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:20240411T080000 DTEND;TZID=America/Chicago:20240411T170000 DTSTAMP:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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:20240328T171410 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 BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240501T200000 DTEND;TZID=America/Chicago:20240501T233000 DTSTAMP:20240328T171410 CREATED:20240109T180020Z LAST-MODIFIED:20240112T165708Z UID:9129-1714593600-1714606200@www.high-noon.com SUMMARY:Electric Six x Supersuckers 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  \nElectric Six \nElectric Six. The band that put out an album a year for what seemed like 666 years. The most reliable act in show business\, there was simply no question that each year would bring another E6 record on Metropolis Records. Mayans based their calendar on Electric Six. Flocks of migrating birds used the new Electric Six record as a homing device. Small time criminals were sentenced to four to seven E6 albums with time off for wonderful behavior. In a business so fickle\, so unreliable\, so difficult to navigate…the only constant was Electric Six. There was always an album a year… \n….until there wasn’t. \nFive years has gone by since the last Electric Six offering and we’ve heard the chatter. “Electric Six just doesn’t have it anymore.” “Electric Six has really let me down.” “Gotye will have an album before Electric Six does.” \nAs we all know…talk is cheap. And bullshit walks. And now there’s a new goddamn Electric Six record ready to go and it’s good\, Jack. Real good. \nBehold Turquoise is here\, the long awaited studio album return of Electric Six!!! Perhaps the catchiest\, brightest album in their catalog\, Electric Six reminds you how profoundly fun they can be\, hitting you over the head with fourteen pop explosions guaranteed to burrow their way into your dance hole. \nThe recording of Turquoise began in January of 2020\, but you know\, something distracted us for a couple of years shortly after starting the record. The pandemic tacked a bit of time onto the schedule of this project and Electric Six certainly felt the need to tap into the collective feelings of the time in tracks like “Panic! Panic!” and the title track “Turquoise”. \nThe overall vibe of Turquoise ranges from the infectious pop of “Take Me To The Sugar” and “Staten Island Ass Squad”\, to the heavy rock of “Child Of Hunger” and “Skywriting”\, to the Springsteeny goodness of “Units of Time”. Electric Six is a band for all tastes\, all times and all sizes. \nThe pandemic slowed us all down and ripped time into shreds. It forced Electric Six to take a little time to look at itself in the mirror. And who did Electric Six see staring back? The answer? It saw Electric Six. It saw Turquoise. When a band finally makes an album this exciting\, it doesn’t need to do anything else anymore anytime soon ever again. \nBut it will…..Electric Six can never die. And we are still the band that does one album a year….if you re-define “year”. Which we do. \nTurquoise is Electric Six’s long awaited 15th studio album and it is available on Metropolis Records on September 8\, 2023. \nThe Supersuckers \n“You’ve heard our name\, you’ve seen our records\, our t-shirts and our stickers. We’re probably the favorite band of someone you know and yet maybe we’re still a mystery to you. Well my friend\, that’s okay\, you’re at the right place to get to know the greatest rock-n-roll band in the world\, The Supersuckers. \nAnd the next time you see the ‘Supersuckers’ name\, whether it’s in the record store\, online somewhere\, or on the marquee at your local rock club\, know that there’s some quality\, honest\, ass-kicking\, hard working individuals behind it all trying to make your life a little better through the “Evil Powers Of Rock-n-Roll” (and the occasional detour into the country music\, of course) and we’d love nothing better than to have you there with us as! Just remember to wear clean underwear\, ‘cuz we’re gonna rock the pants right off of you!” \n– Eddie Spaghetti\, The Supersuckers URL:https://www.high-noon.com/event/electric-six-x-supersuckers/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/12/E6xSupersucker-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240503T190000 DTEND;TZID=America/Chicago:20240503T233000 DTSTAMP:20240328T171410 CREATED:20240131T160008Z LAST-MODIFIED:20240126T163408Z UID:9233-1714762800-1714779000@www.high-noon.com SUMMARY:The Mascot Theory (Album Release) and Miles Nielsen & The Rusted Hearts 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  \nThe Mascot Theory \nThe Mascot Theory has been kicking around Wisconsin weekend-warrior style for the past decade\, but like