BEGIN:VCALENDAR VERSION:2.0 PRODID:-//High Noon Saloon - ECPv5.14.0.4//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:High Noon Saloon X-ORIGINAL-URL:https://www.high-noon.com X-WR-CALDESC:Events for High Noon Saloon REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20240310T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20241103T070000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240328T200000 DTEND;TZID=America/Chicago:20240328T233000 DTSTAMP:20240328T153311 CREATED:20231024T140041Z LAST-MODIFIED:20231130T155938Z UID:8954-1711656000-1711668600@www.high-noon.com SUMMARY:San Fermin DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nSan Fermin \nSan Fermin songwriter Ellis Ludwig-Leone writes songs that shift seamlessly between joy and dread\, panic and euphoria. Since the band’s beginnings in 2013\, San Fermin’s ambitious scope has taken them across a variety of genres\, attracting an eclectic group of collaborators that reflect Ludwig- Leone’s own wide-ranging musical background. San Fermin rose to early acclaim on the strength of their self-titled debut\, which bandleader Ellis Ludwig-Leone had initially envisioned as a one-off featuring more than 20 collaborators. NPR hailed the album as “one of the year’s most surprising\, ambitious\, evocative and moving records\,” while Pitchfork called breakout single “Sonsick” “deliriously infectious.” Buoyed by the record’s success\, Ludwig-Leone put together a full-time band and hit the road\, performing everywhere from the Tiny Desk to Lollapalooza and sharing bills with the likes of alt-J\, Courtney Barnett\, the National\, and St. Vincent. In the years to come\, the group would go on to release three similarly lauded albums\, prompting The New Yorker to celebrate their “knack for simultaneously expressing beauty and crisis\,” and Rolling Stone to declare them “masters of highbrow chamber pop. \nWritten in the topsy-turvy days following two different breakups\, San Fermin’s poignant new album\, Arms\, is a testament to the band’s ability to transform pain and isolation into catharsis and healing. The songs are more minimalist than ever before\, stripping away much of the sonic ornamentation the Brooklyn eight-piece has come to be known for in favor of a more raw\, direct sound reflective of the album’s candid\, plainspoken lyrics. The result is a deeply moving\, compassionate collection\, one that moves from anger and disappointment to clarity and acceptance as it balances devastation and hope in equal measure. \nRunnner \nFor the last five years\, Los Angeles-based musician Noah Weinman has been Runnner\, and for much of those five years\, Runnner has been working. Working on his 2021 collection album\, Always Repeating; working as a producer on the Skullcrusher records; and\, of course\, working towards his debut full-length\, Like Dying Stars\, We’re Reaching Out. From LA to Ohio and the Northeast and back\, he’s been deep in the craft of sound. This is music made at home\, using anything and everything: cell phones and handheld tape recorders\, the hum of an a/c unit\, voicemails from friends. Rubbing cardboard together\, stretching URL:https://www.high-noon.com/event/san-fermin/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/10/SanFermin-Web-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240329T200000 DTEND;TZID=America/Chicago:20240329T233000 DTSTAMP:20240328T153311 CREATED:20240117T161106Z LAST-MODIFIED:20240220T205640Z UID:9179-1711742400-1711755000@www.high-noon.com SUMMARY:Deerhoof DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nPLEASE NOTE: Deerhoof kindly asks that all attendees mask up! Extra masks will be available at the venue. URL:https://www.high-noon.com/event/deerhoof/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/Deerhoof-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240330T200000 DTEND;TZID=America/Chicago:20240330T233000 DTSTAMP:20240328T153311 CREATED:20231128T170012Z LAST-MODIFIED:20231130T225015Z UID:9053-1711828800-1711841400@www.high-noon.com SUMMARY:Very Garcia DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  URL:https://www.high-noon.com/event/verry-garcia/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/02/VeryGarcia-HNS-WEB.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240403T200000 DTEND;TZID=America/Chicago:20240403T200000 DTSTAMP:20240328T153311 CREATED:20231214T151407Z LAST-MODIFIED:20231214T151407Z UID:9102-1712174400-1712174400@www.high-noon.com SUMMARY:Nerd Nite DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  URL:https://www.high-noon.com/event/nerd-nite-19/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 CATEGORIES:Nerd Nite,Use Your Noggin ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/12/NerdNite-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240404T200000 DTEND;TZID=America/Chicago:20240404T233000 DTSTAMP:20240328T153311 CREATED:20240227T160013Z LAST-MODIFIED:20240301T235712Z UID:9309-1712260800-1712273400@www.high-noon.com SUMMARY:Matthew Sweet DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nBefore the gold and platinum albums\, before the MTV hits and critical renown\, power-pop and alternative-rock pioneer Matthew Sweet was just a 13-year-old bass player sitting alone in his Nebraska bedroom\, daydreaming of a life spent making music. “I was just starting to write songs and play a little guitar and I had this thought: I wonder if when I’m old and I’ve been around music a really long time\, I might suddenly just be able to play lead guitar without ever properly learning how. Maybe if you just play a really long time\, it just kind of comes together? And the funny thing is\, it did. I’m able to.” \nOn Catspaw\, his 15th studio album\, due out January 15\, 2021 on Omnivore Recordings\, Matthew Sweet cranks his vintage amplifiers and steps into a role previously played by some of his generation’s most unique and incendiary lead guitarists from Richard Lloyd (Television) to Robert Quine (Lou Reed) and Ivan Julian (Richard Hell & the Voidoids). Though Catspaw is absent of his famous collaborators\, their presence is felt in the mark they left on Sweet’s guitar work. His solos are audacious\, confrontational\, and inspired. \n“I play free form\,” he says. “Nothing is too labored over and that was important. It’s spontaneous. The more you can do that\, the more organic it is.” He refined his style over decades of collaborating with great guitarists. “Richard’s [Lloyd] playing influenced me a lot — the ambition he has\, that feeling when he just lets loose. I not only related to the approach\, I related to it musically. I was also developing my ear over time. Now I can hear where I want a lead line to go.” \nCatspaw is guitar-driven: 12 songs\, lean and consistent\, direct\, and notably darker than Sweet’s recent song-cycles. Apparent in tracks like “Best of Me” and album-opener “Blown Away\,” the inner-turmoil harkens back to the angst of 1993’s Altered Beast. But where Beast was the self-interrogation of an artist in his mid-20s\, Catspaw is the confessions of a career artist\, mature and assured in his craft and achingly transparent in his confrontations of aging and the search for meaning. “I’m trying to get my head around getting older\, I want to let go\, I want to tell the ugly truth … I want to do all kinds of different things in my head and they really popped out in these songs.” \nIn true Sweet fashion\, Catspaw’s mischievous title was born from equal parts grappling with his own mortality and some television obscura from his childhood. “I learned the term from a 1967 Star Trek episode I adored as a kid. (The storyline features a gigantic feline villain). “Recently I heard “catspaw” again and started looking up definitions. I really connected to the idea of the certain and deadly inevitable — the pounce. Don’t ever forget life is totally cruel and the catspaw is already coming down on you.” \nBut despair is not the conclusion of Catspaw; one song\, “Challenge the Gods” urges quite the opposite. “That song is about defiance. I’m saying\, ‘to hell with fate and gods and things like that.’ Like Dylan Thomas said\, ‘Rage against the dying of the light.’” Bolstered by a layer of chugging rhythm guitars\, this pick-me-up anthem is his “I Won’t Back Down” — “Rise above\, take your place / Punch the world in the face\,” he sings. \nCatspaw was finished just before COVID-19 struck\, but tonally it feels right on time. “It really feels like the fruit of the pandemic\,” says the artist. This is at least partially due to how it was written and recorded: aside from excellent drumming by longtime collaborator Ric Menck (Velvet Crush)\, this is Matthew Sweet’s first entirely solo effort. Sweet handles all of it: recording\, mixing\, Höfner bass\, electric guitars\, and Pet Sounds-like background vocals. Catspaw was recorded in his beloved home studio\, Black Squirrel Submarine (named in part for the dark wooden interior). Prefiguring the quarantine and social distancing era\, Sweet has created something whole and beautiful within the confines of isolation. It’s a testament to the potency of art-making in solitude. \n“For me\, being an artist is ultimately a solitary thing\,” he allows. “I’ve taken comfort in that as I’ve grown older. Success and people come and go in life\, but I know I will always be making music and that it continues to be fun and intriguing — that mystery of discovering what a song is going to become.” Catspaw is the latest product of a remarkably fertile period that began when Matthew and his wife returned to his native Nebraska in 2013 after two decades of living and working in the Hollywood Hills. \nWhile recent efforts Tomorrow Forever (2017) and Tomorrow’s Daughter (2018) derive their strength from a diversity of textures and moods\, Catspaw strikes with a uniformity of intent and focus. The soft\, natural psychedelia of “Drifting” and “Hold on Tight” provide subtle shifts in landscape\, while the longing of “Come Home” once again reiterates Sweet’s uncanny ability to capture the wavelike motion of heartache. Overall\, these songs create a pleasing sensation of a prolonged\, happy blur. The effect is reminiscent of Cheap Trick’s debut LP or Big Star’s Radio City\, products of a bygone era of record-making when long-form flow and coherence — the exact amount of time it took to share a joint with a friend or build up the courage for that first kiss — were essential to a successful album. \nIt was this quality that found Catspaw a home on Omnivore Recordings. “They loved the wholeness of it\,” says Matthew. “They understood it and for that reason I was really excited to give it to them.” Catspaw was mastered by industry legend Bob Ludwig. \nMatthew Sweet’s journey began with a move to Athens\, Ga. in the early 1980s at the urging of his pen pal\, R.E.M.’s Michael Stipe. As a student at University of Georgia\, he was immersed in the college town’s burgeoning alternative rock scene\, playing in pioneering acts like Oh-OK and the Buzz of