Genre: Rock

Wisconsin Punk Fest

Wisconsin Punk Fest

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal purses / clutches / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed. We encourage you to pack light with only the necessities to make the entry process as smooth as possible. Exceptions will be made for necessary medical equipment and bags for nursing mothers.

CASHLESS POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment.

• Our Box Office, Coat Check, and Venue Merch 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.


ABOUT WISCONSIN FEST

Starting in 2013, Wisconsin Fest has allowed us to showcase the state’s diverse musical artistry that makes us prouder than any beer or cheese ever could. Now in its 10th year, the Fests have expanded to four nights and nine unique genres across three Madison, WI venues – The Sylvee, Majestic Theatre and High Noon Saloon. 
 
The Almas and Left of Reason

The Almas and Left of Reason

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

 

 The Almas

The Almas are an international touring hard rock band from New Munster, Wisconsin. Formed in 2016, the band released their eponymous EP and a year later the full length album ‘Back To Bad’. Their music has a very large and refreshingly organic sound that follows in the many traditions of the yester-year of Rock N Roll, thus gaining them the reputation of being a hard rock version of Fleetwood Mac, just dirtier.

Since The Almas full length release, they have toured North America numerous times. Most notably the “Sin City Tour” which spanned over two months. Their tours have taken them to world-famous venues such as the Whisky a Go Go in L.A., and allowed them to perform with artists such as Saliva, Wayland, Shallow Side, Dizzy Reed, Tantric, Max Weinberg, Janet Gardner of Vixen, and Jake E. Lee to name a few. They impart the truest essence of Rock n’ Roll through guitar driven licks, road dog attitudes, and a high energy, professional live performance!

Left Of Reason

Left of Reason is an original hard rock band who burst onto the music scene in 2006 . The band consists of Matt Donovan (vocals and guitar), Bill Hawkinson (drums) and Wade Radtke (bass and backup vocals).

Left of Reason has been the opening act for Rob Zombie, Pop Evil, Powerman 5000, Bobaflex and Wayland to name a few. Along with extensive touring in the Mid-West and doing national tours and festivals. The band has had the honor of performing at Summer Fest three times, Rock Fest two times, Brat Fest four times as well as performing at other local festivals.

Rhett Miller

Rhett Miller

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

The latest full-length from Rhett Miller, The Misfit, exists in an enchanted dimension all its own. With its elegant blurring of psychedelia, dream-pop and electronic-leaning indie-rock, the Texas-bred singer-songwriter’s ninth solo effort emerged from a charmed collaboration with his Hudson Valley neighbor Sam Cohen, the sought-after producer known for his work with innovators such as Kevin Morby and Danger Mouse. And while the album often wanders into decidedly cosmic terrain, Miller grounds each track with the vulnerable songwriting and unaffected vocal presence he’s brought to his role as frontman for legendary alt-country band Old 97’s for the last three decades. The result is a body of work fully attuned to the tension of modern times, yet imbued with all the lovely delirium of a dreamscape.

Produced by Cohen at his own Slow Fawn Studios (a former horse farm in the hamlet of Accord), The Misfit is deeply rooted in a shared intention to “make a record that lives in a world with no rules,” according to Miller. “As we were working we kept returning to the relationship between David Bowie and Brian Eno and the records they made together, and how fearless they were in their approach to finding the songs,” he adds. In shaping The Misfit’s elaborately detailed sound, Cohen handled all the instrumentation, playing guitar, bass, drums, and keys in addition to sculpting the album’s mercurial rhythms and textures with lavish use of synth and drum machines. Featuring the background vocals of Cassandra Jenkins and Annie Nero on several tracks, the outcome is an unexpected yet undeniably potent setting for Miller’s lyrical storytelling. “One of the things I love about working with Sam is that his instincts are very much complementary to mine,” says Miller. “He has this ability to create music that’s open and eerie and beautiful, and at the same time allows for a propulsiveness that makes it feel so vibrant and vital.”

Arriving almost exactly 20 years after The Instigator (his Jon Brion-produced solo major-label debut), The Misfit takes its title from a gloriously spacey but self-scrutinizing track called “Just When It Gets Good.” “It was the first song I wrote in the pandemic, at a time when I didn’t know where I fit anymore,” he says. “There are always so many voices in our head trying to keep us from making art, and I was definitely falling prey to their ill effects.” Noting that “feeling like a misfit is the artistic condition,” Miller ultimately found his sense of purpose wholly restored by the making of The Misfit. “I’ve toyed with some other disciplines, like writing short-form fiction, long form fiction, essays and children’s books,” says Miller, whose latest kids’ book The Baby Changing Station is due out this fall from Little Brown Young Readers. “They all fulfill something in me, but nothing compares to songwriting. The idea that you can sit down and create a whole universe and then put it out into the world—the joy I get from that quick-hit creation will always be unmatched for me.”