many musicians\, the great pandemic-induced entertainment halt of 2020 forced the band to reflect and refocus musical efforts. With the core foundation of singer/songwriter Erik Kjelland and the rhythm section of Nick Fry on bass guitar and Paul Metz on drums\, The Mascot Theory used this time off to slightly shift their sound away from their acoustic-driven folk-rock music and into a more classic rock inspired Rock and Roll groove\, especially thanks to the addition of lead guitarist Cory who brings a strong musical swagger and reverence to the guitar gods of the past. In April 2022\, the band worked with famed producer Terry Manning (Led Zeppelin\, ZZ Top\, Shakira\, Lenny Kravitz\, Stax Record) at Sonic Ranch Studios near El Paso\, TX and recorded 13 new songs as well as 2 updated versions of classic live show staple songs to record songs for the upcoming “Every Sign Of Life” album. \nAlong with a WAMI (Wisconsin Area Music Industry) win for Best Male Vocalist (Erik Kjelland) and a nomination for Best Americana/folk artist\, The Mascot Theory has won over 20 MAMA (Madison Area Music Association) awards including back-to-back 2016 and 2017 Artist of the Year awards. They have played major festivals throughout Wisconsin including Summerfest\, Freak Fest\, and Mile of Music Festival\, and have shared the stage with BoDeans\, America\, Don McLean\, The Jayhawks\, Vance Joy\, Frank Turner\, Chase Rice\, Kaleo\, The Wild Feathers\, Guster\, Blitzen Trapper\, Cory Chisel\, Andy Frasco and the UN\, Miles Nielsen and the Rusted Hearts\, American Aquarium\, American Scarecrows\, and Lillie Mae. \nThe new music travels into its classic rock influences; harmonies that bring to mind the Eagles or Poco\, a bit of that Rolling Stones guitar swagger\, a little ZZ Top blues rock\, a dash of the Pink Floyd mood\, but never straying far from the core of the Tom Petty/Beatle-esque importance of solid melody and lyrics. Songs like “When I Drift Away”\, “Lavender Blues” and “Fast Car Getaway” showcase the new album’s infectious energy and beautiful harmonies within an eclectic landscape of well-crafted and memorable songs. \nMiles Nielsen & The Rusted Hearts \nVocals\, Guitar / Miles Nielsen\nGuitar\, Vocals / Daniel James McMahon\nKeys\, Horns\, Vocals / Adam Plamann\nBass\, Vocals / Dave McClellan\nDrums / Jeff Werckle \nRockford\, IL-based Miles Nielsen has spent nearly a decade enthralling audiences with music that draws force from the prime years of Western-influenced rock music and classic ‘60s soul. Claiming influences as diverse as Otis Redding’s classic soul and Jellyfish’s cult power pop recordings. URL:https://www.high-noon.com/event/the-mascot-theory-album-release-and-miles-nielsen-the-rusted-hearts/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/TMT-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240504T200000 DTEND;TZID=America/Chicago:20240504T233000 DTSTAMP:20240328T171410 CREATED:20240301T194117Z LAST-MODIFIED:20240301T194117Z UID:9312-1714852800-1714865400@www.high-noon.com SUMMARY:Hips Don't LieA Tribute to Shakira 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  \nHips Don’t Lie is a dynamic 5-piece ensemble based in Madison WI. The band utilizes electronic melodies to replicate all the rich sounds produced by Shakira. The band covers popular songs such as ‘Hips Don’t Lie\,’ ‘Loca\,’ ‘Waka Waka\,’ and ‘Whenever\, Wherever.’ Members of the band: Angela Puerta (vocals originally from Colombia)\, Joshua Velazquez (bass originally from Puerto Rico)\, Kyle Rightley (guitar originally from Madison)\, Dave Randall (drums originally from Lake Geneva)\, Johan Galindo (congas originally from Colombia). URL:https://www.high-noon.com/event/hips-dont-liea-tribute-to-shakira/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/HipsDontLie-HNS-Web-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240508T200000 DTEND;TZID=America/Chicago:20240508T233000 DTSTAMP:20240328T171410 CREATED:20231114T150048Z LAST-MODIFIED:20240124T174305Z UID:9004-1715198400-1715211000@www.high-noon.com SUMMARY:[MOVED TO MAJESTIC] Mannequin Pussy 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  \nThis show has been moved to the Majestic Theater. All tickets purchased for the High Noon show will still be valid at Majestic! \nMannequin Pussy’s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums\, the Philadelphia rock band that consists of Colins “Bear” Regisford (bass\, vocals)\, Kaleen Reading (drums\, percussion)\, Maxine Steen (guitar\, synths)\, and Marisa Dabice (guitar\, vocals) has made cathartic tunes about despairing times. “There’s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act \,” says Dabice. “The ethos of this band has always been to bring people together.” Their latest I Got