Delight. At 20\, he left Georgia for New York City and a major deal with Columbia\, where he released his debut solo album\, Inside\, in 1986. Earth\, his 1989 follow-up on A&M\, showcased a songwriter with extraordinary pop sensibility on the cusp of something greater. A year later\, amid the smoldering ashes of heartbreak and divorce and an escape from New York to the outskirts of Princeton\, New Jersey\, Sweet composed the songs that became 1991’s Girlfriend\, lighting the fuse for the creative triumph and commercial breakthrough that his longtime supporters in the industry knew to be inevitable. “When you’re young\, you feel it differently. It’s life or death. I remember it so clearly.” Singles “Girlfriend” and “I’ve Been Waiting\,” paired with their Japanese anime-laced music videos (a novelty to the American market at the time)\, won Sweet a lifelong international following. Altered Beast (1993) continued the hot streak with singles “Ugly Truth” and “Time Capsule\,” while 1995’s 100% Fun single “Sick of Myself” reached #2 on rock radio\, breaking him even wider. \nSweet continued to evolve over a string of well-received albums in the early 2000s. In 2006\, he joined forces with Bangles frontwoman Susanna Hoffs to record a series of covers from the ’60s\, ’70s\, and ’80s\, Under the Covers\, Vol. 1–3. Sweet’s music has appeared in numerous films\, television shows\, and games\, including Austin Powers\, Guitar Hero II\, Buffy the Vampire Slayer\, The Simpsons\, and Scooby-Doo\, among many others. Sweet was a lead consultant on Tim Burton’s Margaret Keane biopic Big Eyes in 2014. \nAnd he’s still checking accomplishments off the list — Catspaw is the latest. “I realized after I’d finished the record that I had made it just after turning 55 and that was coincidentally the exact age I fantasized I would be all those years ago when I was hoping someday I’d be able to play lead guitar on my own album.” URL:https://www.high-noon.com/event/matthew-sweet/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/Matthew-Sweet-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240405T200000 DTEND;TZID=America/Chicago:20240405T233000 DTSTAMP:20240328T153311 CREATED:20240122T160041Z LAST-MODIFIED:20240129T164946Z UID:9202-1712347200-1712359800@www.high-noon.com SUMMARY:[SOLD OUT] Dylan MarloweDirt Road When I Die Tour DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nDylan Marlowe \nStatesboro\, Georgia native Dylan Marlowe is Nashville’s newest rising star on the country music scene\, where he comes likely wearing camouflage and an audible smile\, equipped with a sound that blends traditional country themes with a touch of rock. Dylan was named as one of Spotify’s Hot Country Artists to Watch for 2023 and now has an exciting year of firsts under his belt\, with promise to make an even bigger splash in 2024. Marlowe got to celebrate his first No. 1 as a songwriter with Jon Pardi’s “Last Night Lonely\,” he made his Grand Ole Opry debut\, got married\, and released his debut EP\, Dirt Road When I Die. Billboard noted that the project “ranges from banjo-flecked country to headbanger tones with tight\, edgy harmonies certifying his country roots.” Dirt Road When I Die features the soaring title track plus “You Were Right (Nat’s Song)\,” which Dylan released as a surprise for his now-wife on their wedding day in May. Country Now lauded his “raw\, consoling vocals” on the song\, noting that the “elegant piano melody takes the ballad to new heights.” Another buzzworthy song on the project\, “Record High\,” was praised by MusicRow as “Moody and haunting. The soundscape ripples with dobro\, muted percussion and chimed electronics. His broken-hearted delivery aches with sincerity. Excellent work.” In addition to the EP\, Dylan was featured on Avery Anna’s “I Will (When You Do)” and Kasey Tyndall’s “Place For Me\,” and in October he released his new collab with Dylan Scott\, “Boys Back Home.” The song received over 3.2 million global streams in its first week. \nThe singer has spent the fall opening for HARDY’s the mockingbird and THE CROW FALL TOUR along with Lainey Wilson. He has also toured with Jordan Davis\, Morgan Wallen and Scotty McCreery this year. Dylan recently announced his headlining DIRT ROAD WHEN I DIE TOUR for 2024\, which will kick off in February. With over half a million followers on social media\, the singer continues to grow his fan base each day with his captivating live performance and his heartfelt\, hooky lyrics. \nMackenzie Carpenter \nHailing from the small town of Hull\, GA\, Mackenzie Carpenter is the spunky blonde girl-next-door that fell in love with music as a kid\, writing alongside her brothers and singing in church. Years later\, the outspoken singer-songwriter is breaking the mold for small-town women by writing and singing her truth\, armed with the knowledge that everyone has a little bit of “hot mess” in them\, no matter how shiny the book cover may seem. With an upbringing consisting of a rowdy support system\, back porch hootenannies and juicy drama\, the affable and kind Carpenter also embraces the crazy and “tacky” aspects that make life more interesting. Fans are loving SiriusXM Highway find\, “Can’t Nobody\,” TikTok viral\, “Huntin’ Season\,” vulnerable “Jesus I’m Jealous” and her latest girl’s girl anthem\, “Don’t Mess With Exes.” New tune “Throw You Back” was also thrown into the mix on the artist’s self-titled debut EP\, putting her cheeky yet nuanced songwriting ability on full display across the five songs. Carpenter most recently channeled her inner Cyndi Lauper\, adding just enough country twang to an ‘80s classic in “Country Girls (Just Wanna Have Fun).” Since signing her first record deal with The Valory Music Co. in 2022\, Mackenzie has been named to Spotify’s Hot Country 2024 Artists To Watch\, CMT’s Next Women of Country class of 2023\, Nashville Briefing’s Artists To Watch 2023 and many more spotlight programs. She recently wrapped the THE LUCKY TOUR with her “I’m Not Pretty” co-writer and friend\, Megan Moroney and plans to hit the road with Cole Swindell on the WIN THE NIGHT TOUR and Dylan Marlowe on the DIRT ROAD WHEN I DIE TOUR for select dates this spring. The rising star made her Grand Ole Opry debut in June and has already opened for talents like Miranda Lambert\, Jake Owen\, Parker McCollum\, Craig Campbell and Ryan Hurd. Last year\, Carpenter took the stage at major events like CMA Fest\, Country Thunder\, Tortuga Music Festival\, Stagecoach. Visit mackenziecarpentermusic.com for more information. URL:https://www.high-noon.com/event/dylan-marlowe/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/DylanMarlowe-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240406T200000 DTEND;TZID=America/Chicago:20240406T233000 DTSTAMP:20240328T153311 CREATED:20231025T150006Z LAST-MODIFIED:20231027T150138Z UID:8968-1712433600-1712446200@www.high-noon.com SUMMARY:Church of Cash DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \n“If there is anyone truer to the music and spirit of Johnny Cash\, you’d have to prove it to me.” – Jamie Winpenny – Honolulu Weekly \nIn 2010\, amidst the sunny shores of Honolulu\, Jay Ernest established the Church of Cash. Drawing from his extensive experience touring across the United States\, Europe\, and Asia\, Jay has now returned to his Minnesota roots\, driven to spread the gospel of one of the world’s most influential and timeless songwriters. \nThe Church of Cash remains steadfast in their devotion to the music of Johnny Cash. Led by Jay’s resounding baritone voice\, their performances echo the gentle breeze of the prairie and resonate with the commanding stomp of a boot heel. Far from being a typical country band\, the Church of Cash stands as a tribute band with a clear mission: to honor the lasting legacy of Johnny Cash. They have traversed the roads\, tested their mettle\, and stand ever-ready to celebrate the very soul of American music. \nWhether you are a seasoned individual who grew up listening to Mr. Cash in the seat of your tractor or a young soldier navigating the deserts of the Middle East with the Man in Black’s melodies in your headphones\, the Church of Cash promises to deliver his music to fans everywhere\, infused with their own unique style and vibrant energy. \nWhat sets the Church of Cash apart from the rest is their unwavering loyalty to the songs and the messages that Johnny left behind for all of us. With a youthful spirit\, they breathe life into his words\, ensuring that audiences are entertained and captivated by his enduring legacy. URL:https://www.high-noon.com/event/church-of-cash-3/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/10/Church-of-Cash-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240407T130000 DTEND;TZID=America/Chicago:20240407T160000 DTSTAMP:20240328T153311 CREATED:20240206T223432Z LAST-MODIFIED:20240208T232957Z UID:9255-1712494800-1712505600@www.high-noon.com SUMMARY:Max Ink Matinee Concert Series DESCRIPTION:  \n\n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  URL:https://www.high-noon.com/event/max-ink-matinee-concert-series-3/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/MaxInk-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240407T190000 DTEND;TZID=America/Chicago:20240407T220000 DTSTAMP:20240328T153311 CREATED:20231110T015932Z LAST-MODIFIED:20240219T182015Z UID:9001-1712516400-1712527200@www.high-noon.com SUMMARY:Ladies Rock Camp DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nJoin us for the Ladies Rock Camp Showcase! Ladies Rock Camp is a weekend camp for campers ages 19 and up to learn an instrument\, write a song with a band they just formed and rock out on stage on Sunday night. Our campers will perform the songs they wrote over the weekend with the bands they created at camp. We’ll also be featuring campers for solo performances. URL:https://www.high-noon.com/event/ladies-rock-camp-3/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/11/LRC-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240408T200000 DTEND;TZID=America/Chicago:20240408T233000 DTSTAMP:20240328T153311 CREATED:20240116T150006Z LAST-MODIFIED:20240124T185215Z UID:9166-1712606400-1712619000@www.high-noon.com SUMMARY:Bendigo Fletcher DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  URL:https://www.high-noon.com/event/bendigo-fletcher/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/BendigoFletcher-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240409T200000 DTEND;TZID=America/Chicago:20240409T233000 DTSTAMP:20240328T153311 CREATED:20240116T170031Z LAST-MODIFIED:20240312T183654Z UID:9170-1712692800-1712705400@www.high-noon.com SUMMARY:Próxima Parada + Oliver Hazard DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nOliver Hazard \nThe story of Waterville\, OH indie-folk trio Oliver Hazard – Michael Belazis (vocals\, guitar) and Devin East (vocals\, guitar)\, joined by Nate Miner (keys\, vocals) – is the digital age’s version of classic band mythmaking. One member of the band came