Upcoming Events

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

ZIGGY ALBERTS

with STEPH STRINGS 

Ziggy Alberts is no stranger to success, having built a dedicated global following through a combination of steadfast touring,  captivating songwriting, and an independent ethos that has seen him thrive without the backing of a major label. An artist  who has mastered the acoustic charm of busking and intimate venues to the electrifying energy of sold-out world stages - all as a solo act - Alberts is now entering a new phase of his artistic journey with his seventh studio album, ‘New Love’, set  for release in February 2025. 

From his early days busking on the streets of Byron Bay, Alberts has understood the power of direct connection with his  audience. His rise has been driven not only by his emotionally resonant folk songs but by his determination to bring his  music directly to fans. Now a decade into his career, he’s grown his fanbase the old-fashioned way: by playing show after  show, year after year, turning small rooms into sold-out venues across the globe. 

In 2024, as part of his New Love World Tour, he has delivered standout performances, including headline sets at Bluesfest  Byron Bay and co-headlining Australia’s SummerSalt tour with Matt Corby and James Bay. His tour has taken him across  Europe, the UK, North America, Indonesia, and even into new territories like Mexico and Japan. This momentum follows  his 2023 Rewind World Tour, where he performed for over 110,000 people and sold out iconic venues like London’s  Eventim Apollo. 

Notably, Alberts has achieved all of this as an independent artist, without the support of a major label. His commitment to  creative autonomy led to the founding of his own label, Commonfolk Records, through which he’s continued to release  music and grow his career on his terms. This independence has allowed Alberts to stay true to his artistic vision, taking risks  that have paid off. His discography has garnered over a billion streams, with hits like “Runaway” and “Love Me Now”  earning millions of listens, while as of October 2024 his singles ‘Laps Around The Sun’ and “Runaway” achieved ARIA Triple  Platinum status. Fan favourites like ‘Days In The Sun’ and ‘Gone’ and his EP ‘Four Feet In The Forest’ have also now received  Double Platinum status; ‘Hands I Can Hold’ and ‘Together’ reaching Platinum status and another seven tracks plus his ‘Land  & Sea’ album reaching Gold status (‘Don’t Get Caught Up’, ‘Heartbeat’, ‘Letting Go’, ‘On Hold’, ‘Start Over’, ‘Together  (Instrumental)’, and ‘Worn Out’). Alberts has also won two APRA Music Awards for Most Performed Blues and Roots Work  in 2022 and 2024, solidifying his impact on the Australian music scene.

Now, Alberts is on the verge of releasing his most ambitious project yet: 'New Love'. Born from extensive touring and  crafted for live performance, this album underscores his commitment to delivering music that deeply resonates with his  audience. Written during his Rewind World Tour and completed in Northern Rivers, NSW, the album captures spontaneity  and authenticity, shaped by Alberts' habit of testing songs live during soundchecks, a practice dating back to his early  busking days. Co-produced with longtime collaborator Garrett Kato, 'New Love' builds on the journey that began with Laps  Around the Sun, which Ziggy describes as its "spiritual follow-up." 

For Alberts, 'New Love' is a return to simplicity — reflecting themes of second chances, joy, and navigating modern life’s  complexities. The album's structure, split between a warm, folk-inspired Side A and a more expansive, rock-and-country influenced Side B, mirrors the duality of life. Alberts and Kato’s organic production approach preserved the raw emotion  of the songs, allowing listeners to join him on an adventure of self-discovery, both through the album and the live  performances that will follow. 

The release of 'New Love' and the ongoing New Love World Tour showcase Alberts at the peak of his powers as a seasoned  performer. His determined touring has cultivated a loyal, global fanbase, turning his live shows into shared experiences  that unite people through music. With a devoted following and an impressive catalogue, the 'New Love' era promises to  make one thing clear: Ziggy Alberts isn’t just an artist you should know - he’s the one you need to know.

Show 9pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

THE PHARCYDE

with COYOTE

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

JOHN MARK MCMILLAN & CITIZENS

John Mark McMillan - John Mark McMillan is something of an anomaly: an artist and Platinum-selling songwriter bending genres and defying categorization by carving out his own unique and independent path. With an ear for melody and a poet’s eye for metaphor, no topic has been off-limits. While each of his albums over the past decade have continued to explore new territory, it’s McMillan’s ability to give lyric and language to the human experience that many consider his greatest gift.

Show 9pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

SHORDIE SHORDIE

with GRITTY LEX, POIISON and DEUCE UNO

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

THIEVERY CORPORATION

with RITHMA

Twenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation's music and message is more relevant and important now than ever.

That lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. "We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out — it's far easier to stay in one lane than to genre hop!" laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second hand record stores for LP's from Brazil, India, Iran, Jamaica, jazz records…..we wanted to make music where you didn't know whether it was recorded today or a decade ago." Thievery Corporation's music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996's "Sounds From The Thievery Hi-Fi," which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.

The band's legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz," says Garza. "We'd run into people from all over the world and invite them to play with us — so Thievery became an extension of that, both on our records and in our live performances." Indeed, Hilton and Garza's "Outernational" approach created a world reflected by the artist's ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up," Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity…it's so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we've tried to do." People don't refer to Thievery Corporation as "World Music," but it's safe to say that their music and ethos is global in its scope and ahead of its time at every turn.

In a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you'll dance, sweat and put your hands in the air….but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the com-bination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages — it's a multicultural experience, people connect to the band and to each other, it's beautiful." With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We're all craving that."

Eric Hilton's presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures," he says. "For me, touring was tourism. The creative process of making music is more my thing." And Thievery Corporation have brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014's Saudade is my favorite record that we've done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible." Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity."

Looking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does," the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most." By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.

"Over 25 years, we've left nothing undone. We far exceeded what we thought we would do," Hilton and Garza agree. And Thievery Corporation's music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience.

Show 6pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

Show 9pm

*there is no difference between ticket tiers besides price*

Ventura Music Hall & What the Dance Present:

Show 8:30pm

*there is no difference between ticket tiers besides price*

Ventura Music Hall Presents:

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

HURRAY FOR THE RIFF RAFF

with MERCE LEMON

Alynda Segarra is 36, or a little less than halfway through the average American lifespan. In that comparatively brief time, though, the Hurray for the Riff Raff founder has been something of a modern Huck Finn, an itinerant traveler whose adventures prompt art that reminds us there are always other ways to live.
 
Born in the Bronx and of Puerto Rican heritage, Segarra was raised there by a blue-collar aunt and uncle, as their father navigated Vietnam trauma and their mother neglected them to work for the likes of Rudy Giuliani. They were radicalized before they were a teenager, baptized in the anti-war movement and galvanized in New York’s punk haunts and queer spaces. At 17, Segarra split, becoming the kid in a communal squat before shuttling to California, where they began crisscrossing the country by hopping trains. They eventually found home—spiritual, emotional, physical—in New Orleans, forming a hobo band and realizing that music was not only a way to share what they’d learned and seen but to learn and see more. Hurray for the Riff Raff steadily rose from house shows to a major label, where Segarra became a pan-everything fixture of the modern folk movement. But that yoke became a burden, prompting Segarra to make the probing and poignant electronic opus, 2022’s Life on Earth, their Nonesuch debut. Catch your breath, OK? We’re back to 36, back to now.
 
During the last dozen years, these manifold tales of Segarra’s voyages have shaped an oral folklore of sorts, with the teenage vagabonding or subsequent trainhopping becoming what some may hear about Hurray for the Riff Raff before hearing the music itself. Segarra has dropped tidbits in songs, too, but they always worried that their experiences were too radical, that memories of dumpster diving or riding through New Orleans with a dildo dangling on an antenna were too much. But on The Past Is Still Alive, Segarra finally tells the story themselves, speckling stirring reflections on love, loss, and the end or evolution of the United States with foundational scenes from their own life. “It felt like a trust fall, or a letting go of this idea of proving something to the music industry—how I can be more digestible, modifiable, sellable,” Segarra says. “I feel like I’m closer to what I actually have to share.”
 
There is, for instance, sex and communal musicmaking on an island of San Francisco trash during “Snake Plant (The Past Is Still Alive),” a charged attempt to reckon the erosion of our childhood innocence with a belief that a worthwhile future is still possible. Or there are the cops and the trains and the long walks down empty Nebraska highways to escape said cops during “Ogalla,” the cathartic closer that tries to maintain the spirit of the past while actually surviving in the now. The Past Is Still Alive is the record of Segarra’s life so far, not only because it chronicles the past to understand the present but also because it is the most singular and magnetic thing Hurray for the Riff Raff have yet made. A master work of modern folk-rock, The Past Is Still Alive resets the terms of that tired term.
 