Heaven\, which is out March 1 via Epitaph Records\, is the band’s most fully realized LP yet. Over 10 ambitious tracks which abruptly turn from searing punk to inviting pop\, the album is deeply concerned with desire\, the power in being alone\, and how to live in an unfeeling and unkind world. It’s a document of a band doubling down on their unshakable bond to make something furious\, thrilling\, and wholly alive. \nFollowing the 2019 release of their critically acclaimed third album Patience\, Mannequin Pussy returned in 2021 for their EP Perfect. They toured that release relentlessly and added guitarist Maxine Steen to the band’s official lineup. Where the band members’ personal lives were in transition with breakups\, changing living situations\, and periods of self-reevaluation\, their time together on the road was a grounding and clarifying force. “There was so much going on in our lives that it was the perfect opportunity to recalibrate who we were as people and musicians\,” says Regisford. The band changed their entire formula\, choosing to write together in Los Angeles with producer John Congleton over slowly crafting tracks at home. “When I’ve written songs\, it’s usually a very solitary process\,” says Dabice. “So this was shedding a lot of those hermit-like qualities to do something intensively collaborative. Your best work comes when you allow other people into it.” \nBy December 2022\, the band had 17 new songs written with Congleton in Los Angeles. “Everyone felt empowered to speak up about their own ideas to make this thing the best it could possibly be\,” says Regisford. New member Maxine Steen\, who has made music with Dabice for years including their side project Rosie Thorne\, was especially essential to the writing sessions. The album opener “I Got Heaven” initially started as one of Steen’s demos. “When she showed it to me I knew it was going to be fun because the verses have this hard-hitting and aggressive approach but the chorus allows for a really soaring melody\,” says Dabice. The result is electric. Over walloping guitar riffs\, Dabice defiantly yells\, “And what if I’m an angel? Oh what if I’m a bore? And what if I was confident would you just hate me more? \nThe song with its righteous lyrical blending of the sacred and profane is an unapologetic look at Christian hypocrisy. “I don’t think there’s ever been anything in need of a spiritual revolution more than modern-day Christianity\,” says Dabice. “It sickens me the way that people use it as a way to do the worst things imaginable\, say the worst things imaginable\, and pass the worst imaginable legislation that directly harms people.” Instead of judgment\, greed\, and avarice\, the songs on I Got Heaven ask what it really means to genuinely care about the people around you and help your communities in ways you can. “The world that we live in is heaven\,” says Dabice. “We live on the most beautiful planet in the solar system\, just by a chance and we are continuingly destroying it.” \nThis sentiment is mirrored by the album’s cover art: a figure and a pig in nature. There’s an intentional ambiguity there that makes you wonder if this person is leading the animal to slaughter or its protector. “We should really be the shepherds and the protectors of everything that we have and the world we live in\,” says Dabice. I Got Heaven is an album that understands the stakes of its message: there are countless references to fire\, hunger\, and holiness. Here\, teeth gnash and bodies are temples that ache with desire. On the yearning single “Nothing Like\,” which is anchored by a dancey\, shuffling drum beat from Reading\, Dabice’s voice eventually morphs from a coo to a roar as she sings\, “Oh what’s wrong with dreaming of burning this all down?” \nEven when the songs on I Got Heaven don’t deal with fundamental human questions about how to live\, Mannequin Pussy still finds ways to add urgency and resonance. Just take the buoyant and playful single “I Don’t Know You\,” which slowly builds to a hair-raising peak with Reading’s brushed percussion\, Steen’s enveloping synths\, and a thoughtful groove from Regisford. “On that song\, I changed the tuning last minute which transformed the song but everyone instinctively knew what to do\,” says Dabice. “It was really cool to watch a song come alive in real-time. It’s such a gift to meet other people who are creatively on the same wavelength as you\, where there’s no judgment in sharing ideas.” \nThe lightness of this track pairs perfectly with the rest of the tracklist\, even when it’s snarling rock like “Loud Bark” or punishing hardcore punk with Regisford sharing lead vocal duties on “OK? OK! OK? OK!” “If you’re a Mannequin Pussy fan\, you know that we’re going to have some