home to Ohio after leading camping trips in California and decided to make an album with two childhood friends. They won a Facebook raffle to record one song at a studio. Instead\, they played their whole album straight through once\, resulting in their debut LP 34 N River (2018). The Fader called the album a “folk-pop masterpiece” and the band was booked at Bonnaroo and Mountain Jam shortly thereafter. In 2019\, the band released their 6 track EP\, The Flood\, which Billboard called a “souvenir.” This brings the band to their sophomore\, self-titled album (July 2023)\, featuring music from the band’s recent Northern Lights EP\, plus five additional songs. \nPróxima Parada \nPróxima Parada means ‘next stop’ in Spanish and Portuguese. As college students in San Luis Obispo\, California taking the bus to school\, at every stop they’d hear\, “Now approaching\, próxima\nparada…” 100 times a day. The name is an invitation to the present moment\, a reminder to not be too focused on the destination and to appreciate every stop along the way. \nAfter ten years of next stops\, their songs have become more and more focused on personal growth and groove\, where each player adds just what’s needed and makes up a piece of a whole. Some songs are sunny and light-hearted indie soul\, others have a late-Mac-Miller mellow vibe\, all the while speaking to who they are working to be. \nWhat began as a group of college friends wanting to spread joy to their local community has led to national tours where people let loose and feel whatever they need to feel. It’s already been an incredible journey with their songs reaching a global audience online\, and they’re just getting started. 2023 brings Próxima Parada’s strongest album to date and much touring. \nAbby Hamilton \nBorn and raised in Nicholasville\, KY\, artist-to-watch Abby Hamilton is in the midst of a breakout year following the release of her acclaimed debut album\, #1 Zookeeper (of the San Diego Zoo). Released this past fall via Blue Gown Records — a new imprint run by WhizzBangBAM’s Ian Thornton (Tyler Childers) in partnership with Virgin Music — the album was produced by Justin Craig and Duane Lundy and further establishes Hamilton as one of music’s most intriguing new voices. Of the record\, American Songwriter praises\, “infectious… introducing the acclaimed songsmith’s captivating blend of folk and indie rock\,” while Holler declares\, “one of the most refreshingly out of step voices in country music has made one of the year’s most genuinely brilliant and beautiful records” and Wide Open Country proclaims\, “channels a universal relatability that will aid anyone’s journey of self-discovery and healing.” \nIn just the past few years\, Hamilton has garnered a reputation as an engaging live performer and musician and recently made her television debut performing on CBS Mornings’ “Saturday Sessions” series. She has also opened for artists such as Tyler Childers\, Deer Tick\, Shakey Graves\, Wynonna Judd\, Blackberry Smoke\, Kelsey Waldon and The Mountain Goats and performed at several major festivals including Bonnaroo\, AmericanaFest\, Railbird\, Luck Reunion and more. URL:https://www.high-noon.com/event/oliver-hazard-proxima-parada/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/Proxima-x-Oliver-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240410T193000 DTEND;TZID=America/Chicago:20240410T233000 DTSTAMP:20240328T153311 CREATED:20240205T171129Z LAST-MODIFIED:20240205T171212Z UID:9258-1712777400-1712791800@www.high-noon.com SUMMARY:St. Paul & The Minneapolis Funk Allstars DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nSt. Paul and the Minneapolis Funk Allstars \nCelebrating 40 Years of Purple Rain \nSt. Paul Peterson from The Time (Purple Rain era) and lead singer Prince’s group The Family has assembled a who’s who of Minneapolis Funk Legends to celebrate the 40th Anniversary of Purple Rain.\n“It’s hard to believe it’s been 40 years since the premiere of this iconic movie\, and it’s great to feature the music from this movie in our set.” \nSt. Paul and the Minneapolis Funk All Stars play music from Prince\, The Time\, The Family\, Sheila E and other hits that came out of Minneapolis during the Purple Era. \nThe band is:\nSt. Paul Peterson – bass and vocals (The TIme\, The Family)\nDr Fink – keyboards (Prince and the Revolution)\nElisa Fiorillo – vocals (Prince and the New Power Generation)\nJason Peteron DeLaire – sax and vocals (Paisley Park House Band)\nOliver Leiber – guitar (Tamara and the Seen\, Jesse Johnson and producer of Paula Abdul’s biggest hits)\nJoey Finger – drums (Batman Soundtrack) URL:https://www.high-noon.com/event/st-paul-the-minneapolis-funk-allstars/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/StPaul2024-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240411T080000 DTEND;TZID=America/Chicago:20240411T170000 DTSTAMP:20240328T153311 CREATED:20231031T160026Z LAST-MODIFIED:20231109T190217Z UID:8937-1712822400-1712854800@www.high-noon.com SUMMARY:Hannah Wicklund DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nHannah Wicklund has been traveling fast and far\, playing big cities and small towns around the world since starting her band at 8 years old. With her new album\, Produced by Sam Kiszka\, she is now arriving somewhere completely unexpected. Ethereal texturing\, smokey falsetto vocals\, string section surprises and guitar solos that carry equal parts pain and joy are woven tastefully into what Wicklund says is \, “A record that just sounds like me”. Much like Hannah’s paintings she has become known for\, each song is intricately entrancing and honored with two things seemingly lost in today’s world….patience and time. With Sam Kiszka on bass/keys/organ and Danny Wagner on drums\, both of Greta Van Fleet\, the songs serve as a rock ’n’ roll roadmap to a crossroads that Wicklund has been unknowingly gravitating towards for well over a decade. X marks the spot where the weary girl speeding towards the woman she will become meet in a fiery head-on collision. On this album\, we hear from the woman rising from that wreckage. The woman who’s scarred but smarter\, holds compassion for the girl who carried her here\, and with wide-open clear eyes\, unflinchingly stares down the future. \nIndeed\, The Prize is a beautiful representation of what raw feminine power and determination look\, feel and sound like. Carved with pain during the most wounded and fragile point in our young heroine’s life\, this record is for anyone that has ever had to look inward to move onward. “This album was so radically healing for me\, and I hope it can inspire and perhaps play a role in someone else’s story” says Wicklund. “I want us all to remember\, it can be lonely and is never easy ‘doing the work’\, but we are each worthy of our own love\, time\, and dedication.” URL:https://www.high-noon.com/event/hannah-wicklund/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/10/HannahWicklund-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240412T200000 DTEND;TZID=America/Chicago:20240412T233000 DTSTAMP:20240328T153311 CREATED:20231017T160000Z LAST-MODIFIED:20231020T150906Z UID:8910-1712952000-1712964600@www.high-noon.com SUMMARY:Destroyer (Solo) DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nDestroyer’s latest album\, LABYRINTHITIS\, brims with mystic and intoxicating terrain\, the threads of Dan Bejar’s notes woven through by a trove of allusions at once eerily familiar and intimately perplexing. The record circuitously draws ever inward\, each turn offering giddy surprise\, anxious esoterica\, and thumping emotionality at equal odds. “Do you remember the mythic beast?” Bejar asks at the outset of “Tintoretto\, It’s for You\,” the album’s first single\, casting torchlight over the labyrinth’s corridors. “Tintoretto\, it’s for you/ The ceiling’s on fire and the contract is binding.” Delivered in a Marlene Dietrich smolder\, Bejar’s lyrical menace seeps like smoke through the brazen march’s woozy synths and dizzied guitar. “There’s some character here that feels new to me\, a low drawl\, an evening gown draped over a piano\,” Bejar says of the song. Throughout\, LABYRINTHITIS insists that everything’s not all right\, but that even isolation and dissolution can be a source of joy— stepping into the sunlight at the other end of the maze in your ear\, Bejar strolling alongside like a wild-maned\, leisure-suited minotaur. \nMore than an arcane puzzle for the listener\, LABYRINTHITIS warps and winds through unfamiliar territory for Bejar as well. Written largely in 2020 and recorded the following spring\, the album most often finds Bejar and frequent collaborator John Collins seeking the mythic artifacts buried somewhere under the dance floor\, from the glitzy spiral of “It Takes a Thief” to the Books-ian collage bliss of the title track. Initial song ideas ventured forth from disco\, Art of Noise\, and New Order\, Bejar and Collins championing the over-the-top madcappery. “John is in his 50s\, and I’m almost there\, but we used to go to clubs\,” Bejar laughs. “Our version may have been punk clubs\, but our touchstones for the album were more true to disco.” \nBejar and Collins conducted their questing in the height of isolation\, Collins on the remote Galiano Island and Bejar in nearby Vancouver\, sending ideas back and forth when restrictions didn’t allow them to meet. “From the vocal manipulation to the layered electronics\, making this record pushed us to a new place\, and reaching that place felt stressful\,” Bejar recalls. “But I trust that that stress is a good feeling.” That cuddly anxiety excels in tracks like “Eat the Wine\, Drink the Bread\,” Joshua Wells’ percussion and Collins’ drum programming pushing Bejar’s voice forward. “The whole world’s a stage/ That I don’t know/ I am going through\,” he sighs\, before reaching the frustrated religious imagery of the title. \nLyrically\, LABYRINTHITIS embraces a widescreen maximalism\, blocks of text dotted with subversions\nand hedges. Building from the koans of Have We Met\, Bejar continues to carve his words precisely\, toying with expectations and staid symbols\, while Collins’ production reconstructs the pieces into a unified whole. “Even though everyone recorded in their own isolated corners\, this is the most band record that we’ve done in the last few years\,” Bejar says. “Everything’s manipulated\, but the band is really present\, and our plans wound up betrayed by what the tracks wanted. I’ve written 300\, 400 songs in my adult life—I don’t know how to do anything else—but this album feels like a breakthrough into new territory.” URL:https://www.high-noon.com/event/destroyer-solo/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/09/Destroyer-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240413T200000 DTEND;TZID=America/Chicago:20240413T233000 DTSTAMP:20240328T153311 CREATED:20231128T160022Z LAST-MODIFIED:20231122T215842Z UID:9055-1713038400-1713051000@www.high-noon.com SUMMARY:Soft Kill DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nSoft Kill from Chicago Illinois is the brainchild of Tobias Grave\, making morose and infectious punk songs since 2011. Starting with the seminal “An Open Door” and including stand out records like 2016’s “Choke” and 2020’s Billboard chart topping “Dead Kids\, R.I.P. City”. Tobias’ struggle with addiction and loss have created a depth and emotional landscape often missing from the genre. URL:https://www.high-noon.com/event/soft-kill/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/11/Soft-Kill-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240414T190000 DTEND;TZID=America/Chicago:20240414T233000 DTSTAMP:20240328T153311 CREATED:20231206T160050Z LAST-MODIFIED:20231211T161714Z UID:9077-1713121200-1713137400@www.high-noon.com SUMMARY:Shemekia Copeland DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nSHEMEKIA COPELAND\, DONE COME TOO FAR \nwritten by Marc Lipkin \n“Shemekia Copeland is the greatest blues singer of her generation.” –The Washington Post \n“Shemekia Copeland has established herself as one of the leading blues artists of our time.” –NPR Music \n“Shemekia Copeland provides a soundtrack for contemporary America…powerful\, ferocious\, clear-eyed and hopeful…She’s in such control of her voice that she can scream at injustices before she soothes with loving hope. It sends shivers up your spine.” –Living Blues \n“Shemekia Copeland is an antidote to artifice. She is a commanding presence\, a powerhouse vocalist delivering the truth.” –The Philadelphia Inquirer \n“I am so happy Shemekia is delivering these songs that the world needs to hear. Her voice is strong and soulful\, and her message comes from her heart.” –Mavis Staples \nAward-winning blues\, soul and Americana singer Shemekia Copeland possesses one of the most instantly recognizable and deeply soulful roots music voices of our time. She is beloved worldwide for the fearlessness\, honesty and humor of her revelatory music\, as well as for delivering each song she performs with unmatched passion. Copeland — winner of the 2021 Blues Music Award for B.B. King Entertainer Of The Year— connects with her audience on an intensely personal level\, taking them with her on what The Wall Street Journal calls “a consequential ride” of “bold and timely blues.” NPR Music says Shemekia sings with “punchy defiance and potent conviction.” The Houston Chronicle describes her songs as “resilient pleas for a kinder tomorrow.” \nOn her new Alligator album\, Done Come Too Far\, Copeland continues the story she began telling on 2018’s groundbreaking America’s Child and 2020’s Grammy-nominated Uncivil War\, reflecting her vision of America’s past\, present and future. On Done Come Too Far\, she delivers her hard-hitting musical truths through her eyes\, those of a young American Black woman\, a mother\, and a wife. But she likes to have a good time too\, and her music reflects that\, at times putting her sly sense of humor front and center. “This album was made by all sides of me — happy\, sad\, silly\, irate — they’re all a part who I am and who we all are. I’m not political. I’m just talking about what’s happening in this country.” \nAnd she doesn’t hold back. Recorded in Nashville and produced by multi-instrumentalist/songwriter Will Kimbrough (who also produced her previous two albums)\, Done Come Too Far is Copeland at her charismatic\, passionate\, confrontational best. With singular purpose and simmering power\, Copeland unleashes the searing\, history-fueled tracks Too Far To Be Gone (featuring Sonny Landreth on scorching slide guitar) and Done Come Too Far (with Grammy-winner Cedric Burnside duetting and playing Mississippi Hill Country blues guitar). “If you think we’re stopping\,” she sings in both songs\, “you got it wrong.” On The Talk\, Copeland shares the brutally honest\, harrowing reality of a Black mother talking with her son about surviving an encounter with the police (with the great Charles Hodges of the famed Hi Rhythm Section on pulsating B-3 organ). On the all-t00-timely Pink Turns To Red (written and recorded prior to the May 2022 Uvalde\, Texas school shooting)\, Copeland decries America’s gun violence epidemic. \nDone Come Too Far’s better times and brighter days come on just as strong in the fun and swampy Fried Catfish And Bibles and the boot-kickin’\, semi-autobiographical Fell In Love With A Honky. Spirits get lifted in Copeland’s celebratory interpretation of Ray Wylie Hubbard’s Barefoot In Heaven\, before closing the set with the heartfelt love song\, Nobody But You\, written by her renowned father\, the late Texas bluesman Johnny Clyde Copeland. \nCopeland is used to the spotlight. Born and raised in Harlem\, New York in 1979\, she first stepped on stage with her famous father at New York’s Cotton Club when she was eight. As soon as Copeland released her Alligator Records debut Turn The Heat Up in 1998 at age 18\, she instantly became a blues and R&B force to be reckoned with. The New York Times and CNN\, among many others\, praised her talent\, larger-than-life personality\, dynamic\, authoritative voice and true star power. With each subsequent release\, Copeland’s music continued to evolve. From her debut through 2005’s The Soul Truth\, Shemekia earned eight Blues Music Awards and a host of Living Blues Awards. 2000’s Wicked received the first of her four Grammy nominations. After two successful releases on Telarc (including 2012’s Grammy-nominated 33 1/3)\, Copeland returned to Alligator Records in 2015 with the Grammy-nominated\, Blues Music Award-winning Outskirts Of Love\, melding blues with more rootsy\, Americana sounds.\nWith 2018’s America’s Child\, Copeland\, now the mother of a baby boy\, sang about the blessings and curses of the world around her. MOJO magazine named America’s Child the #1 blues release of 2018. It won both the Blues Music Award and the Living Blues Award for Album Of The Year. AllMusic said\, “Witty and sincere…Shemekia Copeland is one of the best singers in contemporary blues\, not just for her voice but for her courage to use it to say something about American culture…showing good times and a social conscience can co-exist.”\nIn addition to earning a Grammy Award nomination (her fourth)\, Copeland’s groundbreaking 2020 release Uncivil War was named the 2020 Blues Album Of The Year by DownBeat\, MOJO and Living Blues magazines. The album\, like its predecessor\, looked at the hardships and happiness people encounter\, seeking common ground\, demanding change and still finding ways to have a good time. “Shemekia Copeland is a powerhouse\,” said Rolling Stone. “She can do no wrong.” \nCopeland has performed thousands of gigs at clubs\, festivals and concert halls all over the world\, and has appeared in films\, on national television\, NPR\, and has been the subject of major feature stories in hundreds of magazines\, newspapers and internet publications. She’s sung with Bonnie Raitt\, Keith Richards\, Carlos Santana\, Dr. John\, James Cotton and many others\, and has shared a bill with The Rolling Stones. She entertained U.S. troops in Iraq and Kuwait in 2008\, a trip she says\, “that opened my eyes to the larger world around me and my place in it.” In 2012\, she performed with B.B. King\, Mick Jagger\, Buddy Guy\, Trombone Shorty\, Gary Clark\, Jr. and others at the White House for President and Mrs. Obama. She has showcased on PBS’s Austin City Limits and was the subject of a six-minute feature on the PBS News Hour. \nCopeland was the subject of a recent Washington Post Sunday magazine story and appeared on both NPR’s Weekend Edition and Here And Now. And NPR’s Jazz Night In America recently aired an hour-long program featuring Copeland. In April 2022\, she performed at the United Nations General Assembly Hall to a worldwide audience of millions as part of International Jazz Day celebrations. Copeland continues to host her own popular daily blues radio show on SiriusXM’s Bluesville. \nBut it’s not just press and radio singing Copeland’s praises. She is beloved by her fellow musicians across genres and demographics. Jeff Beck called her “amazing.” Carlos Santana said\, “She’s incandescent…a diamond.” Bonnie Raitt told BBC radio\, “Shemekia always knocks me out.” The late John Prine said\, “She doesn’t sound like anybody else.” Mary Gauthier declared\, “Shemekia is one of the great singers of our time. Her voice is nothing short of magic.”\nAs for the continuing evolution of her music\, Copeland is very clear. “Once my son was born\,” she says\, “I became even more committed to making the world a better place. On America’s Child\, Uncivil War and now Done Come Too Far\, I’ve been trying to put the ‘United’ back into United States. Friends\, family and home\, these things we all value.” \nWith Done Come Too Far\, Copeland hits harder than ever with musically and lyrically adventurous songs and jaw-dropping performances that are at once timely and timeless. The Chicago Tribune’s famed jazz critic Howard Reich said\, “Shemekia Copeland is the greatest female blues vocalist working today. She pushes the genre forward\, confronting racism\, hate\, xenophobia and other perils of our time. Regardless of subject matter\, though\, there’s no mistaking the majesty of Copeland’s instrument\, nor the ferocity of her delivery. Copeland reaffirms the relevance of the blues.” URL:https://www.high-noon.com/event/shemekia-copeland/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/12/Shemekia-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240415T193000 DTEND;TZID=America/Chicago:20240415T213000 DTSTAMP:20240328T153311 CREATED:20231214T152613Z LAST-MODIFIED:20240123T191029Z UID:9106-1713209400-1713216600@www.high-noon.com SUMMARY:The Moth Madison StorySLAM DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nListen to true stories or share your own at our open-mic storytelling competition! Tonight’s theme… \nGREEN: Prepare a five-minute tale involving verdant fields\, blades of grass\, tree-huggers or leprechauns. The bubbling envy over the childhood friend whose sneakers always shone brighter than yours. Of coveting thy neighbor\, or chasing the benjamins. Stories of the unripe and inexperienced. The time when nature nurtured you\, or when you were lost in the forest at nightfall with no flashlight. The grass is always\, well… you know. \nDoors Open: 6:30 PM \nShow Starts: 7:30 PM \nTickets for Madison’s StorySLAMs go on sale 3 weeks prior to the show date at 3 PM ET. \nSeating is not guaranteed and is available on a first-come\, first-served basis. Please be sure to arrive at least 10 minutes before the show. Admission is not guaranteed for late arrivals. All sales final. As many as 10 tickets may be available at the door for all of our StorySLAMs on a first-come\, first-served basis. URL:https://www.high-noon.com/event/the-moth-madison-storyslam-16/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 CATEGORIES:The Moth,Use Your Noggin ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/12/TheMoth-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240416T193000 DTEND;TZID=America/Chicago:20240416T233000 DTSTAMP:20240328T153311 CREATED:20240220T205730Z LAST-MODIFIED:20240220T205730Z UID:9274-1713295800-1713310200@www.high-noon.com SUMMARY:Dust City Opera DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nThis unexpected alt-rock orchestra materialized out of Albuquerque\, New Mexico but they might as well have slipped through an intergalactic portal or stowed away on a derelict spacecraft before crash-landing in the desert. \nDust City Opera—Paul Hunton [vocals\, guitar\, songwriter]\, Clara Byom [clarinet\, accordion]\, Travis Rourk [trombone\, vocals\, synth]\, Scott Brewer [bass]\, and Jesse Culberson [drums]—tell harrowing tales of sadness\, madness\, and mayhem. With each performance illuminating the space between death and humor\, this quintet becomes the soundtrack to stories steeped in cosmic horror and transcendence. \nIn many ways\, it fulfills frontman and sonic ringmaster Paul Hunton’s destiny. Under the influence of everything from H.P. Lovecraft and Stephen King to Tom Waits and Soundgarden\, he founded Dust City Opera at the top of 2018. \nIn the wake of losing both of his parents to suicide\, Paul initially transmuted the pain of these harrowing losses into the group’s 2019 full-length debut\, Heaven. “After my parents passed\, I felt free to make my own choices and live my own life\,” he admits. “In the past\, there was a lot of pressure for me to be something other than who I was. So\, I pursued songwriting. My sense of humor got a little darker through my experiences.” \nThis honesty appealed to audiences. After building a cult following and raising tens of thousands of dollars on Kickstarter to launch their next chapter\, the group perfected their otherworldly vision on the band’s 2022 album\, Alien Summer\, which was awarded Best Rock Album at the 2023 New Mexico Music Awards. Adding to their accolades\, Dust City Opera was named Gold Artist of the Year by Modern Musician and awarded Top Rock Group at the 2023 New Mexico Entertainment Awards. \nThey continue to venture far from the desert\, with their EP release “Cold Hands” with Swedish label Rexius Records\, and touring aspirations for Canada\, Europe and Mexico in 2024-2025. \nDust City Opera will draw you deep into their mad world of storytelling\, so enter with caution. You may find yourself abducted by ancient aliens\, lost in haunted fog\, or more fascinating yet: face-to-face with your own insanity\, with no way out. \nLearn more at dustcityopera.com. URL:https://www.high-noon.com/event/dust-city-opera/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/png:https://www.high-noon.com/wp-content/uploads/2024/02/Dust-City-Opera-WEb.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240417T200000 DTEND;TZID=America/Chicago:20240417T233000 DTSTAMP:20240328T153311 CREATED:20240117T170012Z LAST-MODIFIED:20240318T152149Z UID:9157-1713384000-1713396600@www.high-noon.com SUMMARY:Grahame Lesh & The North DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nAn update for our dear friends & fans\, \nWe – and especially Elliott – are so thankful for your well wishes for her health these last few weeks. It really has been a special thing to see the outpouring of support and love that has come Elliott’s way as she recovers. \nIt was a bittersweet weekend last week with our friends the Mother Hips on the east coast. We made some wonderful music\, but we missed Elliott so dearly and can’t wait until she is back onstage with us. \nSince our last update Elliott underwent a complex surgery to remove the tumor\, which was fortunately deemed quite successful. Of course\, because of the intensity of the surgery her recovery will not be very fast\, so it will be some time before Elliott is back on stage and even longer before she’s back on tour. \nBecause of that\, we are unfortunately going to cancel our upcoming run in Colorado at eTown in Boulder\, Cervantes in Denver\, and the Lariat in Buena Vista (scheduled for March 28-30). Tickets will be refunded at the point of sale. \nOur April shows in the Midwest will go ahead\, but similar to last weekend we will be billing them as Grahame Lesh & The North (that’s our buddy Justin Mazer who always refers to us as “the North”). There is no Midnight North without Elliott\, so we’ll be holding off on calling ourselves MN until Elliott is ready to lead us onstage ❤️ \nStay tuned as we keep you updated beyond the spring\, and keep the healing love\, thoughts\, and prayers flowing!\n ⁃ Elliott\, Nathan\, Grahame\, Connor\, & TJ URL:https://www.high-noon.com/event/midnight-north-2/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/Graham-Lesh-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240418T200000 DTEND;TZID=America/Chicago:20240418T233000 DTSTAMP:20240328T153311 CREATED:20240116T170057Z LAST-MODIFIED:20240119T161839Z UID:9167-1713470400-1713483000@www.high-noon.com SUMMARY:SlothrustOf Course You Did 10 Year Anniversary Tour DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nSlothrust \nThere’s cover songs\, and then there’s the many ways Leah Wellbaum and Will Gorin have flipped their favorite tracks over the past 15 years. Not just with their longtime band Slothrust either. The Sarah Lawrence grads first bonded over the blues\, a way to apply the progressive lesson plans of teachers like Mike Longo — a pianist who played with such jazz pioneers as Dizzy Gillespie and Lee Konitz — to fearless riffs and rhythms that feel like total rewrites. \nGorin is quick to credit Longo’s “Three I’s” lesson — imitation\, incubation\, and innovation — in particular. The main takeaway? That the best music comes from building upon other people’s ideas\, rather than simply replicating or revisiting them. \nThe clearest example of this would be the Slothrust record Show Me How You Want It to Be\, a cover song compilation that dropped sand-blasted renditions of The Turtles (“Happy Together”) and Marcy’s Playground (“Sex and Candy”) alongside spare takes on Al Green (“Let’s Stay Together”) and Sam Cooke (“Cupid”). \nHeading even further out into left field is the new EP I Promise\, a wild ride that includes a raw performance of “Somewhere Over the Rainbow” and not one but four different recordings of the slo-mo smash “Pony.” The latter takes its cues from Ginuwine’s cassingle\, which split its sides between a vibrant album version\, drawn-out director’s cut\, Timbaland’s iconic beat\, and Ginuwine’s carnal a cappella. \nSlothrust takes the track down two distinct paths built around the original’s three powerhouse chords and effervescent low end. One swings like a lithe slice of sludgy rock ‘n’ roll\, and the other dives straight off the deep end for 10 extra minutes\, playing to the pair’s strengths as well-rounded mind readers. \n“It’s always fun to leave space in the music where improvisation is possible\,” explains Wellbaum\, “and that is part of what is so exciting to us about the extended version of ‘Pony’; it’s entirely improvised\, and we only did one performance of it in the studio.” \n“One of my all-time favorite quotes is from composer Claude Debussy\,” adds Gorin. “I first discovered it in Miles Davis’ biography\, when he said ‘music is the space between the notes.’ I approach my playing with that kind of energy\, with an emphasis on filling negative space with symmetrical or asymmetrical patterns.” \nThe same can be said for the two snappy\, tightly wound tracks that also landed on I Promise\, “Maybe Maybe” and “Magic Glow.” Written by Wellbaum while she was living in Florida last year and ending a “really long and beautifully dramatic relationship\,” the songs are both poetic and poppy\, working in hummable nods to liminal spaces\, ceremonial magic\, and eco-sexuality alongside a slick rhythm section (featuring Gorin on drums and bass for the first time) and Welbaum’s manic guitar melodies. \n“The two originals on this EP are good examples of songs that wrote themselves\,” says Wellbaum. “I decided that I wanted to do guitar-driven\, dynamic rock songs and I wrote these two as a pair\, which happens to me a lot.” \nAnother recent example of songs that seemed to finish each other’s sentences — sonically and lyrically — would be “Courtesy” and “Waiting” from Slothrust’s last record\, 2021’s Parallel Timeline LP. All of this synchronicity makes perfect sense\, of course. After all\, Slothrust’s breakthrough album (Of Course You Do) is about to celebrate its tenth anniversary\, and the band’s core duo have connected on a kismet level ever since those early days. \n“Will and I have been playing different genres of music in different configurations together for almost 15 years now and that is a big part of our lock\,” says Wellbaum. “We know how to work with each other in a variety of different settings and how to communicate outside of what we do specifically. That offers us tremendous freedom.” \n“I feel like we have developed our own unique sound to the point where we can ask ourselves ‘what would Slothrust do?’” adds` Gorin. “The paradox being that if Slothrust knew what Slothrust would do\, Slothrust would do the opposite.” URL:https://www.high-noon.com/event/slothrustof-course-you-did/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/Slothrust-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240419T200000 DTEND;TZID=America/Chicago:20240419T233000 DTSTAMP:20240328T153311 CREATED:20231107T170059Z LAST-MODIFIED:20240320T152541Z UID:8989-1713556800-1713569400@www.high-noon.com SUMMARY:[SOLD OUT] Caroline Rose DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nCaroline Rose \n“Sometimes you’ve got to express yourself because if you don’t you’ll explode\,” says songwriter/producer Caroline Rose of their latest album\, The Art of Forgetting. “…and I felt like I was going to explode.” \nAfter a series of heartbreaking events\, Rose had no desire to make a statement\, let alone make a new album. It was a time of contemplation and transformation\, a time to slow down. What transpired was what the artist considers a gradual union of reconnection and growth. “I was writing songs the way that I used to when I was a kid. It was more like therapy\, just sitting down on my bed and writing about what I was feeling. It sounds so simple but I had really gotten away from that.” Dozens of songs followed and a narrative became clear. “It all happened very organically. I wasn’t ambitious. There weren’t any difficulties like most of my other records have had. This one just sort of appeared and seemed to know exactly what it needed to be.” \nThe Art of Forgetting is a pivotal release for Rose––an artist whose wit and satirical storytelling have made them a name in the indie music scene. It’s an album teeming with raw\, intense emotion. Layers of vocal arrangements from Balkan-influenced yawps to Gregorian autotune choirs\, acoustic instrumentation chopped and mangled like a glitching memory\, and dreamlike synths push and