In March 2023, when Segarra returned to the North Carolina studio of producer Brad Cook to cut The Past Is Still Alive, they weren’t so sure about the session, if they could even handle it. Only a month before, their father, Jose Enrico (Quico) Segarra, had died. A musician himself, he had long been fundamental to Segarra’s songs, a point of inspiration and encouragement. What’s more, Segarra had made Life on Earth with Cook, and drummer Yan Westerlund had long toured in Hurray for the Riff Raff. But much of the band they’d assembled for these sessions—guitarist Meg Duffy, fiddler Libby Rodenbough, saxophonist Matt Douglas, multi-instrumentalist Phil Cook—were unknown quantities. At the edge of catastrophe and in the headlock of grief, could Segarra share these bone-deep songs among strangers? “The songwriting is what drove me. I didn’t feel the need to try to transform,” Segarra reckons. “It felt like the truth of where I was at in my life—very vulnerable, very fair, very raw.”
 
Segarra simply let those complex feelings lead the way, hurling themselves into these excavations of memory and blueprints for what’s to come. Witness, for instance, the tensile resolve in opener “Alibi,” a yearning reflection on addicted childhood friends that pleads with them to join the land of the living while they still can. As the pedal steel moans beneath the snappy country shuffle, their voice frays, a testament to the way they’re bearing difficult witness. That call to survival returns in “Snake Plant,” a song so stuffed with specific childhood memories—scenes from family road trips to Florida, snapshots from discovering oneself on the edge of the world—that Segarra feels like an actual tour guide. “Test your drugs/remember Narcan,” they sing toward the end. “There’s a war on the people/What don’t you understand?” The demand is graceful and winning, not pedantic, lived-in advice from someone who has managed to live when so many friends have not.
 
This quest to live in spite of outside attempts to kill us off animates “Colossus of Roads,” at once the most devastating and uplifting entry in the entire Hurray for the Riff Raff catalogue. Written like an urgent dispatch after the Club Q shooting in Colorado, it is a paean to the outsiders, a love song for the vulnerable—the queer, the homeless, the radical. Their voice taut as a piece of barbed wire, Segarra deploys poet Eileen Myles and boxcar artist BuZ blurr (the Colossus of Roads himself) to suggest a sanctuary of solidarity for the dispossessed. The United States as we know it can and probably should dissolve, they seethe; as it all comes down, though, Segarra asks to “wrap you up in the bomb shelter of my feather bed.” Brilliantly written and rendered, it is an anthem for a dawning age of collective liberation. “I’ve only had this experience a couple of times, where a song falls on me—it’s all there, and I don’t do anything,” Segarra admits. “It felt like creating a space where all us outsiders can be safe together. That doesn’t exist, but it exists in our minds, and it exists in this song.”
 
Throughout The Past Is Still Alive, Segarra suggests the profound ability to navigate all this pain, chaos, and trauma, or at least to meet it with senses of wonder and want. To wit, the delightful “Buffalo” uses the iconic American mammal that Americans almost drove to extinction as a metaphor for a new love; can it survive the pressures of society? A duet with Conor Oberst, “The World Is Dangerous” is a heartbroken waltz that still offers to hold someone close, if and when they’re ready.

And even as Segarra tells the tale of the first trans women they ever met, Miss Jonathan in New Orleans, and the beatings they took during “Hawkmoon,” they seem to beam, advocating for a better world yet to come. “I’m becoming the kind of girl that they warned me about,” Segarra sings at the end with devilish aplomb, proud to be carrying on Miss Jonathan’s work of upending norms, whether by sharing Miss Jonathan’s story or simply taking up space for themselves and their own multitudes.
 
It is especially fraught these days to speak of art in terms of national identity, to flirt with a jingoism that has led to new autocrats and rekindled old wars. But in the best ways possible, The Past Is Still Alive is a distinctly American record, built on twin pillars of peril and promise that have forever been foundational to this country.
 
The wanderlust that leads to piñon fires near the pueblos of New Mexico’s high desert and all-night escapades in New Orleans. The independence that shapes communities of like-minded outcasts, looking after one another. The inequality that makes such enclaves essential, that makes one of us eat out of garbage and the other with a silver spoon: It is all tragically and beautifully bound inside The Past Is Still Alive. Just as Louise Erdrich has done of late with Native Americans, Lonnie Holley with African-Americans, and Julie Otsuka with Asian-Americans, Segarra expands the scope of American stories here, stretching a long-safeguarded circle to encompass outsiders forever on the fringes. “The past is still alive/The root of me lives in the ballast by the mainline,” Segarra sings at one point, sweeping their days of riding rails directly into whatever success they have found now. Hurray for the riff raff, indeed.