Titus Andronicus

Titus Andronicus

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

With their seventh studio album, revered rock institution Titus Andronicus invite you on a journey from fear to faith, from anger to acceptance, from grief to gratitude, chasing the mythical ideal of Ultimate Rock, all in hopes that you will find The Will to Live.

The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest-hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders.”

To reach this level of focus and clarity, Stickles had to stand on the nexus of triumph and tragedy.
For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—as with 2018’s A Productive Cough and 2019’s An Obelisk, The Will to Live proudly features Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums.

On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “Certain recent challenges, some unique to myself and some we have all shared, but particularly the passing of my dearest friend, have forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live. Recognition of this self-evident truth demands that we extend the same empathy and compassion we would wish for ourselves outward to every living creature, even to those we would label our enemies, for we are all cells in the same body, sprung from a common womb, devoted to the common cause of survival.”

“Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.”

Some of the proverbial fires lit under Stickles’ ass, however, burned more pleasurably than others. When Titus Andronicus made their long-awaited return to the stage in November of 2021, it was to celebrate the 10th 11th anniversary of their landmark breakthrough album The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers.

From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the seven-minute mark, “An Anomaly.”

As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

Angel

Angel

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

Employing a dazzling mix of glam rock, hard rock, and progressive rock, Angel’s outrageous, white-satin-heavy image and equally over-the-top stage shows, made them one of the more colorful arena rock bands of the mid-’70s and early ’80s. Discovered by Kiss bass player Gene Simmons, the group issued their eponymous debut album in 1975, which hewed closer to prog rock than the glam pop that would inform future endeavors like On Earth as It Is in Heaven (1977) and Sinful (1979). The group went their separate ways in 1981, but re-formed in the late ’90s with a new lineup, and released two studio albums (1999’s In the Beginning and 2019’s Risen) and numerous compilations.

Formed in Washington, D.C., the group’s self-titled 1975 debut was recorded for the flamboyant Casablanca Records label — home to Kiss — with a line-up comprising Frank DiMino (vocals), Punky Meadows (guitar, ex-BUX), Gregg Giuffria (keyboards), Mickie Jones (bass, ex-BUX), and Barry Brandt (drums). A heady slab of heavy pomp rock with lengthy songs swathed in Giuffria’s atmospheric keyboards and featuring the longtime stage favorite “Tower,” it was followed in 1976 by Helluva Band, which continued in a similar vein, with the group’s famous white satin stage clothing making its debut on the album sleeve. On Earth as It Is in Heaven saw a distinct change in musical direction, as the band adopted a a more pop/rock-oriented sound, and introduced a clever logo that read identically when upside down.

1978’s White Hot, with Felix Robinson replacing Jones, was helped by Eddie Leonetti’s sympathetic production, and produced minor U.S. hits in “I Ain’t Gonna Eat Out My Heart Anymore” and “The Winter Song.” Leonetti subsequently produced Sinful and the in-concert set Live Without a Net. Angel’s record sales never quite reflected their popularity as a live act, and a legal dispute with PolyGram prompted the band’s breakup in 1981. Giuffria attempted to revive the band in 1984, but the abortive reunion led to the formation of the more successful House of Lords. Robinson, meanwhile, appeared in an early White Lion line-up and played with 707. Brandt and DiMino re-formed Angel in the late ’90s to record In the Beginning, with the help of guitarist and songwriter Richard Marcello. They staged an Angel reunion of sorts by persuading former colleagues Robinson and Meadows to play on the track “Set Me Free.”

The group performed off and on during the early 2000s and issued a handful of compilation albums. Bassist and founding member Mickie Jones passed away in 2009 after battling liver cancer. Punky Meadows released a solo LP, Fallen Angel, in 2016, and in 2018, Meadows and DiMino toured under the name Frank DiMino & Punky Meadows of Angel. The band officially re-formed the following year with Meadows and DiMino joined by Danny Farrow, Steve E. Ojane, Billy Orrico, and Charlie Calv. The newly reactivated Angel released their seventh studio effort, Risen, later that October.

