably best that I didn't.” The result is an album that lives and breathes, with every unvarnished performance overflowing with feeling and pathos. Opener “Rough Roads” is nothing but Andrzejewski’s lone voice and guitar, a dusty welcome into the latest dimension that Wicca Phase Springs Eternal has conjured. It’s followed by “Horseback” and “Enchantment,” songs that you can instantly imagine being performed in a smoky Western saloon or on stage at The Roadhouse in an episode of Twin Peaks. Mossy Oak Shadow might seem like a drastic pivot for the Wicca Phase Springs Eternal fans who got on board through his beat-driven modern classic albums, like 2016’s Secret Boy or 2018’s Suffer On–but it shouldn’t come as a total surprise. WPSE releases have always dabbled in stripped-down acoustic songs, and even further back there’s Andrzejewski’s earlier work as a member of emo/indie stalwarts Tigers Jaw. When he left that band to focus on Wicca Phase in 2013, he was met with skepticism from listeners who were hesitant to embrace his new persona and experimental trap sound. Ironically now Andrzejewski has so thoroughly established Wicca Phase Springs Eternal that he’s once again challenging his fans with a stark sonic shift–but this time by returning to the guitar-oriented songwriting he’d set aside. “Dylan, Will Oldman, Richard Thompson–what I like most about those songwriters is that I'm able to trust them,” Andrzejewski explains. “If they do something that’s totally strange I trust that they know what they’re doing because it’s coming from the same person that wrote all these other songs that I love. So even if it might take some time for me to get where they are, I want to try.” And the sheer force of Andrzejewski’s unwavering vision is more than enough to steady listeners and win them over with the same thing he’s always provided: phenomenal songwriting. Whether it’s with the lush majesty of songs like “Magic Moment,” or the stirring spareness of Ethel Cain duet “Meet Me Anywhere,” Mossy Oak Shadow highlights Andrzejewski’s ability to blend deeply human longing with otherworldly splendor–and the moody gothic country atmosphere only amplifies this enticing dichotomy. “Settler’s Bend” and “I Get It” are powered by shuffling drums, timeless chord changes, and Andrzejewski’s warm croon, but they’re cast with WPSE’s intangible spell that turns the mundane into the magical. The album comes to a close with “I Was A Runner Once,” a haunting and nostalgic track that brings a dark romance to long lost moments. It’s beautiful and discomfiting all at once, somehow sounding at once uncharted territory for Wicca Phase Springs Eternal and totally of a piece with McIlwee’s larger songwriting project. It’s the sound of achieving the artistic freedom that he found so inspiring in the work of his formative songwriting heroes. “That song kind of wrote itself,” he says, “It ends the album on an ominous note but it means I can do anything I want next.”
Fanclubwallet is the indie rock project of cartoonist-turned-musician Hannah Judge, a longtime champion of Ottawa’s local music scene. Even before making music herself, Hannah was immersed in the community; sharing mix CDs, cold-emailing bands for opening slots, and building friendships wherever she could. In 2020, she began quietly recording demos in her bedroom, eventually launching fanclubwallet at the height of the pandemic. What started as a lo-fi bedroom pop project quickly gained traction, with her breakout track “Car Crash In G Major” racking up over 14 million streams.
This show is sold out
DOORS 7 / MUSIC 8
Deface the Currency, the new second collaborative album from the Messthetics and James Brandon Lewis, grew out of a simple intuition. The group — with saxophonist Lewis joining the core Messthetics lineup of Brendan Canty on drums, Joe Lally on bass and Anthony Pirog on guitar — was on tour in the summer of 2025 when Canty knew it was time to go back into the studio.
This configuration of the band had debuted on record the year prior, releasing an acclaimed self-titled album via Impulse!, the legendary jazz label. But as the quartet logged serious time on the road, the drummer felt their chemistry evolving, so he called up engineer Don Godwin and booked a couple of days at Tonal Park in Takoma Park, Maryland, where The Messthetics and James Brandon Lewis was recorded.
TICKETS
DOORS 7 /MUSIC 8
For just over a decade, EXEK has very quietly become one of the most hypnotic bands on the planet, mutating and growing from record to record, gradually opening themselves up without ever losing that strange, inscrutable, altogether essential quality that’s made them so great—so EXEK-y.
On 27 February, the Melbourne post-punk outfit—vocalist and chief architect Albert Wolski, guitarist Jai Morris-Smith, drummer Chris Stephenson, synth specialist Andrew Brocchi, trumpet-brandishing vocalist Valya YL Hooi, and bassist Ben Hepworth—will release Prove The Mountains Move, their seventh album and first for DFA. It is, as Wolski says, “a bit more 'epic’” than anything he’s recorded to date, a lush and unabashedly melodic set of surrealist pop that luxuriates in contradiction. “This record is experimental in its craft,” Wolski says, “but it may not necessarily sound experimental.”
TICKETS
DOORS 7 / MUSIC 8
No Need To Be Lonely, the latest from Philadelphia band Gladie, is serene, but for only just a moment. For a moment it’s a swirling dream, like paper dancing in the wind, as Augusta Koch’s voice filters in all calm and measured with words that crack the surface of the heart. “Small dose of humiliation/it keeps me humble/it keeps me waiting,” she sings. And then a snap as incandescent rhythms arrive like wolves at the gate, all guitar and drums like a whirling storm, and the crack on the heart tears until it becomes an ocean.
Each minute on No Need To Be Lonely is a memory carried out on the nerves of the body, unshakable melodies that become blood in the veins. There is something about a good and perfect song that lives in your bones, as if it has become a part of you. What has long been the unshakable core of Gladie’s prowess is Koch’s indelible strength as a songwriter, a craft that has only been honed with time, creating inalienable hits that will burrow in and never leave the core of your memories.