rippers\,” says Regisford. “We’re gonna have something that’s going to be in your face. But we’re also going to give you something that’s going to be light to the touch with its own version of aggression.” The loud and uncompromising single “Of Her\,” finds Dabice screaming\, “I was born / Of her fire / Of sacrifices That were made / So I could make it.” It’s a song about living life without regrets and understanding the sacrifices that you and your parents\, especially your mother\, made to allow you to live the life you want. \nI Got Heaven is a visceral and stunning album for people who aren’t content with the status quo\, made by people who challenged themselves and got out of their comfort zone. ”We’re supposed to be living in the freest era ever so what it means to be a young person in this society is the freedom to challenge these systems that have been put on to us\,” says Dabice. “It makes sense to ask\, what ultimately am I living for? What is it that makes me want to live?” URL:https://www.high-noon.com/event/mannequin-pussy/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2023/11/Mannequin-Pussy-Web-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240509T200000 DTEND;TZID=America/Chicago:20240509T233000 DTSTAMP:20240328T171410 CREATED:20240108T160025Z LAST-MODIFIED:20240112T175211Z UID:9152-1715284800-1715297400@www.high-noon.com SUMMARY:Wild 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  \nWild Party \nAfter a multi-year hiatus\, the indie pop maestros\, Wild Party\, are set to release a new full-length album in 2023. After releasing their debut record\, Phantom Pop\, in October of 2014\, the band toured extensively during the following year and a half before finally calling it quits at the end of 2015. \n“We played probably 100 shows in 2014 and 2015… but there weren’t a lot of people at the shows who knew the music\, and we weren’t making a lot of money…things just weren’t working out\,” frontman Lincoln Kreifels recalls. Family and financial obligations meant taking the focus away from music for a while. \nWhile Phantom Pop’s infectious melodies and danceable grooves never found a home with a larger market in 2015\, the band’s nearly decade-old release has recently found a new\, devoted fan base online. “The Spotify algorithm seemed to suggest us to a lot of new fans who were listening to bands that sounded similar to us\, and things really began to take off around 2018.” To date\, the band has hundreds of millions of streams and a half a million monthly listeners on Spotify alone. \nA newly found fan-base reinvigorated Kreifels and long-time collaborator Lucas Hughes\, and they began demoing songs again in 2018. However\, it wasn’t until a close call gave Kreifels what he describes as a re-awakening: “I got really sick about 9 about months ago\, and it was almost a miraculous healing… I went from almost dying––my liver almost failed… but I came out of that floating almost\, really thankful to be given another chance… music is something I need to pursue.” \nTogether with band member and producer\, Ethan Kaufmann\, Wild Party has been steadily dropping singles since 2021\, culminating into the band’s 2023 EP release\, Get Up. The yet-to-be-named full length EP (expected at the end of 2023) will continue to feature the band’s signature indie-pop sound\, albeit with more creative ambition. “It’s pretty similar (but) it’s a little more experimental in a lot of ways… there are going to be some songs that aren’t structured so pop-centric.” \nWhen asked about touring\, Kreifels expresses enthusiasm\, “The plan is play shows consistently… (and) make as many real connections with people as possible… (we want to) try and make the world a better place with our music.” \nFox Royale \nFox Royale make anthemic\, jangly indie-rock with a similar energy to acts like Cage the Elephant and Vampire Weekend. \nSince playing their first shows in fall of 2021\, the band has landed support slots in the US opening for Plain White T’s\, Little Hurt\, Fitz & The Tantrums\, Welshly Arms\, and Ax and The Hatchetmen. \nIn 2023\, Fox Royale was brought out on their first European tour supporting Young The Giant. \nTheir latest single “Daylight”\, co-written by Wes Bailey of Moon Taxi\, is out now. URL:https://www.high-noon.com/event/wild-party/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/WildParty-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240510T200000 DTEND;TZID=America/Chicago:20240510T233000 DTSTAMP:20240328T171410 CREATED:20240308T160039Z LAST-MODIFIED:20240307T182410Z UID:9339-1715371200-1715383800@www.high-noon.com SUMMARY:Lunar Ticks\, Alex White & The Friends\, and Zoofunkyou 