pull to create a hugely dynamic soundscape. Lyrically\, the album includes the type of confessional honesty we’ve only caught glimpses of in Rose’s previous work. “I’ve shied away from being very confessional in the past because I’ve always felt that other artists have already carved out that path and are very good at it. I’m a theater kid\, I love the drama. My writing style really piggy-backs off the Southern gothics and Southern storytellers in my family\, who have always used exaggeration to great effect.” \nThe album begins with a clenched fist\, with a narrator who seems to know who they are only in regard to someone else\, or not at all. “I am your love\, I am your lover\, I am your friend\,” Rose says in the opening track “Love / Lover / Friend.” In “Rebirth” the narrator is lost––an orphan\, a common man\, an unknown in search of comfort. “If that was me then\, then who am I now?” Rose questions in “The Doldrums\,” an eerie track reminiscent of both Carnival des Animaux and Vespertine-era Bjork. Over the course of the album the author searches for something\, anything\, with which to ease their pain––a mother’s womb\, the kiss of someone new\, even death. \nAmidst themes of regret and grief\, loss and change\, shame and the inevitability of pain\, Rose’s impish humor pops up unexpectedly. “Stockholm Syndrome\,” “Tell Me What You Want\,” and “Love Song For Myself” showcase the kind of dark comedy with which we’ve become familiar in their catalog\, fusing upbeat melodies with oft-hilariously deflating lyrics. “I’d like to think I’m self-aware enough to know that even when I’m close to rock bottom the view is a comic-tragedy. The biggest difference between this album and my others is I just didn’t have any sort of guard up this time. Everything I’ve said on this record is exactly what I would\, and did\, tell my therapist.” \nNo doubt\, it gets personal. Rose’s actual therapist\, Jill\, has a song named after her in “Jill Says”—a sweeping arrangement of floral pianos and cinematic strings. In “Miami\,” an acoustic-centered track whose chorus of squealing guitars and bombastic drums seems to all but explode out of the speakers\, Rose pulls directly from an intimate conversation with their mother: “My mom always said never victimize yourself | You’ve got to be strong\, you’ve got to protect yourself | Y’know\, your father and I are in the last stage of our lives\, so for god’s sake no more talk of how you imagine dying.” Multiple voicemails from Rose’s grandmother\, Mee Maw\, are given their own respective moments throughout the album\, offering moments of lightness amidst an otherwise heart-rending story of a person who has forgotten\, and is perhaps re-learning\, how to love themselves. \nMemory runs like a current throughout The Art of Forgetting. Prompted by a difficult breakup\, Rose began a deep-dive inward\, unknowingly digging up long-buried experiences from their childhood. “I was addressing all these painful memories from a recent relationship that meant so much to me\, trying to learn from them\, but then in the process some even more painful memories would bubble to the surface from when I was a kid. I realized my mind had voluntarily forgotten these traumatic experiences as a means of survival. All the while\, I was getting these calls every day from my grandma\, who was clearly losing her memory. It got me thinking about all the different ways memory shows up throughout our lives. It can feel like a curse or be wielded as a tool. ‘The art of forgetting’ can mean so many different things.” \nWith this in mind\, Rose produced the album using devices and media that embody the characteristics of fading or faulty memories. “I gravitated toward anything that decays or changes with time––wooden and string instruments\, voices\, tape\, granular synthesis that separates audio into tiny little fragments. I knew I wanted to have songs that would feel complete even if they were played stripped down\, so I began by recording the basic layers in my home studio. From there it was about a year of experimenting with those recordings both at home and in a couple other studios––chopping them up into loops and smears\, creating modular percussion\, and ultimately building any additional parts around them. I thought it was important that any experimentation was done using the songs in their most basic form\, so it would feel kind of like a game of telephone with those original recordings.” \nThough the path back to self-love is clunky\, by the final track\, “Where Do I Go From Here?\,” Rose is no longer grasping. “Pick yourself up\, babe\, you’re gonna be fine | take in a deep breath | quit wasting your time | ‘cause everything you love\, it’s all gonna die | so pay all your respects and say your goodbyes | now go out and start living the rest of your life.” Albeit begrudgingly\, Rose is giving in and letting go. “Every time I make an album I’ll come out of it learning a lot about myself. Now I look back and see the healing of a wound. I feel like a new version of myself. I think one for the better.” \nIan Sweet \nSUCKER\, Jillian Medford’s fourth album as IAN SWEET\, is a massive leap forward for the songwriter and pop auteur. Perfectly merging her recently showcased pop sensibilities with the widescreen indie rock that she first made her name on\, SUCKER is both sumptuous and fully realized\, as Medford digs her hands into tough questions about looking ahead and personal growth. Her musical voice has only become more unique amidst an ever-growing field\, and SUCKER is proof positive that even with a considerable discography in her arsenal\, Medford is just getting started. \nSUCKER follows Medford’s 2021 breakthrough and Polyvinyl debut Show Me How You Disappear\, which chronicled her time spent in an intensive outpatient program that included six hours of group therapy a day. “Show Me How You Disappear was written during a really difficult period of my life after reckoning with a mental health crisis\,” she explains. “I survived that very moment in my life through writing that record\, and the extreme urgency to heal is reflected in the songwriting. With SUCKER\, I felt more capable to take my time and experiment without being totally afraid of the outcome. It wasn’t life or death—it was just life\, and I was lucky to be living it.” \nWork on the new album started in the fall of 2022; feeling newly untethered in the wake of a “COVID relationship” that had recently come to pass\, Medford took a cross-country road trip from her L.A. home to an artist residency at The Outlier Inn – a New York Catskills based recording studio where she took up residence to demo and produce SUCKER in full. “I was feeling very stuck in L.A. and was trying to get comfortable with spending more time alone again\,” she recalls about her hermetic confines\, which included 24-hour studio access to create in an unfettered fashion. “I went there not knowing exactly what I wanted to do or make\, but I knew I wanted to explore and get out of my comfort zone. I forced myself to make things on the spot\, in the moment and not overthink it too much.” \nFeeling inspired\, Medford brought her demos to life with co-producers Alex Craig (Binki\, Claud) and Strange Ranger’s Isaac Eiger along with mixing engineer Al Carlson (St. Vincent\, Jessica Pratt)\, all of whom helped shape SUCKER into its current form—a record that reconciles Medford’s beginnings with where she’s landed at this current moment. “I revisited the reasons why I started playing music to begin with\,” she explains. “I wanted to get more personal and showcase a more confident side musically and lyrically. I’ve always been very doubtful about my own work and don’t often share it with a lot of people. But there was something about this record where I felt very secure with what I was writing about and wanted everyone to hear.” \nThe result: ten songs that count as the strongest Medford’s ever put to tape\, bringing to mind the guitar heroics of indie rock legends Broken Social Scene\, the searing hooks of ‘90s alternative rock\, Leslie Feist’s dusky songwriting\, and shoegaze’s warmth. The quietly explosive title track is practically a miniature epic\, with oceanic guitars rippling behind Medford’s tactile vocals\, while first single “Your Spit” swerves and sways with a distinctly pop gait that packs a punch. \n“Sometimes I get imposter syndrome when I write poppier music\, because of who people assume I actually am as a musician\, and where they’d like me to fit in in the ‘indie’ space.” she says while talking about the song’s sound as well as navigating the expectations that come with being boxed in genre-wise. “I think the indie rock world really feeds off trauma. If you’re not going through something terrible\, people are like\, ‘What’s the story?’ That’s fucked me up a bit\, but it’s a really beautiful thing when you’re feeling healthy and it shows in your music\, too — and I don’t want to be forced into any narrative.” \nIndeed\, SUCKER showcases Medford’s ability to push herself into previously unexplored territory: The arpeggiated and dusky beauty of “Emergency Contact” belies the songs’ biting sarcasm\, as Medford reflects on codependency and a recent breakup that forced her to recognize destructive patterns she willingly—and sometimes\, purposefully—falls into in spite of her best interests. “There’s some sneering energy to it\, as I’m trying to convince myself that I didn’t really want what I had lost anyway\,” she says. Then there’s the surging and anthemic “Smoking Again\,” which Medford describes with a laugh as “pretty dramatic” before breaking down the song’s all-too-relatable themes: “I often put myself in situations that I know won’t be beneficial to me\, just to get a rise out of myself. Almost like setting up obstacles just to see if I could overcome them.” \nThe disorienting sensation of falling in love and staying in love appears throughout SUCKER\, but this isn’t a break up album so much as it is a reclamation album. “I’ve put a lot of pressure on myself over the years\, and with this record I think the intention was to let go and put more trust in myself\,” Medford states while discussing how this splendid album represents where she’s at as an artist—and SUCKER feels like the culmination of her personal and professional accomplishments so far\, as well as the first step in a bold and exciting new future for IAN SWEET as a whole. URL:https://www.high-noon.com/event/caroline-rose-2/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/11/CarolineRose-HNS-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240420T190000 DTEND;TZID=America/Chicago:20240420T233000 DTSTAMP:20240328T153311 CREATED:20240306T225000Z LAST-MODIFIED:20240306T225113Z UID:9313-1713639600-1713655800@www.high-noon.com SUMMARY:Natty Nation’s 4/20 Reggae Party DESCRIPTION:  \n\n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  URL:https://www.high-noon.com/event/natty-nations-4-20-reggae-party/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/NattyNation-HNS-Web1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240421T200000 DTEND;TZID=America/Chicago:20240421T233000 DTSTAMP:20240328T153311 CREATED:20230905T160035Z LAST-MODIFIED:20230911T205502Z UID:8868-1713729600-1713742200@www.high-noon.com SUMMARY:Big Something: Headspace Tour DESCRIPTION:  \n\n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nHailing from the North Carolina countryside\, or “The Middle of Nowhere\,” as it is lovingly dubbed on their debut album\, the 6-headed musical monster known as ‘Big Something’ has steadily become one of the most unique and exciting rock bands to emerge from the Southeast. \nHuge rhythms paired with soaring guitars\, E.W.I (electronic wind instrument)\, synths\, horns and soulful vocals rise to the top of their signature sound taking listeners on a journey through a myriad of musical styles. With a diverse and growing catalog of timeless songs that tell stories\, and a high energy live show fusing improvisational alternative rock with funk\, reggae\, jazz\, electronica\, heavy metal and more — it’s no secret why their fun-loving grassroots community of fans is so enamored with the band. \nAfter over a decade together with 6 full-length studio albums produced by Grammy-nominee John Custer and even their own Summer music festival The Big What?