NOUN is a new project from Marissa Paternoster (the former lead singer and guitarist of the band Screaming Females)
TICKETS
DOORS 7 // MUSIC 8
The Lowliest One (Kingston, NY) is a dark, manic plunge into the soul of America’s haunted heart. Fusing the raw, chaotic energy of grunge with ghostly country and punk’s restless spirit, they create a sound that’s both fevered and haunting. Where every riff is a storm and every beat feels like the last desperate breath of a world on fire with lyrics that wrestle with madness, heartache, and the wreckage of life on the edge; a fevered confession. For those who crave a raw, unfiltered journey into the dark side of the American psyche, The Lowliest One is the soundtrack to your restless nights.
MEOW MEOW is a queercore post-genre band based in the Hudson Valley, New York. The band is composed of Kitty (vocals, rhythym), Harry (lead guitar), Ash (bass), with additional instrumentations from Celina (saxophone), and Matt (drums).
Bird Week is an indie rock band based in Kingston NY, built around the songwriting of lead singer Justin Hatch. With members from across New York State, the band acts as a rotating cast with lineups as small as 3 people and as large as 6. They are currently working on their fourth studio album and playing shows in support of two recently released EPs.
TICKETS
DOORS 7
Our olde pal Ryan is releasing a book. We’ve got bands Sunburned hand of the Man + Slyne & The Family Stoned plus poetry readings from the legends Vlad and Bel.
TICKETS
DOORS 7 / MUSIC 8
Sluice, now a four-piece band from Durham, North Carolina—with Morris on guitar and vocals, Oliver Child-Lanning on bass and various instruments, Avery Sullivan on drums, and Libby Rodenbough on fiddle—return with Companion, their third album and Mtn Laurel Recording Co. debut. It follows 2023’s Radial Gate, the quietly beloved record Morris made after fleeing NewYork for a Craigslist house in Hillsborough with then-stranger Child-Lanning, tracking songs at Sylvan Esso’s studio Betty’s while working carpentry jobs and wondering, as he sings on “What The Fuck?,” if he should do something else like “go back to school.” Radial Gate caught him halfway out the door of music, steeped in a hermit-like loneliness of rivers, dams, and floodgates. Instead, its release brought the dream back, but it looked different than it did to the “kid reading in a bunk” on a tour bus, crying and asking, “What happened to it all feeling so good?” that he sings about in “Vegas.” Companion begins where that disenchanted loneliness leaves off. Recorded with producer/engineer Alli Rogers at Betty’s in the winter of 2024 and slowly tended over two years, it sounds like someone deciding there may yet be a dream of music worth struggling for—and that the point of that dream isn’t stardom or escape, but companionship.
TICKETS
DOORS 7 / MUSIC 8
lovetempo: Lonelyhearts disco from Brooklyn. New project from Mattie Safer best know from The Rapture/Poolside. Debut record "There is a light" is a ripper. Out April 17 on Bastard Jazz.
Meghan Dowlen (Material Girls) is a multi-instrumentalist, songwriter, and performer from Atlanta, GA, crafting bold, shape-shifting pop that lives in the tension between brute force and vulnerability. Her music explores the duality of femininity with theatrical flair and emotional precision, unafraid to be soft, furious, ecstatic, or strange nods to dance pop and new-wave traditions.
La Mirage is a new project from Lenny Lynch (founding member of Habibi) and Tyler Love
FREE SHOW!
9 til late
Release show for a comp out on Hudson Valley label Portraiture. Featuring a live set from ANGELS IN THE LEFT FIELD (Pamela& her sons and 30000AD) +downstairs j + MUSIC LOVERS ANONYMOUS + DJ FEMALE
TICKETS
DOORS 7 / MUSIC 8
Mexico City based band Mint Field is one of these bands that make it shine. Guided by Estrella del Sol and Sebastian Neyra. Mint Field creates a unique blend of avant dream pop and shoegaze with some touches of trip hop that explores the nostalgia and melancholy of daily life with strong guitars and voices that are like sighs. Intrumentation and atmospheres are accompanied by delicate, harmonious and ethereal voices that are fundamental part of the sound.
With releases such as their debut album Pasar de las Luces (2018), Sentimiento Mundial (2020) and their most recent album Aprender a Ser (2023) and Aprender a Ser : Extended (2024). Their sound has evolved over the course of these years of touring all over the world.
In 2020 the band started fleshing out their latest album Aprender a Ser the follow-up to 2020’s minimalist psych/shoegaze album, Sentimiento Mundial.
TICKETS
DOORS 7 / MUSIC 8
MEMORIALS, the duo consisting of Verity Susman and Matthew Simms (previously of Electrelane and Wire), create panoramic pop that draws on both the familiar and the strange, while also treading new ground. With their playful and experimental style, combined with a love of good tunes, they sit comfortably alongside Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo and Tortoise.
‘Memorial Waterslides’ is the debut album from MEMORIALS. This is an otherworldly, surrealist pop record that is both timeless and timely, displaying a rare mix of classic songwriting and avant-garde attitudes.
The album is awash with imagery evoking a lost future, a veiled present and a daydreamed past, each song playing a role in creating a swirling, widescreen atmosphere, the listener taken along for the ride. Produced entirely by the two of them, the sound of the record was inspired by the reel-to-reel tape experiments they first played around with onstage as they began to develop their multi-layered recordings for live performances as a duo.
Following their acclaimed 2023 soundtracks ‘Women Against The Bomb’ and ‘Tramps!’, a European tour with Stereolab (they’ve been called “Stereolab’s evil twin”) and a new music commission from the Centre Pompidou in Paris, Verity and Matthew arrived at MEMORIALS in reverse, escaping their soundtracking day jobs to create cosmic journeys through the garden shed into psychedelic rock, far-out folk and wild analogue electronics.