Field Guide

Field Guide

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

“Field Guide creates a chimerical dreamlike soundscape, brought to life by his soft-spoken lyrical imaginings.” – Under the Radar

“With tender instrumentals and intimate vocals, [Field Guide] is sure to pull at your heartstrings…he has truly cemented a signature sound.” – Indie 88

==

Field Guide (aka Dylan MacDonald) is a weaver of worlds. Built around his inviting voice and wrapped in warm textures, his self-titled sophomore full-length builds his most engaging world yet. It lives in a place between darkness and hopefulness with unshakeable melodies at its heart. “Melody is what makes words fall out of my mouth. It’s disarming. When I find a melody that represents my internal world, I drop my guard. I allow the words to appear out of thin air without judgement. A lot of these songs came to life that way. I wasn’t trying to make anything, but the songs became a home for words that I wasn’t yet ready to write on the page,” MacDonald says.

The past few years haven’t allowed for much escape from our interior worlds. There’s been a lot to move through, and many things can be true at once. This album lives at the sometimes-tense intersection of those truths – loving someone dearly while being pulled toward something new, feeling joy in the melancholy, a gratitude for deep friendship and an uncertainty of one’s place in it.

The album is also alive with the people and places that surrounded its creation. Vocals and acoustic guitars were recorded near Riding Mountain National Park in a woodstove-heated cabin during one of Manitoba’s coldest winters in years. Bass and drums were tracked at Breakglass Studios in Montreal, a room that already felt familiar from falling in love with the records of tour-mate Leif Vollebekk. Final overdubbing took place at Monarch Studios in Vancouver surrounded by trusted engineers and friends. And constant inspiration was found in his circle of Winnipeg creators working away on their own projects. Like The Big Pink house – Boy Golden, Slow Spirit, Roman Clarke, Kris Ulrich and others dropped in on each other to share demos and often lend their sounds to each other’s albums.

Beyond his hometown, Field Guide has had the opportunity to meet some heroes and new friends. He’s supported Leif Vollebekk, Bahamas, SYML, Wild Rivers, JP Saxe and Penny & Sparrow on their tours this year. He’s built a legion of fans online and on the road. So, while this is a solo album that invites the listener inside Field Guide’s inner monologue world, it really is meant to be lived in together. “These are the truest, rawest songs that I’ve ever written. I’ve never felt so sure about something I’ve made before. And now, it’s yours.”

flipturn

flipturn

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

flipturn

flipturn makes indie music for endless summers, sun-streaked days, and introspective nights. It’s a
cinematic sound rooted not only in the Florida towns where the musicians first banded together as
teenagers, but also in the anthemic live show that’s taken flipturn from coast to coast. In the time since
their formation, flipturn has mushroomed to reaches far beyond the walls of the Fernandina Beach
garage they first practiced in. Built up by Dillon Basse (lead vocals/rhythm guitar), Tristan Duncan (lead
guitar), Madeline Jarman (bass), Mitch Fountain (synth), and Devon VonBalson (drums), the band has
long prepared for the release of their debut album Shadowglow; a snapshot of a band caught halfway
between youthful optimism and adult precision, with songs that target the head as well as the heart.

With over 75 million streams on Spotify alone, countless sold-out headline shows across the US, and
tours with Mt. Joy, Rainbow Kitten Surprise and Wilderado, the band has more than proven their place in
the indie scene. This year has seen flipturn join the prestigious lineups of Bonnaroo, Lollapalooza, Shaky
Knees, Hangout, SunFest, and Levitate. flipturn recently signed with Dualtone Records to further amplify
the release of their debut project, joining their legendary roster of the likes of The Lumineers, Chuck
Berry and Shakey Graves.

Roger Clyne & The Peacemakers

Roger Clyne & The Peacemakers

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

“Here’s to life!” Fans around the world can be found singing the chorus of the Roger Clyne-penned fan favorite “Mekong” and toasting their glasses in unison to celebrate life through rock-n-roll. But the inspiration for the song dates back to the time Roger went to Taipei, Taiwan, as a college student to teach English during the day and busk with his guitar at night for money.

Today, as Clyne prepares to record his 11th studio album, he continues to transform his life experiences, inspirations, observations and his own muses into timeless music. And whether he’s wearing his Converse high tops, boots or sandals, Clyne’s blend of punk rock, country-western and mariachi influences have made him, drummer PH Naffah, guitarist Jim Dalton and bassist Nick Scropos – collectively known as Roger Clyne & The Peacemakers – one of America’s best live rock-n-roll bands.

Starting with the seminal Tempe quartet, The Refreshments, Clyne and Naffah put the fun in rock during the 90s grunge era with a sense of humor. They also started what would become a trademark sound on all future albums by adding mariachi horns, something Clyne was influenced by while in college studying Cultural Anthropology with an ethnography study of mariachis during a three month immersion stay with a local family in Ensenada, Mexico.