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/lunar-ticks-alex-white-the-friends-and-zoofunkyou/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/03/LunarTicks-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240511T160000 DTEND;TZID=America/Chicago:20240511T180000 DTSTAMP:20240328T171410 CREATED:20240319T201102Z LAST-MODIFIED:20240321T203546Z UID:9372-1715443200-1715450400@www.high-noon.com SUMMARY:Sylvee Pre-Party with Bodhicitta 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/sylvee-pre-party-with-bodhicitta/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/03/Bodhicitta-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240511T235900 DTEND;TZID=America/Chicago:20240512T020000 DTSTAMP:20240328T171410 CREATED:20240214T210855Z LAST-MODIFIED:20240215T171436Z UID:9271-1715471940-1715479200@www.high-noon.com SUMMARY:Frogleg 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/frogleg-2/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/Frogleg-HNS-Web-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240512T130000 DTEND;TZID=America/Chicago:20240512T160000 DTSTAMP:20240328T171410 CREATED:20240228T160055Z LAST-MODIFIED:20240227T212434Z UID:9270-1715518800-1715529600@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-4/ 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:20240512T200000 DTEND;TZID=America/Chicago:20240512T233000 DTSTAMP:20240328T171410 CREATED:20240124T140017Z LAST-MODIFIED:20240209T164950Z UID:9216-1715544000-1715556600@www.high-noon.com SUMMARY:The Messthetics and James Brandon Lewis 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  \nJoe Lally was onstage\, playing at full throttle\, when he realized that his band had found a true kindred spirit. It was the fall of 2021 and the Messthetics — the instrumental trio of Lally on bass\, his former Fugazi bandmate Brendan Canty on drums and guitarist Anthony Pirog — were at Brooklyn venue the Bell House\, digging into their uptempo riff workout “Serpent Tongue.” Joining them for the piece was a special guest\, acclaimed jazz saxophonist James Brandon Lewis\, making only his second cameo with the group after a drop-in at another New York show back in 2019. That first meeting had been a success\, but this time\, Lewis’ presence sparked something new. \n“It pushed the song like crazy\,” Lally recalls of a passage when Lewis and Pirog began trading fiery solos. As the intensity kept building\, the bassist felt simultaneously challenged and exhilarated. “You’re just holding on and going\, ‘It sounds great\,’” he remembers telling himself. “‘Just keep going.’” \nThat imperative — the sense that there was more to explore within what began as an ad hoc union among the four musicians — lingered after the performance ended. Now\, Lewis\, Pirog\, Lally and Canty are ready to unveil their first full-length album as a quartet. Recorded in just two days in December 2022 at Takoma Park\, Maryland\, studio Tonal Park\, with engineer Don Godwin\, The Messthetics and James Brandon Lewis features nine tracks that capture the combustive chemistry Lally originally sensed onstage while expanding the collaboration in all directions. Across the album\, due out on March 15th via the legendary Impulse! label\, the quartet can be heard locking into a hard\, swaggering funk groove on “That Thang\,” cradling a wistful\, jazz-like theme on “Asthenia” or rocketing into ecstatic art-punk overdrive on “Emergence.” \nCanty relishes the way the album preserves a feeling of real-time musical conversation. “In a world that can be perfected in a myriad of ways using computers\, it’s super important to allow the thing you’ve honestly reacted to\, to live\,” the drummer says. “So I’ve spent a lot of time\, since that first initial recording\, protecting this recording. We did try to mix some of it\, but we really left it as rough mixes for the most part.” \n“Sometimes you’ll play a record live and it just doesn’t translate like it does onstage\,” Pirog adds. “But this was just one of those moments where we were just prepared enough\, everyone was open to being loose enough\, that we just sat down and made it happen really fast.” \nEvidence of that spontaneity runs throughout the record. Listen to the way Canty and Lewis play a tumbling\, stop-start duet against Pirog and Lally’s tight descending vamp at the end of opening track “L’Orso” or how Lewis and Pirog improvise together atop a dubby groove during “Three Sisters\,” urging one another toward thrilling new peaks. \nEven when the guitarist and saxophonist solo sequentially\, as on closing track “Fourth Wall” — where Lewis ends his statement with a gritty wail and Pirog answers with a snarling\, soulful line — you can hear a certain charge passing between them. \n“The duality of them playing together — all these melody lines and then egging each other on during