TICKETS
DOORS 7 / MUSIC 8
Doug Gillard has a new record coming out on Kingston based label Dromedary Records. Join us for a release party! Doug Gillard is a guitarist, songwriter & has recorded / played with Guided By Voices, Nada Surf, Lifeguards, Neko Case, Death Of Samantha, Gem, Bambi Kino, Sally Crewe, The Hold Steady, Scarcity Of Tanks, My Dad is Dead, Gramercy Arms & many more. The new record rips!
Cathedral Ceilings were formed in the late 2010s by singer/guitarist Ralph Malanga (Stuyvesant), drummer Nick D’Amore (Overlake, Worldsucks), and bassist Tom Diello (Bad Karma).
Fronted by poet Karen Schoemer, Albany NY’s Sky Furrows combine influences from krautrock, NZ bands the Clean and the Verlaines, the Minutemen, Sylvia Plath and early Sonic Youth. Schoemer collaborates with bassist Mike Watt in Jaded Azurites, and with Wreckless Eric & Amy Rigby. Eric Hardiman, Mike Griffin and Phil Donnelly are members of psych rock unit Burnt Hills.
TICKETS
DOORS 7 / MUSIC 8
John Andrews has spent the past few years tucked away in Red Hook, Brooklyn—a neighborhood that sits just beyond the natural drift of the city. Once shaped by maritime industry and later a haven for artists in search of vast warehouse space, its history and isolation give it a quiet magnetism. Streetsweeper, the fifth album by John Andrews & The Yawns, reflects that vantage point—tranquil, self-contained, and curious about the movements most people overlook.
Sarah La Puerta is an artist, musician, and calligrapher who works in different dimensions. She was born in New Orleans, raised in Texas and now lives in rural upstate New York. Her favorite tree is the weeping willow, and her favorite flowers are water lilies.
Tubbys is happy to have our friend Andy Weaver/ruby of thanks back again!
TICKETS
DOORS 7 / MUSIC 8
Wolf Eyes is a band from Michigan. Formed in the fall of 1996 by N. Young. They are known for their bizarre and otherworldly approach to music. Creating a sound that is both disturbing and hypnotic. The band has released numerous albums and EPs on various labels. With their intense and bizarre live performances, Wolf Eyes has garnered a reputation as one of the most frightening and weird bands in the world. Wolf Eyes is currently John Olson and Nate Young. They have performed together for over 20 years and have collaborated with Smegma, Anthony Braxton, Richard Pinhas, Merzbow, Marshall Allen, and many more.
“Guitarist Matt Sargent and synthesist Dani Dobkin’s Bend stands out thanks to its almost hypnotic pull. Riffs altered through computer programming intertwine with swirling, glitching electronics and stretch into a strangely emotional, gossamer-like tapestry of sounds, from barely audible phrases to saturating swells of noise. It all sounds almost like an American primitive guitar record retrieved from far in the future.” - Antonio Poscic (Research Music)
TICKETS
DOORS 7 / MUSIC 8
Pinpointing the specific catalyst for an avalanche can be slippery — any combination of classic elements, human interference, or freak accident can trigger disaster — and documenting these precise moments often rests on serendipitous reflexes. On Two Wheels Move the Soul, Robber Robber offer themselves as ignition and capture every sound in the wake. Involuntarily thrust into the throws of rootless nomadism, Robber Robber ringleader Nina Cates collects a series of pressurized vignettes to assemble the Burlington quartet’s thrillingly explosive sophomore album.
Two Wheels Move the Soul was written and recorded throughout the winter of 2024 and 2025, a season of Cates’ life characterized by near-constant upheaval. In January of 2025, Cates (and Robber Robber co-founder) Zack James were displaced from their longtime home at the behest of a landlord’s call to have their building demolished. In a moment’s notice — and amidst a particularly brutal Vermont winter — Cates and James were left to fend for themselves. Luckily, the two were able to tap a deep well of support within their community, finding respite on the couches of Lily Seabird, Greg Freeman, and Thus Love’s Echo Mars. An unused attic provided their longest arrangement.
TICKETS
DOORS 7 / MUSIC 8
My New Band Believe, led by Cameron Picton, bassist and sometime frontman of black midi, with whom he practiced an explosive form of musical world-building, weaving complex storytelling through thrilling passages of controlled chaos. The moniker serves as an open invitation, a subtle nod to listeners willing to meet the music on its own terms, to reap the rewards of taking a flying leap into the dark. Picton leads his band so that each track forms, scatters and re-groups, the uplift of one song crashing head-long into the rush of another. Inspired by Bert Jansch’s hypnotic, hard-driving guitar, Judee Sill’s panoramic pop, and the terrifying possibility of dance music, My New Band Believe is both all-encompassing and constantly in flux.
TICKETS
DOORS 7 / MUSIC 8
Marisa Anderson channels the history of the guitar and stretches the boundaries of tradition. Her playing is fluid, emotional, and masterful, featuring compositions and improvisations that re-imagine the landscape of American music. The New Yorker calls Anderson ‘one of the most distinctive guitar players of her generation’, and NPR refers to her as among ‘this era’s most powerful players’. Her music has been featured in Rolling Stone, NPR, The New York Times, Pitchfork, the BBC and The Wire. Festival appearances include Big Ears, Pitchfork Midwinter, Le Guess Who and the Copenhagen Jazz Festival. Anderson is the recipient of the 2025 Spark Award for Oregon Artists presented by the James F. and Marion L. Miller Foundation.