\, Big Something have carved out their own niche in the live music community and continue to grow nationally landing marquee appearances at Bonnaroo\, Peach Music Festival\, Lock’n\, Summer Camp and Electric Forest as well as critical acclaim from the likes of Billboard\, Guitar World\, Glide Magazine and Jambase. URL:https://www.high-noon.com/event/big-something-headspace-tour/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/08/Big-Something-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240423T200000 DTEND;TZID=America/Chicago:20240423T233000 DTSTAMP:20240328T153311 CREATED:20231017T150001Z LAST-MODIFIED:20231219T203007Z UID:8929-1713902400-1713915000@www.high-noon.com SUMMARY:William Elliott Whitmore DESCRIPTION:  \n\n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nWilliam Elliott Whitmore \nA man armed only with a banjo and a bass drum can be a formidable force\, especially if his name is William Elliott Whitmore. With his powerful voice and honest approach\, Whitmore comes from the land\, growing up on a family farm in Lee County\, Iowa. Still living on the same farm today\, Whitmore has truly taken the time to discover where his center lies\, and from that he will not be moved. \nWhitmore has repeatedly carved his own path\, honoring the longstanding tradition of folk music throughout his nearly 20 year career\, while always allowing his blues\, soul and punk rock influences to shine through. Getting his first break opening for his friend’s hardcore band with just a banjo in hand\, he would discover bands like The Jesus Lizard\, Bad Brains\, Lungfish and Minutemen and soon learn to play his own brand of rural\, roots music with that same DIY ethic. \nWilliam Elliott Whitmore has been back and forth across the United States and to cities around the world. He’s toured with such diverse acts as Frank Turner\, Trampled By Turtles\, Clutch and Chris Cornell to name a few. He’s appeared on some of the biggest stages around the world including Stagecoach Fest\, Byron Bluesfest (Australia) and End of the Road Fest (UK). His willingness to take his show to any playing field has proved invaluable as he turned strangers to diehards with every performance. \nSug Daniels \nSug Daniels is a Delaware born\, Philadelphia based\, singer-songwriter\, story teller\, and producer who is using the tools around her to capture the emotions of an era. Daniels’ work is as colorful\, vulnerable\, and charismatic as her personality. She thoughtfully combines elements of folk\, R&B\, and soul alternatives to create personal and tender music interlaced with messages of truth and positive change. URL:https://www.high-noon.com/event/william-elliott-whittmore/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/10/William_Elliott_Whitmore_Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240424T200000 DTEND;TZID=America/Chicago:20240424T233000 DTSTAMP:20240328T153311 CREATED:20240129T160016Z LAST-MODIFIED:20240202T175035Z UID:9220-1713988800-1714001400@www.high-noon.com SUMMARY:David JCommitment Issues Tour DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nDespite being only 20 years old\, David J has been singing\, songwriting and performing for nearly a decade. When he was a kid growing up in Rotterdam\, New York\, he had aspirations of joining the NFL and was quarterback at his sports-focused schools. But another teenage phenom inspired a swift\, decisive shift in passion: Justin Bieber’s documentary concert film “Never Say Never.” \n“It looked a lot cooler than what I was doing\, all the girls chasing him\,” David says with a laugh. But it was more than just the adoring fans and slick sets that drew him in. “Watching how he could bring a team together into what he does\, and the shows looked like so much fun. So\, I quit sports and learned how to sing and play guitar in my bedroom.” \nFor the most part\, David kept his new interest in music secret\, hesitant to let his school friends know he spent his spare time teaching himself how to create music. But small clues started to appear. Where he used to get kicked out of choir class for refusing to sing\, he soon started catching the ears and attention of his peers. People started to notice his potential\, whether it was a substitute teacher hearing him messing around in class\, his mom watching him during a karaoke night\, friends catching him post a cryptic video on Snapchat. They all said the same thing – “you’ve got something here.” \nWith every bit of feedback\, David was more invigorated to strengthen his natural gifts. He started working what could be considered the northeastern version of the honky-tonk circuit – entering singing competitions in local fairs\, hitting open mic nights and impressing club owners so much they’d invite him to play weekly happy hours. As time went on\, he would draw such a strong crowd they offered him longer nighttime gigs\, and eventually weekend headline slots. Local radio stations made him a standard opener for just about any show that came through the area\, leading David to support the likes of Blake Shelton and Chase Rice\, among others. \nHe booked upwards of 150 shows a year. When he opened for Mitchell Tenpenny in 2018\, Tenpenny told him Nashville was the spot for anyone looking to be a country singer and songwriter. David started reaching out to Nashville-based songwriters via social media\, collaborating virtually from Upstate\, even in pre-COVID times. David began working on developing his sound and consistently writing in Nashville shortly after he started working with his team at Grey Area Music in early 2021. By September of that year “Lost My Heartbreak” found a breakthrough\, with other releases\, “Before You\,” and “What Goes Around” connecting with audiences as well. \nDavid assembling a team behind the scenes\, and in late 2022 a friend brought in a longtime fan of David’s: OneRepublic frontman (and one of David’s musical heroes) Ryan Tedder into the conversation. “I didn’t know Ryan was following my development all this time. I might have tried a bit harder” he jokes. “When things were at the stage of getting a major label involved\, Ryan said ‘we’d love to be a part of it.’ Now we talk on the daily.” \nNow\, with Grey Area Music\, Sony Music Nashville\, and Tedder’s Runner Music in his corner\, David is primed to blow the country-pop landscape wide open. With influences ranging from Kane Brown and Sam Hunt to Bieber and Drake\, he walks the fine line of country lyricism over a bed of pop-laced sonics. But his voice cuts through\, emotive and mature far beyond his age. “When I grew up\, I wanted to do everything. If I wasn’t good at something\, I wanted to get to be the best I could at it. Now\, it’s about getting the biggest and best songs to put out\, to start touring. I wanna be global. That’s my plan and goal.” URL:https://www.high-noon.com/event/david-j/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/DavidJ_Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240425T200000 DTEND;TZID=America/Chicago:20240425T233000 DTSTAMP:20240328T153311 CREATED:20240228T203813Z LAST-MODIFIED:20240228T203813Z UID:9316-1714075200-1714087800@www.high-noon.com SUMMARY:Ossuary\, Druid Lord\, Tubal Cain\, & Cryptual DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  URL:https://www.high-noon.com/event/ossuary-druid-lord-tubal-cain-cryptual/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/Ossuary-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240426T200000 DTEND;TZID=America/Chicago:20240426T233000 DTSTAMP:20240328T153311 CREATED:20231109T143005Z LAST-MODIFIED:20240130T160359Z UID:8994-1714161600-1714174200@www.high-noon.com SUMMARY:Sheer Mag DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nSheer Mag \nUnderlying 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. \nPlaying 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 the jagged highs and lows of bars\, parties\, and nightlife culture\, with sweetly empathetic remove. The chemically-saturated swing of disco rhythms\, crooning earnestness of heartland Americana\, and boisterous theatrics of capital-G-and-M Guitar Music become strangely familiar bedfellows. This music is complex\, not complicated. As lead guitarist Kyle Seely puts it\, “I don’t believe people should put on a record and have to work to enjoy it.” Sheer Mag neither pander towards the studied pretensions of the rock historian elite nor dilute their approach into something more blankly palatable to a commercial audience. Instead\, they have their eyes set on that ever elusive third option: those who just get it. If you build it\, they will come. \nSheer Mag began to work in earnest on their follow up to 2019’s A Distant Call in the summer of 2021\, which they originally imagined would take the shape of a tautly constructed 4-song disco EP. As Matt Palmer\, the band’s rhythm guitarist and primary lyricist\, recollects: “those first four songs came out of a hard moment in life for all of us collectively—they kind of felt like an attempt to figure out how to have fun when you actually feel miserable.” Before long\, the band realized this new material would perhaps be better served within the context of a fully fleshed out rock LP\, bracketed by the support of a wider array of juxtaposing psychic moods and sonic textures. Over a six-month stretch spanning the fall of 2022 to the winter of 2023\, Kyle Seely and his brother Hart Seely (bass) set about tracking the instrumentals for the record\, resetting their studio configuration each week in order to impose a more tailored\, multi-session atmosphere upon the record’s acoustic landscape. Palmer rejoined vocalist Tina Halladay in Philadelphia