the solos — was super liberating\,” Canty says of Pirog and Lewis’ interplay. “And for me as a drummer\, I felt like I could literally just be a utility player\, just to support.” \nThough the configuration heard on The Messthetics and James Brandon Lewis is relatively new\, it builds on long-standing musical relationships. Lewis and Pirog first met around a decade ago at a session led by free-jazz drummer William Hooker and instantly hit it off\, going on to work together extensively in Lewis’ own groups. “Since day one of knowing Anthony\, me and him just fit\,” says Lewis\, now widely acclaimed as one of the most compelling bandleaders on the contemporary jazz scene. “We looked at each other after that William Hooker session\, and we was like\, ‘Damn\, this shit is on point.’” \nLally and Canty of course share a similar brotherhood\, rooted in the 15 years they spent touring the world as the supple yet rock-solid rhythm section for Washington\, D.C.’s iconic Fugazi. “I play differently with Joe than I play with anybody else\,” Canty says. “He creates this foundation that I call a very sturdy jungle gym for all of us to play on. He keeps it dubby and rhythmic\, and there’s a lot of times where there’s a sixth sense — there’s things that happen between us when we’re playing that there’s no accounting for except for the fact that we’ve been playing together for 30 years.” \nLewis likens the experience of playing with Lally and Canty to his work with various jazz elders. “The way I revere them is the same way that I revere playing with Jamaaladeen Tacuma or playing with William Parker\,” he says\, citing a pair of esteemed veteran bassists. “It’s a certain road experience that you can’t get in school.” He also appreciates that he can hear the rich musical heritage of their hometown in their sound. “Growing up in the D.C. area\, Brendan and Joe are familiar with go-go\, with all of the stuff from the area\,” he says. “So I will say that the time feel — it don’t get no better than that. It’s like a well-oiled machine playing with them.” \nThat steady rhythmic backbone\, coupled with Pirog’s omnivorous guitar approach — which draws on jazz\, punk\, free improvisation and everything in between — gave the Messthetics a huge sonic palette right from the start\, showcased on both their self-titled 2018 debut and 2019’s Anthropocosmic Nest. But Pirog had always been curious what his friend Lewis might add to the band\, leading to him extending the invite for the saxophonist’s initial 2019 sit-in\, which took place at New York’s Winter Jazzfest. \n“James was just someone who I felt had the right energy to add another texture to the group\, and immediately we already had a good interplay going from playing in his groups\,” Pirog says. “I also just wanted to share this group that I’ve been working with\, with him because he was so generous with me.” \nOnce the quartet established a rapport onstage\, the Messthetics followed up with an invitation to team up for an album\, which Lewis quickly accepted. \n“Every time I played with them\, there was a vibe and it was a good chemistry\,” Lewis says\, looking back on his early appearances with the group\, which eventually led to a one-off studio track that appeared on the saxophonist’s 2023 LP Eye of I. “They hit me up and they’re like\, ‘Yo\, man\, would you want to record a full record?’ And I was like\, ‘Yeah\, sure\,’ because the vibe was so natural.” \nThe Messthetics spent a few months in the fall of 2022 assembling and arranging material as a trio before meeting with Lewis for just one day of rehearsal prior to the recording in December. Even with minimal prep time\, the material evolved considerably. Lewis added a lush\, spiraling melody to the chorus section of “The Time Is the Place\,” originally called “Meters Groove” in honor of the song’s Canty-written central riff\, a crisp seven-beat strut. And Lewis was the key element that unlocked Lally’s “Railroad Tracks Home\,” joining the bassist on the second pass through the theme and turning the subtle\, swinging mood piece from something\, in Lally’s words\, “dirge-y and dark” to “a light-bringing thing.” \nThe seven-and-a-half-minute “Boatly\,” meanwhile\, made room for each member of the band to explore his full dynamic range\, with brushed drums and a ballad-like texture segueing into a breathtaking coda — which Pirog cites as his favorite moment on the album — where Lewis unleashes fierce cries and brawny blasts over a cyclical 6/8 theme as Canty works up to a cymbal-bashing climax. \nThe fervor of Lewis’ playing both here and elsewhere on the record clearly points back to John Coltrane and Pharoah Sanders\, firmly rooting the album in the soil of the classic Impulse! catalog\, despite its thoroughly