In addition to her solo work, Anderson is sought after as a collaborator and composer. Swallowtail, her second record in duo with drummer Jim White was released May 2024 on Thrill Jockey Records. 2024 also saw the release of the feature film score ‘ A Perfect Day For Caribou’, as well as appearances on records by Charlie Parr, Myriam Gendron and Big|Brave. In addition to multiple solo releases, past projects include 2021’s Lost Futures with guitarist William Tyler, and contributions to recordings by Matmos, Tara Jane O’Neil, Beth Ditto, Sharon Van Etten and Circuit Des Yeux, among others.
Classically trained, Anderson honed her skills playing in country, jazz and circus bands. Her current work is focused on a mid-20th century archive of recorded music from the Islamic world, Southeast Asia and the Soviet Union.
TICKETS
DOORS 7 / MUSIC 8
Sydney’s Party Dozen (saxophonist Kirsty Tickle and percussionist Jonathan Boulet) are back with a new album Crime In Australia, the follow-up to 2022’s The Real Work. The Real Work proved to be an international breakthrough for the group. Tracks such as the Nick Cave-featuring “Macca The Mutt”, the radio-friendly skronk of “Fruits Of Labour” and the epic string-drenched beauty of “Risky Behaviour” won fans far and wide, enabling the group to take their wild and intense live show across four continents.
As with its predecessor, Crime In Australia was written, recorded, produced and mixed by the duo themselves in their studio in Marrickville, Sydney. This time, the location was more of an influence than on previous occasions:
“Marrickville in the 1960s-70s was a notorious crime hot spot. If a car was stolen, or someone was missing, they’d look for them in Marrickville. Since then, the area has been highly gentrified and slowly the once grimy industrial warehouse lined streets are being swapped for monstrous apartment blocks with palm trees.
We began without any theme in mind, just the beginnings of some song ideas. As we were discovering the songs for this album, each song felt more and more at home in an old cop tv series’ soundtrack. The Crime theme quickly became apparent.
The record feels split into two contrasting sides. The first half is ‘order’, being as listenable as Party Dozen has ever been. Each song is law abiding and dignified in its own place. The second half is ‘disorder,’ becoming more unlawful, unhinged, louder and noisier.”
TICKETS
DOORS 7 / MUSIC 8
If We Could, Would We is the latest effort from Kingston / Brooklyn-based duo Gracie and Rachel (Gracie Coates and Rachel Ruggles), who have become known for their innovative brand of elevated indie-pop, complete with baroque string work and piercingly spare song structures. After releasing their self-titled debut to critical acclaim in 2017, Gracie and Rachel have been seen on stages opening for Ani DiFranco, Tori Amos, Julien Baker, Lucy Dacus, and others. They have performed two NPR Tiny Desk Concerts and been praised by the outlet to “mix pop and classical in stark, infectious ways and make unforgettable, surprising music.” Their 2025 single “WTF” earned praise from The Line of Best Fit who raved, “Gracie and Rachel Deliver Folk-Pop for the Future on “WTF,”’” and Rolling Stone which named it a “Song You Need To Know.”
The most personal and daring album of their career thus far, If We Could, Would We asks important questions about potential regret and openness, ultimately concluding that the only way out is through. It also finds Gracie and Rachel sharing space again after coming to a crossroads in their personal and professional lives. After the release of their 2023 EP Nowhere Now Here, Gracie spent part of the next year working on solo material, a journey that eventually led her back to Rachel, who was working through the end of a long-term relationship.
TICKETS
DOORS 7 / MUSIC 8
If Izzy Hagerup’s new album, System, feels immediately uncompromising it’s because it was never really designed for public consumption. Released under her Prewn moniker, Hagerup describes the album as a “private journal made public.” The arresting nine songs on System chronicle a deeply personal journey through the darkness of depression, but one that’s always undercut by moments of humor as well as selfishness and self-reflection–a push-and-pull that feels wholly distinctive.
Following on Prewn’s 2023’s debut album Through The Window–a collection of songs that Pitchfork hailed as a “striking example of Hagerup’s ability to sit with ugliness”– System finds her crawling even deeper into the dense folds of the night. Hagerup alone wrote and recorded the album, mostly in long stretches of bedroom sessions that found her working through the night until she began to hear birdsong. System reckons with a lot of the thoughts that tend to needle in during those small hours: guilt, shame, and self-absorption, as well as the societal pressures that sit at the root of such things.
“This new album comes from a much more self-centered place, the stagnant aftermath of intensity and emotion,” Hagerup says. “I think it came from a period of time that was more numb, hollow, and confused. More disassociated from heartfelt pain, more entrenched in a frustrating and aimless discomfort.”
One of her generation's finest songwriters, Official Claire hails from the Chicagoland area. The Chicago Reader praised her “incisive, witty lyrics", while the Singleman Affair calls her a "stunning bliss/drone sorceress." Claire has been invited to perform at this year's Solid Sound Festival, where she'll be accompanied by former Wilco-ite LeRoy Bach, as well as Quin Kirchner and Brooks Palmer.
TICKETS
DOORS 7 / MUSIC 8
Take a visit to Luke’s Garage, Delicate Steve’s latest album, and you’ll discover a place where sparks of creativity fly in all directions, where melodies splatter the walls like brightly hued paint, where no idea is too simple, too ingenuous, too full of childlike wonder. The L.A.-via-Jersey guitarist born Steve Marion, whose credits include session work for Amen Dunes, Paul Simon, and Deradoorian, had no grand plan for making it: he would simply book some time at a friend’s studio, hunker down, and play. He’s always allowed intuition to guide him, composing his jubilantly tuneful instrumentals as he records them, but this time, he felt freer than ever to “keep the seams showing, and don’t polish everything, and keep it raw, and alive, and electric-feeling,” he says. He chose the title, Luke’s Garage, as a tribute to his pal and sometime collaborator Luke Temple, but also for the anything-goes adolescent innocence it conjured: the feeling of heading over to a buddy’s house, turning up the amps, and creating your own world.