The Refreshments’ debut album, “Fizzy, Fuzzy, Big & Buzzy,” became a cult classic. It produced the alternative radio hit “Banditos” which also had significant airplay on MTV and earned The Freshies an appearance on The Conan O’Brien Show. Clyne then penned and performed the theme song for the Mike Judge animated TV series, King of Hill. In 2017, Here’s to Life: The story of The Refreshments, was released. The feature-length documentary was a hit with fans and critics alike.

Changes within their record label and internal band issues resulted in Clyne and Naffah going on a vision quest of sorts in the Whetstone Mountains near the Clyne Ranch in Southeastern Arizona. It was there that Clyne found inspiration in the rolling hills and the jukeboxes of small town taverns that still played Marty Robbins and Johnny Cash – music he had shed from his youth in favor of bands like Camper Van Beethoven & They Might Be Giants. But after reconnecting with those old country records, Clyne and Naffah wrote and recorded under a new moniker what would become Roger Clyne & The Peacemakers’ debut album, “Honky Tonk Union.”

The album was the perfect combination of classic rock and twang, and fans immediately connected with it. Their independent release, “Honky Tonk Union,” debuted at No. 1 on Billboard’s internet sales chart in 1999 prompting a call from a Billboard exec to their Manager demanding, “ Who the hell is Roger Clyne and why is he #1 on my chart?!” beating out much better known artists

RCPM released eight more albums that landed in the top ten of Billboard’s Internet Sales Chart, including a No. 1 debut for their third album, “Americano!” – all without the backing of a major record label and while flying under the radar of commercial radio.

In 2019, Roger Clyne & The Peacemakers were inducted into the Arizona Music and Entertainment Hall of Fame, joining the likes of fellow Arizona legends Alice Cooper, Buck Owens, Glen Campbell, Stevie Nicks, Linda Ronstadt and Waylon Jennings.

Later that fall, RCPM was invited by a man who, like Roger, also knows a little something about tequila and throwing big parties in Mexico. The band headlined Sammy Hagar’s Cabo Wabo Cantina on the eve of Hagar’s weekend birthday celebration.

Roger Clyne & The Peacemakers have curated their own annual music festival, Circus Mexicus, in the sleepy beach town of Puerto Peñasco, Mexico, which draws thousands of fans from around the world. The festival not only has a major impact on the local economy, but charity events hosted by the band and fans alike help raise money for a local orphanage, support local youth sports and help feed shelter animals.

Clyne not only sings about life in the border-lands, he also produces his own ultra-premium spirit, Mexican Moonshine Tequila (soon to be re-named Canción Tequila). Owned by the entire band, it was the official tequila at the Arizona Diamondbacks Chase stadium in 2016, 2017 and 2018. Started in 2011, the award-winning spirit is distributed in multiple states as well as Sonora, Mexico.

Roger Clyne & The Peacemakers have toured all over the US and achieved a faithful following through hard work and great music. They have done this all while being independent, without the safety net of a label or a label’s radio promotion department. Dubbed “The Springsteen of the Southwest,” by the Asbury Park Press. The band delivers exciting live performances that garner declarations like the one from emcee Jay Peterman of the Seinfeld TV show at Alice Cooper’s annual Christmas Pudding event, “Young man, you light that stage a-flame!”

Smells Like Nirvana

Smells Like Nirvana

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

SMELLS LIKE NIRVANA:

Celebrate the legendary sounds of Nirvana & Kurt Cobain w/ ‘Smells Like Nirvana’ as they will perform songs from Nevermind, In Utero, Bleach, and more (b-sides/rare songs) w/ support from ‘Dead Original’.

Make this show special by submitting a song request via smellslikenirvanatribute.com Over 220,000 likes on facebook.com/smellslikenirvanatribute

DEAD ORIGINAL:

Stream Dead Original’s first album ‘Bought and Sold’ available now on all streaming platforms or via deadoriginal.com Dead Original is supporting the show w/ a 30 min set of songs from their first album.

The band features an ex member of the grammy nominated metal band Trivium and hit musical ‘Rock of Ages’ vocalist Paul Wandtke w/ bassist Mike Petrasek and drummer Christopher Scheutz. ‘Dead Original’ has toured and supported the legendary rock band Candlebox and has even supported bands such as Seether, Jonathan Davis (Korn), 10 Years and more.

Houses In Motion present<br>A Live Tribute to Talking Heads

Houses In Motion present
A Live Tribute to Talking Heads

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

PAYMENT POLICY

We 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.

 

Houses in Motion is a Talking Heads cover band from WI and IL. A typical performance features a set as a four-piece dedicated to Talking Heads’ late 70s material, and another set with additional musicians focusing on the Heads’ early 80s material.