contemporary feel. Lally says he can’t wait to see his band’s name next to the unmistakable orange\, white and black Impulse! logo. “Looking at a record and I’m on impulse! with Alice Coltrane?” he adds with giddy disbelief. “It’s like being on Otis Redding’s label.” \n“I’m trying to be cool about it\,” Canty says with a laugh of being associated with such a storied catalog. “Hopefully nobody’s going to figure out that I’m the imposter in the temple.” \nThankfully\, it’s hard to imagine today’s listeners thinking in those restrictive terms\, as the album is arriving at a time when the borders of genre are blurrier than ever. Lewis\, for one\, relishes the chance to plug into the power of the Messthetics’ punk-adjacent milieu. “I think that’s ultimately why I said yes” to pursuing the full-length\, he says. “I love nuanced stuff\, but I also like the ability to really just put out some energy. When you hear the Messthetics by themselves\, that shit is cranking. And I’m always signing up to crank.” \nJudging by the enthusiastic response the Messthetics and their esteemed guest have received during more recent live meetings\, listeners are similarly eager to hear what happens when brilliant players like these stretch themselves through collaboration. \n“I feel like\, more and more\, there’s an audience for exploration\,” Canty says. “And I really hope this record’s part of that.” URL:https://www.high-noon.com/event/the-messthetics-and-james-brandon-lewis/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/01/TheMessthetics-Web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20240513T193000 DTEND;TZID=America/Chicago:20240513T213000 DTSTAMP:20240328T171410 CREATED:20231214T152803Z LAST-MODIFIED:20240123T191012Z UID:9107-1715628600-1715635800@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… \nSNOOPING: Prepare a five-minute story about being nosy. Eavesdropping\, meddling and sneaking around. Seemingly harmless questions or internet stalking. Flipping through a sibling’s diary\, hiring a private eye\, or peeking at someone’s browser history. Intrusive neighbors\, overnight stake outs\, or facial recognition surveillance. Or\, tell us about your own prying and spying. Mind your own business! \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-17/ 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:20240514T200000 DTEND;TZID=America/Chicago:20240514T233000 DTSTAMP:20240328T171410 CREATED:20240223T170019Z LAST-MODIFIED:20240228T205600Z UID:9285-1715716800-1715729400@www.high-noon.com SUMMARY:R.A.P. FerreiraDignity And Pride 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  \nR.A.P. Ferreira \nR.A.P. Ferreira fka milo aka scallops hotel is an mc\, producer and theorist working in the Black arts tradition commonly categorized as rap. Having founded the label ruby yacht in 2015 and since releasing all of his music through this channel\, Ferreira has earned a sizable following within independent hip hop by rigorous\, constant touring and an elevated\, explorational style of performance. He is known for an uncompromised\, utopic flow that speaks directly to the root of the listener. \nBy 2018\, the young artist galvanized his presence in the American rap scene with the opening of Soulfolks Records & Tapes in Biddeford\, Maine (now located in Nashville). \nFerreira has a sprawling\, limitless catalog ranging years\, names\, geographies\, intentions\, collaborations\, and vocabularies. \nIn an era defined by keyword search\, soundbyte\, cosign\, marketing and virality this artist’s work stands out by not cow tailing to the movements and trends of the digital sphere. \nHe currently makes his home in Nashville\, Tennessee where he continues to helm the Ruby Yacht while studying to become a blues guitar legend and a farmer. \nCavalier \nCavalier is an emcee\, Hip-Hop adept\, urban chief and cultural dapifer. A native to Brooklyn\, New York his influence as a performer and artist have found reach locally and globally. He has shared top billing with Little Brother\, Homeboy Sandman\, Georgia Anne Muldrow and Joey Badass among others.\nA dynamic powerhouse of a performer and lyricist\, Cavalier has been quickly becoming a choice favorite among Hip-Hop loyalists and alternative music fans alike. His seminal release\, CHIEF\, boasts a strong production line up and collaborations with Raekwon\, Quelle Chris and Iman Omari. Cavalier has been featured on VIBE\, EgoTrip\, Ebony\, XXL and the LAWeekly along with feature appearances on BoilerRoomTV. URL:https://www.high-noon.com/event/r-a-p-ferriera/ LOCATION:High Noon Saloon\, 701 East Washington Avenue\, Madison\, 53703 ATTACH;FMTTYPE=image/jpeg:https://www.high-noon.com/wp-content/uploads/2024/02/R.A.P.Ferreira-Web.jpg END:VEVENT END:VCALENDAR