TICKETS
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Impact presents this one.
Greg Mendez has always been an economical songwriter – he wields restraint and simplicity as tools, the core of his songs sharpened into simple, cutting truths. On Beauty Land, his new album and debut LP for Dead Oceans, we’re guided by a wry but forgiving narrator, an underdog who has learned to balance cynicism and faith. These songs are self-effacing without self-pity, carefully constructed altars of imperfection channeled through pop melodies, shimmering but urgent guitars, and a voice that reaches for choir boy innocence.
Tickets at the door
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On Saturday April 11, 2026, Tubby's in Kingston, New York will present a rare evening of Darkwave, Goth, Post-punk, Electronic music with NOIR, ANCIENT MY ENEMY and SHIPS IN THE NIGHT with special guest DJs MIDNA MAYHEM and HUEMAN. Doors at 7pm, music starts at 8. This dark event is brought to you by Scott Harris and Athan M. from NOIR.
Metropolis Recordings artists NOIR are a sophisticated electronic dark pop outfit based in both New York City as well as the Catskills. Featuring veteran vocalist Athan Maroulis (Spahn Ranch, Black Tape for a Blue Girl, Executive Slacks), NOIR's forthcoming EP is entitled "Breath and Taxes." The UK outlet Blitzed Magazine recently stated, "Maroulis has a voice and vision that sits somewhere between post-punk anthems and dark synth bangers...a beat-drive darkness that fans of Clan of Xymox, WINGTIPS, and early iterations of The Human League will find of particular interest."
The Woodstock, NY-based ANCIENT MY ENEMY has had a lot to do with the exploding scene for dark music in the Hudson Valley. Having just released their acclaimed EP entitled "Crater of Grief," the female-fronted ANCIENT MY ENEMY features Ti-Ti (vocals), Tommy Grenas (guitars. bass, keys) and Scott Harris (drums, programming, synth bass/keys). The band draws on influences such as Killing Joke, Bow Wow Wow, Alien Sex Fiend, Siouxsie and the Banshees and Christian Death. With a sound of their own, driven by pounding electronic tribal beats, ethereal guitars, driving fuzz bass, new wave/blitz club period-sounding synths and the magic of Ti-Ti's vocal stylings.
THIS SHOW IS SOLD OUT
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Canadian quartet Holy Fuck have always been happy to plow a distinctly lone furrow. Never ones to chase the limelight or hop on any genre-wagon that happens to be passing by, they’ve played by their own rules for the best part of 20 years and five albums. It’s for that reason that they’ve become one of the country’s finest and most influential exports, with their widescreen technicolour, crescendo-heavy and highly danceable sound often finding itself imitated, but never bettered.
Even after attracting mainstream attention thanks to appearing on the soundtracks to Breaking Bad, The Substance, Mr Robot, Chemical Hearts, Good Girls, Cheaters and Invincible (the latter producing viral hit ‘Tom Tom’), the band has continued to go against the grain in a cultural landscape that prioritises and lionises the safe and predictable over the marginal and single-minded.
tickets available at the door
DOORS 7 // MUSIC 8
Container is my favorite artist working in the world of electronics. Broken and deranged just like me. "Container is the solo project of American-born, London-based musician Ren Schofield, who over the last decade has refined a signature sound combining his background in drumming and lo-fi noise with techno and rhythmic electronics, cementing himself as a distinctive and disorderly force in modern electronic music."
Expensive $hit aka Paul Quattrone (of Osees) incorporates vintage electronic drum pads, samplers, and an array of distortion & delay pedals mixed with acoustic drums to create a rhythm/noise hybrid worthy of a generator-powered sonidero party in a parking lot. Echoes of afrobeat, krautrock, dub and harsh noise abound.
Rose Club, the newly carved project from Guy Weltchek, stares deeply into the stone, trimming the rose that grows between the rocks. With electro cuts so deep you’ll be betting on red - and dancing all night. Hudson based and booty bassed. Hardware for soft souls.
NICK MALKIN is an artist and musician based in Woodstock, NY. His practice focuses primarily on the interplay between found sound, field recordings and electronic Instrumentation.
Over the past ten years, Malkin has released numerous recordings that occupy a unique space between several musical traditions: musique concrète, electronic ambient, jazz and modern compositional. His work articulates how an amalgamation of disparate, de-contextualized sounds can suggest hypothetical landscapes and environments — abstracted 'non-spaces’ that convey an elusive sonic familiarity and explore sensory notions of what is “real” and “natural.”
He currently hosts Post-Geography, a long-running radio show on NTS and operates a small imprint of the same name with a focus on idiosyncratic electronic music..
Tickets available at the door
DOORS 7 / MUSIC 8
Drummer / Percussionist / Composer
Villarreal is celebrated for his irresistibly groovy instrumental sets, seamlessly weaving together elements of psychedelic funk, soul, and jazz with the rich textures of traditional Latin American folk music. His performances are a captivating fusion of rhythm and genre, reflecting his deep passion for both innovation and cultural heritage. Whether behind the drum kit or spinning records, Daniel Villarreal continues to push the boundaries of music, creating a sound that is both timeless and forward-thinking.
Tickets for sale at the door
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Have you ever felt like you were trapped riding shotgun in a car spinning out of control? Stuck know the feeling well. This nightmarish joyride with a malicious stranger at the wheel comes straight from the lyrics of “gg”, the closing track on the Chicago post-punk group’s latest full-length Optimizer, their second release for Exploding in Sound and third album overall. The feeling of being unable to stop a machine hurtling toward danger by its own momentum pervades across the whole record. Optimizer reports live from the front lines of a society on the decline, where every attempt toward self-improvement only locks you into a more efficient downward spiral.