the following spring to write and record the vocals for Playing Favorites\, which depart rather markedly from the band’s prior material\, placing an added emphasis on pronouncedly existential\, interpersonal storytelling and ornate background harmonies. Reflecting upon the shift between this newest LP and the band’s previous material\, Halladay notes: “those first few records felt like a personal coming out party; they felt like they were an introduction to me and my life story. With these new songs\, I feel like I’m finally able to move past that—there are parts on this record that I couldn’t imagine being able to sing ten\, five\, or even three years ago.” \nPlaying Favorites burns with a sweetened gratitude for the lot one has been given in life: the luck of coming up punk; the luck of living an unalienated life; the luck of feeling love\, and losing love. The title track announces itself with a sense of self-assured swagger\, spinning a jubilant tale of life on the road: the band is back together\, and they know they’ve never sounded quite this good before. A clamoring gust of socially lubricated bravado weaves its way throughout much of the record\, such as on “All Lined Up\,” which paints images of late nights (early mornings?) spent amongst possible friends\, cigarettes fizzing in the ashtrays and a sense of looming dread curling through the air. Every coin has two sides\, of course: the candor of Playing Favorites’ sweeter moments is often balanced by a certain studied sadness\, that soft grief of living that negatively lends such brighter moments their seductive allure. “Golden Hour” conjures a softly elegiac longing\, evoking images of old photographs which shimmer like the fields of Elysium; “When You Get Back” croons about fantasies of a loving future which may never come. \nSheer Mag have broken significant musical ground with Playing Favorites\, elevating their signature approach to rock and roll to lushly cinematic new heights. “Moonstruck\,” for instance\, lives up to its titular reference of Hollywood-sized surprise romance\, spooling out a charming story of desire crossing the liquid boundary that separates innocent crush from deepening love. Playing Favorites’ filmic qualities reach their peak on “Mechanical Garden\,” which lurches forth like a three-part fugue\, carrying the listener from ripping glam theatrics into a subtly psychedelic\, string and drum machine dub interlude\, finally resolving upon perhaps the most openly depressive iteration of Sheer Mag’s take on disco-inflected pop\, outfitted with a guest guitar solo by Mdou Moctar. The baroque elegance of such moments find their natural counterpoint in the record’s more straightforward power-pop tracks\, such as “Don’t Come Looking\,” which courses with the chest-filling bravado of a lightly southern-fried Nerves hit\, and “Paper Time\,” which delivers a type of mad-dash snare-roll catharsis that brings to mind all of the giddy melodrama of the final heist in a Cassavetes movie. Playing Favorites’ greatest achievement\, however\, is perhaps its unabashed embrace of nakedly emotional\, arena-sized choruses\, which seem to fizz out of some sort of timeless radio set to the frequency of pure human experience. As Halladay puts it\, “Nobody seems to write straight up rock bangers anymore–more than anything else\, we want this record to put huge\, catchy songwriting front and center.” \nPlaying 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. \nDusk \nDusk is a group that walks the shadowed path. It’s well known in the rural pastures of Wisconsin\, where all of the members of this group were raised\, that the traditional music of the common people is Polka\, but the most respected form of musical expression is Country and Western. Dusk walks cleanly between these two worlds; pulling influence from both but most strongly associating with Rock & Roll and Rhythm & Blues. They bring with them a strong\, informed\, melodic statement that draws a line between themselves and the trend of bubble gum pop and country-influenced mall schlock. \nThe group consists of vocalist Julia Blair on Wurlitzer electric piano\, Colin “Wild Man” Wilde on drums and percussion\, Amos Pitsch on bass guitar and vocals\, Tyler Ditter on lead guitar\, and Ryley Crowe on rhythm guitar\, pedal steel\, and vocals. Amos also doubles as a member of Appleton\, Wisconsin punk band Tenement. The group is often compared to 60’s garage and R&B groups like NRBQ and THE LOVIN SPOONFUL\, early 70’s country rock pioneers THE FLYING BURRITO BROTHERS\, and at times the primitive rock and roll sound of a group like THE VELVET UNDERGROUND. \nThey hint at all these things\, even as something in their music seems to breathe modern air. It’s a feeling that few musicians that attempt to nod to prior generations can capture without bastardising the very music that they intended to salute. Dusk have done it well\, and in their music\, you’ll find this plain truth among many exciting secrets. URL:https://www.high-noon.com/event/sheer-mag/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/11/SheerMag-HNS-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240427T200000 DTEND;TZID=America/Chicago:20240427T233000 DTSTAMP:20240328T153311 CREATED:20240205T171716Z LAST-MODIFIED:20240209T233009Z UID:9236-1714248000-1714260600@www.high-noon.com SUMMARY:Rare Element & Hot Like Mars DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nRare Element \nMadison\, Wisconsin based funk band\, RARE ELEMENT has developed a strong reputation for its high-intensity\, live shows. The band’s highly talented 7-piece roster\, including 3-piece horn section\, bring massive energy to the stage at each performance. The band is influenced by classic funk artists such as Fred Wesley\, The Meters\, Clyde Stubblefield\, and Herbie Hancock. See for yourself why Maximum Ink Magazine dubbed Rare Element as “Madison’s Newest Super Group”! \nHot Like Mars (formerly The North 41) URL:https://www.high-noon.com/event/rare-element-hot-like-mars/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/Rare-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240428T200000 DTEND;TZID=America/Chicago:20240428T233000 DTSTAMP:20240328T153311 CREATED:20240205T180052Z LAST-MODIFIED:20240318T155812Z UID:9238-1714334400-1714347000@www.high-noon.com SUMMARY:Fly By Midnight DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  URL:https://www.high-noon.com/event/fly-by-midnight/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/FlyByMidnight_Web-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240430T200000 DTEND;TZID=America/Chicago:20240430T233000 DTSTAMP:20240328T153311 CREATED:20231207T150018Z LAST-MODIFIED:20231211T161922Z UID:9081-1714507200-1714519800@www.high-noon.com SUMMARY:Cheekface DESCRIPTION:  \n\nBAG POLICY\nBags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. \n\n\nPAYMENT POLICY\nWe are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit\, debit\, Apple Pay\, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash. \n\n  \nWhen we last left the arguably interesting adventures of Cheekface\, they’d released the minor phenomenon “Emphatically No.” The band’s sophomore album bowed at #1 on Bandcamp’s alternative and vinyl sales charts\, became a college radio staple\, and propelled the L.A. talk-singing trio into packed houses of Cheek Freaks across the US. So I guess now is a good time for Cheekface to return with their third LP\, “Too Much to Ask.” \nYou might say “Too Much to Ask” builds on the strengths of the first two Cheekface albums\, but also refines and evolves their sound a little\, and why would I argue with you? The band’s songwriting battery of guitarist/singer Greg Katz and bassist Amanda Tannen show their lyrical trademark\, a strangely inviting sad and sideways wit\, right from the jump — “life hands you problems\, make problem-ade\,” they announce in the almost-unglued 1-minute-25-second album opener “When Life Hands You Problems” — and then across the record’s 11 tracks\, the band proceeds to make hay out of many of life’s mysteries. \nThere’s the problematic popularity of quinoa (the what-if-Stephen-Malkmus-fronted-Television headnodder “Pledge Drive”)\, the boundless desires of American imperialists and the political complacency that enables them (the relentlessly hooky and bleak “You Always Want to Bomb the Middle East”)\, the physical toll of daily routine (“I would get so much done if I didn’t have to sleep anymore\, but then I would be tired\,” they observe on The Cars-via-Rosenstock “I Feel So Weird”)\, the questionable marketing of a certain quacky soap bottle doctor (beach-blanket strummer “Election Day\,” which features a guest verse from kindred spirit Sidney Gish)\, and the seemingly sabotaged pointlessness of it all — pick any track really\, but I like “coffee from the bank / Fritos isn’t free / I only want to be with other people like me” from “We Need a Bigger Dumpster\,” a singalong single that exposes Cheekface’s most fundamental components as clear as a deep-sea fish: a simple drum beat\, a nasty bassline\, a neatly catchy guitar riff\, a suprisingly memorable chorus\, and a funny fatalistic wisdom that unites it all. \nCheekface — comprising Katz\, Tannen\, and drummer Mark “Echo” Edwards — often stick close to the blend of post-punk and power pop they first explored on 2019 debut “Therapy Island” and honed across 2021’s “Emphatically No.” But new to this album\, the chatty indie rock outfit lets the music do the talking at times\, like in the winding dance break of LCDesque “Featured Singer\,” the explosion of guitarmonies on “You Always Want to Bomb the Middle East\,” and the majestic Moog melody of album closer “Vegan Water.” These excursions give more space to the band’s best punchlines and lighten the weight of their darker thoughts. Meanwhile\, pianos and Casio keyboards and cowbells poke their heads in here and there; there are some cut and paste samples sprinkled around; some flotsam and jetsam are used as percussion\, like a staple gun\, a stainless steel ashtray\, an old vinyl suitcase and a clanky folding chair. They also fit their first ballad on this record\, “Election Day\,” next to a screaming 57-second mantra about instant noodles. \nBut even as Cheekface evolves a little\, the album stays focused on Katz and Tannen’s lyrics about the confounding feeling of the unmoored present. “I think the last year or two has drawn a big circle around a lot of things we all already knew\, but maybe didn’t know we knew\,” Katz says. “The shock of isolation and the shock of togetherness\, the call to activism and the pull of resignation\, wanting the best for your friends but expecting the worst of yourself. The sneaking feeling that your life is mostly funny but a little sad a lot of the time — except for the times when it’s mostly sad but still kinda funny.” URL:https://www.high-noon.com/event/cheekface/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/12/Cheekface-Web.jpg END:VEVENT END:VCALENDAR