As with every release from the trio, comprised of Greg Obis (vocals, guitar), David Algrim (bass), and Tim Green (drums), the central theme flows through every aspect, from the art to the music. Optimizer’s cover, designed as always by Green, depicts a classical statue trapped in buffering hell while the album’s title below it sinks along a declining trajectory. Obis’ lyrics trace the same futility, taking stock not just of the delusional patterns around him but the diminishing returns of sticking to your guns with nothing but air left in the chambers. Turning his eye for political lyrics instead to more directly social subjects, Obis sees the world as one big commercial gym packed to the gills with debt-ridden and desperate marks who only tear their gaze away from the mirror to watch the latest pitch from the latest digital huckster promising a better you at a reasonable fee. Obis doesn’t spare himself either. Written directly on the heels of the band’s tour for 2023’s Freak Frequency, the album also grapples with the personal costs of devoting your life to music while the music industry crumbles around you.
This show is sold out
DOORS 7 / MUSIC 8
TAKAAT (pronounced tuh-cot), meaning "noise" in the Tuareg language Tamashek, for this tour is the duo of Ahmoudou Madassane & Mikey Coltun (ioined by a blown out drum machine). Also known as the rhythm section of Mdou Moclar.
TAKAAT is sonic chaos, improvisation, freedom of exploration, and the punk styles of bands such as Fugazi and Unwound, all mixed together with the guitar music from the Sahe... think Sunn O))) meets Tinariwen.
Rough Draft Presents!
Author Andy Beta will be in attendance. DJs, Reading, etc!
Ryan and co has a show at Assembly tonight. After the gig some of them will come over and drink 10000 beers and play some songs
Some tickets available at the door
DOORS 7 / MUSIC 8
Hold on Whale! zine release Party with Bill Baird + The Sisters + Brian McCarthy
Saturday, March 28, 2026
7:00 PM 11:00 PM
TICKETS
DOORS 7 / MUSIC 8
Come celebrate the release of HOLD ON WHALE! Issue 04. With live performances by the supremely talented BILL BAIRD, THE SISTERS and the debut of a new song by BRIAN MCCARTHY.
THE MAGAZINE:
Hold on Whale! an indie zine, was born from the global pandemic in an attempt to stay connected and make something beautiful during dark times. The world continues to tumble and we continue to make this zine in an effort to find joy and meaning however we can.
This year’s theme is all about TIME. Huge, expansive Time. 32 international artists contributed their writing, art, poetry & music. Come zoom out of our everyday lives and celebrate that we exist on this orbiting rock. Together we made something rad!
THE MUSIC:
Bill Baird is a musician and writer who’s released albums through Capitol, Secretly, Moon Glyph, Dangerbird, and SonyRed, as well as dozens of micro- and self-releases. He’s been insulted by famous people, crashed on couches in every corner of the nation, and has lived to tell the tale. He’s currently writing a book about the 1968 World’s Fair for Texas A&M Press.
The Sisters - original songs, unoriginal songs, stolen songs, good songs, bad songs, and very little in-between. Folky, bluesy, swampy, in two-part harmony. The Sisters are a duo from Northern VA and they are hopelessly in love with you. For now.
Brian McCarthy is an actor, writer, visual artist, and music dabbler. He’s performing a song especially written for this issue. His last live music performance was in high school, so let’s hope he doesn’t mess this up.
We’ll be opening early (1:00pm) for the Mets v Pirates opening day game!
Opening Night game on Wednesday, March 25, featuring the New York Yankees at the San Francisco Giants at Oracle Park, 8:05 p.m. ET
TICKETS
DOORS 7 / MUSIC 8
Optic Sink (Memphis) is the post-punk project from Natalie Hoffmann (NOTS), Ben Bauermeister, and Keith Cooper.
Spain is a new Hudson Valley group and they rule.
Some tickets will be for sale at the door
DOORS 7 // MUSIC 8
Ambient country supergroup of Pat Irwin (B-52s), Bob Holmes (Rubber Rodeo), and Jonathan Gregg (The Linemen) ...
New York-based instrumental group SUSS plays a distinctive form of instrumental music sometimes referred to as “ambient country,” emphasizing the droning qualities of country music and Western film scores. Combining the high-lonesome sound of pedal steel guitars and harmonicas with meditative synthesizers and loops, the group's music owes as much to Brian Eno's collaborations with Daniel Lanois as to the film scores of Ennio Morricone and Ry Cooder. The band's self-released 2018 debut, Ghost Box, became a surprise underground hit and a staple of ambient playlists, leading to the band's signing with Northern Spy. The group continued expanding on their signature sound with numerous additional releases on the label, including the 2024 release of Birds & Beasts.
TICKETS AVAILABLE AT THE DOOR
DOORS 7 / MUSIC 8
EARLY SHOW! MUSIC WILL START A LIL BEFORE 8, AND WILL BE OVER BY 10ISH. THANKS
Two sets for a great cause. Tonights ticket sales go to benefit: Veterans for Peace!
Opening set from JARED ASHDOWN
followed by a quartet of:
JEFRE CANTU-LEDESMA
BOOKER STARDRUM
OMER SHEMESH
JOEY WEISS
Tickets at the door
DOORS 7 / MUSIC 8
Not far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests.
TICKETS AT THE DOOR
DOORS 7 // MUSIC 8
In the spring of 2026 Chuck Johnson will be presenting live renditions of a new work titled Caoineadh. This series of performances and live mixes shared online seeks new pathways into composition and improvisation and draws from DJ techniques, wordless voices, voiceless laments, and pulses suggested by negative spaces.
Performing on cello with effects pedals, Clarice Jensen presents music from hernew album, "In holiday clothing, out of the great darkness." Her fourth full length album, it was released on FatCat/130701 Records in October 2025, and draws abstract inspiration from the Suites of JS Bach, placing the rich sonority of the cello at the fore but carefully treating and layering the timbres to create a "kaleidoscopic, surging cathedral of sound" as described by NPR's Tom Huizinga.
“Hand on the Bay” is a new collaborative project for Jensen and Johnson. The work is organized by a graphic score that renders the harmonic material of 16 bars of Willie Nelson's Red Headed Stranger over the course of 24 minutes.
This show is sold out
DOORS 7 / MUSIC 8
Acopia is a band from Naarm/Melbourne, formed in 2018 by Kate Durman, Lachlan McGeehan, and Morgan Wright. Working with restraint and atmosphere, their music unfolds slowly and deliberately, guided by instinct and emotion. Their debut album Chances was released in 2022 on Melbourne imprint Companion, followed by a self-titled, self-released LP in 2023. Since then, they’ve sold out headline shows across the UK, Europe, and Australia, performed at festivals including Wide Awake (UK), Les Nuits Botanique (BE), and Golden Plains (AUS), and shared the stage with artists such as Bar Italia, Tirzah, and Raisa K.
TICKETS FOR SALE AT THE DOOR
DOORS 7 / MUSIC 8
SOME VELVET SIDEWALK Legendary live band from the Pacific Northwest indie/DIY/grunge explosion, known for kicking out the jams. New album Summer 2026 on K/Perennial
5 albums with K records (new album - summer 2026 on Perennial/K Records ) shared bills with: Dinosaur Jr., Bikini Kill, Modest Mouse, Unwound, Fugazi, L7, Beat Happening, Sleater-Kinney, etc. etc.
Locals - Dom and the Fam + $500 do the damn thing
THIS SHOW IS SOLD OUT
DOORS 7 // MUSIC 8
Coma Cinema is the longest running project of songwriter and producer, Mathew Lee Cothran, known for his work as Elvis Depressedly and The Goin’ Nowheres. Coma Cinema has been active since 2005, remaining independent and happily obscure in an ever dulling world. Coma Cinema is committed to fighting entropy by the alchemy of art, bringing thoughts to life in Cothran and his listener’s minds with a spirit of deep gratitude for those who have listened to and shared his music for many years.
Trace Mountains is the music project of American indie rock musician Dave Benton. Benton was formerly a member of the lo-fi band LVL UP.
Live Music Socitey presents a free show!
Drummer/Percussionist Thom Nguyen (Ashville) will be playing duos with both Lea and Leo. Free tickets at the bar starting at 4pm.
Leo Chang is a Korean experimental musician, improviser, composer, and sound artist based in New York. Informed by his transient lived experience, Leo plays with sounds, instruments, forms, and social practices outside of their original context. He does so using electronic audio processing and sound design, performance, individual and group improvisation, graphical notation, and text scores.
Since 2019, he has been focused on building electronic performance setups derived from Korean folk practices and instruments. For instance, he built an instrument where he amplifies Korean gongs (used historically in folk, shamanic, and court music) with transducers and resonates them with his voice, microphone feedback, and other processed audio input.
Lea Bertucci is a composer, performer, and sound designer whose work explores the relationships between acoustic phenomena and biological resonance. Her approach focuses on timbre, resonance, microtonality, and the physical behavior of sound.
This show is sold out
DOORS 7 / MUSIC 8
Breath in: snuff a line speed, a half hour jump on your cheap amplifiers, salad yet once a half hour with you yet cheaper guitar against the wall. Write eleven popliedjes, lay the emphasis on cryptic and forget everything your song teacher you ever learned has. Seek your neighbor girl on and tell her that your musics will make. Lay her emphatically from that she must not try to sing. Stick, now that you it really are, also just your tongue between her lips till you certainly are that they that rather has not. Give her then you eleven popliedjes and (optioneel) a guitar.
Question her these eleven popliedjes with you together to not to sing, expect of it surplus. Mess what with the buttons on the amplifier, let the hamster of your neighbor girl also once over the
strings run, sign the head of the father of your neighbor girl on the skins of a Bears Smit drumstel, call her feather ten year old little brother and lay from that its father him really real hatred. Breath out: and voila, Yourself Summoned. Sounds good? Sounds in it really yet better. Blessed with a delicious dose ADHD spontaneity and a fine nose for popmelodieën know Tim New Viking on Summoned Yourself a particular charming pot borrow fi garagepop down to dump. A kind of contemporary version of The Shaggs, but then without the implicit family tie. More a neighbor boy neighbor girl tie thus.
-unknown blog, google translate 2005
Tickets at the door. Music around 8:30
clubby’s is back this time with a new incarnation of a Larry Termite hosted night. FKA Gel FKA Pest, this is another special night of far-out electronic dance music. DJ RHONDA is starting out the night with her well-loved vinyl set, taking us everywhere from no wave to footwork - always angular, always bouncy. downstairs j released basement, etc to high accolades in 2021, and delivers the same spaced out, hypnotic, bassy grooviness on a dancefloor as he does on that album.
Larry (bassist for Sediment Club, beats maestro for SNL, and founder of independent label Crude Tapes) closes us out with his usual wildcard mixing, guaranteed to make you dance in ways you never thought you could and maybe even headbang.
***
We strive to keep the dance floor and the rest of the bar a safer space. Any kind of harassment, hate, non consensual touching is not tolerated. If you feel unsafe or overwhelmed, please let the staff know.
TICKETS
DOORS 7 // MUSIC 8
Shoegaze from Hong Kong!
Lucid Express singer/synth player Kim Ho has escaped the clogged streets, blinding lights and noise of central Hong Kong to the region’s northern mountains. Heartbreak and disillusionment are on her heels.
In these mountains, in sight of both the Chinese border and the international city hub of Central Hong Kong, Ho finds herself seeking to make sense of exactly who she, and her bandmates, truly are. The pride they’d felt as teenagers has long since faded. The multicultural progressive city that they grew up in has shifted staunchly conservative and politically oppressive since 2014, when an outbreak of anti-state protests were countered with beatings, politically-targeted arrests, and death threats from government officials. Says Ho, “we’ve just been steadily losing hope for a decade now”.
Their response has been to create their own universe revolving around their studio practice space nestled in an unassuming industrial district on the edge of the city. “We joke that we created a ‘scene’ of five people” says guitarist Andy Tsang.
Tickets at the door $20
DOORS 7 / MUSIC 8
OSCAR JAN HOOGLAND
KEEFE JACKSON
LUKE STEWART
MIKEL PATRICK AVERY
A note from Clifford Allen. Who books this series…
I wanted to take a moment to update you on the Keefe Jackson "Trio" concert taking place next Sunday, March 1, at Tubby's Kingston, as you may have seen the flyers around town or online. We billed it as a trio because the fourth member of the group had to first be able to get into the country unscathed. Now that he's here, we can officially let you know that this will be a rare US concert of These Things Happen, which joins Keefe, Luke, and Mikel with Dutch pianist Oscar Jan Hoogland (he'll be playing an electric keyboard for this appearance). I was very impressed upon hearing their Astral Spirits debut a few years ago; they are touring in support of their latest, A Gentle Reminder, forthcoming on Chicago imprint Corbett vs. Dempsey.
Keefe has this to say: "The music of These Things Happen lives in the spaces between Chicago and Amsterdam, composition and improvisation, sobriety and wild abandon, playfulness and innocence. Starting with classic pieces and originals from the Dutch and American jazz traditions, the group will digress, covering new ground: discover and ignore, grab and release, create and let go. While the Chicago musician comes to jazz naturally, the Dutch approach to this music has often been that of respectful game and play. With These Things Happen this contrast is one of sincere joy. The compositions of Misha Mengelberg stand next to those of Thelonious Monk, Herbie Nichols and originals."
As before, doors are at 7 and the show starts at 8, $20 either at the door or in advance. I'll play records before and after as well.
If you know someone who might want to attend, please feel free to forward this email. The more the merrier! And if you are unable to join us, please listen to and buy the musicians' work either via Bandcamp/online marketplaces or your local brick-and-mortar record store.
TICKETS
DOORS 7 / MUSIC 8
Dromedary Records presents: Moviola, Antietam, and Sleepyhead
Moviola: in support of their 11th album “Earthbound,” the Columbus, Ohio collective step on with a world-weary stride, making the most personal, direct and urgent music of their lives. In between the cracks of the musical Rust Belt, Moviola has quietly produced an expansive catalog spanning everything from 4-track fuzz-pop to hi-fi country soul. Sounding less like their Columbus punk contemporaries and more like “Neil Young’s noisy nephews” (LA Weekly), “Earthbound” is the most realized, succinct and least ambiguous effort of their career.
Punk pioneers Antietam originally hail from Louisville, Kentucky, but have been based in New York since the late 1980s. Led by guitar hero Tara Key with bassist Tim Harris with drummer Josh Madell, they have a long and influential history, signing their first deal with Homestead Records after opening for Husker Du. One of the longest-running and most influential bands in American indie rock, they are currently working on their 12th studio album.
Sleepyhead was formed in a basement room at NYU’s Brittany dorm in the fall of 1989, releasing their first 7”, the Kramer-produced “Play,” in 1991. They’ve released records on Slumberland, Homestead, Sealed Fate and Carrot Top Records and have shared the stage with such legendary bands as Polvo, Half Japanese, Yo La Tengo, The Grifters, and many more. Now based in Boston, the country-tinged indie rock band is making their second appearance at Tubby’s and is sure to perform some material from their forthcoming LP.
This show is sold out
DOORS 7 / MUSIC 8
Music is in multi-instrumentalist and composer Cochemea Gastelum’s blood—he comes from a long line of musicians on both sides of his lineage. For over 25 years, Cochemea has built a distinct career as a soloist, section player, and composer/ arranger, collaborating with artists across genres— from his long tenure with Sharon Jones and the Dap- Kings to work with Kevin Morby, Run The Jewels, Jon Batiste, Amy Winehouse, The Roots, Archie Shepp, Mark Ronson, and Quincy Jones, among many others.
His forthcoming album on Daptone Records, Vol. 3: Ancestros Futuros, is the third volume in a series that includes All My Relations (2019) and Vol. 2: Baca Sewa (2021). Across his body of work, Cochemea interweaves the past, present, and future, engaging with time as speculative history— one that moves fluidly between memory and possibility.
For Vol. 3: Ancestros Futuros, he gathered a core group of longtime collaborators—a powerhouse octet of New York City percussionists and members of Daptone’s famed rhythm section. Gabriel Roth (aka Bosco Mann) returned as producer and mixing engineer, capturing the band live to 8-track analog tape. Accompanied by a 9-minute film mixed in Dolby Atmos, this volume also marks Cochemea’s evolution into visual storytelling.
Cochemea’s previous releases have been praised by DJs and critics alike. His Daptone debut, All My Relations, was a family reunion of sorts, uniting spirits, musicians, and melodies across time and place. Leading a nine-piece ensemble, he recombined ancient elements— drums, winds, and voice—into a deeply personal meditation on the interconnection of all things. Vol. 2: Baca Sewa directed this exploration into the archives of family history, mythology, and the cultural imaginary. Pitchfork called All My Relations “equal parts spiritual journey and irrepressible funk.” Mojo awarded the album four stars, noting “its message of harmony and oneness is universal,” while Downbeat described Vol. 2: Baca Sewa as “radiating like a flower from beginning to end.”