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served. 

Ventura Music Hall Presents:

CHOIR! CHOIR! CHOIR! PRESENTS: "HALLELUJAH": AN EPIC ANTHEMS SING-ALONG

“Why see a show when you can BE the show!”

Choir! Choir! Choir! is the fully interactive, participatory show that turns audience into performer! So get ready to laugh, dance and SING! your hearts out with hundreds of other music-lovers just like you. It’s like a big birthday party for the greatest songs of all time and you’re invited!

So grab a friend (or ten), and come out ready to GIVE IT ALL YOU’VE GOT! - all voices welcome, no experience necessary. They Teach, You Sing! Everyone Wins!

This time, Choir! Choir! Choir! Presents: “Hallelujah”: An EPIC Anthems Sing-Along!

EPIC anthems unite the world and are the soundtrack to our lives. And there is none more EPIC than Leonard Cohen’s “Hallelujah.” When a room, filled with hundreds (thousands?!) of strangers, starts to harmonize, you’ll feel it deep in your soul. And that’s not all! Get ready to sing your way through the greatest songs of all-time; from Leonard and Joni, to Whitney and Shania, you’ll wanna SING them all!

Since 2011, Choir! Choir! Choir! directors Daveed Goldman + Nobu Adilman have blurred the lines between performer and audience, traveling the world to create harmony with strangers and friends alike. They’ve collaborated with renowned artists like Patti Smith, David Byrne, Brandi Carlile, Rick Astley, Rufus Wainwright, and even Kermit The Frog at New York’s Lincoln Center, creating memorable videos that have garnered views in the millions. Now it’s your turn to SING!, so grab your friends, get your tickets and we’ll C! you there! #NeverStopSinging

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Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served. 

Ventura Music Hall Presents:

MINISHOPPINGCART, THE FRAMERS, CHERIDOMINGO and CRAWDADS

The Framers are an alt. indie rock group based out of Santa Barbara, CA. Members include Jesse Prior (vocals), Franky Sansone (rhythm guitar), Oliver Chavez (lead guitar), Allison Corwin (bass), and Jake Morenc (drums). The Framers’ signature sound is derived from genres of indie rock, early 2000’s garage rock, and riot grrrl. Together, they form a unique musical style that is punchy, nostalgic, and rich in storytelling.

Since their formation in 2020, the band has played at countless established venues and events throughout Southern California and the Central Coast. they have played along side bands such as Peach Pit, STRFKR, THUNDER CAT at festivals shabang and fields of funk. Their most successful material includes their first release, “Angel” and their hit singles, “wendy,” “wonder why,” and “cheater” (SuENO Studios). Their latest album, “I’m Feeling Fine,” is available on all streaming platforms and has had several plays across a prominent alt-rock radio stations with outreach in Ventura County, Santa Barbara County, and San Luis Obispo County.

‘CRAWDADS’ is a 4 piece band from Ventura, California, consisting of Isaiah Hernandez (Lead Vocalist/Guitarist), Fran Chilton (Guitar), Avery McCool (Bass) and Gus Graham (Drums/Vocals). They have a drive that blends their aggressive and loud DIY garage indie sound that’s rooted in their music, with their melodic alternative emo chords and lyricism to create a wall of noise.

Show 9pm

GA tickets are standing room only, with very limited seating available first come, first served.

*There is no difference in the tiers other than price*

Ventura Music Hall Presents:

UNITED WE DANCE: THE ULTIMATE RAVE EXPERIENCE

Immerse yourself in the Ultimate Rave Experience 🌌 – an electrifying night of EDM hits, immersive visuals, and non-stop energy on the dance floor.

Our in-house DJs/Producers will spin original remixes and edits of past and present EDM hits, blending crowd favorites with your favorite lyrics for a one-of-a-kind sound.

Inspired by the music of:

FISHER | SKRILLEX | MARTIN GARRIX | MATRODA | CHRIS LAKE | TIËSTO | ISOXO | JOHN SUMMIT | DOM DOLLA | KSHMR | KREAM | AFROJACK | DAVID GUETTA | ALESSO | KASKADE | AVICII | KNOCK2 | ZEDD | DIMITRI VEGAS & LIKE MIKE | R3HAB | THE CHAINSMOKERS | OLIVER HELDENS | VINTAGE CULTURE | TIMMY TRUMPET | ALOK | DON DIABLO | NICKY ROMERO | LOST FREQUENCIES | ABOVE & BEYOND | JULIAN JORDAN | ACRAZE | + MORE

✨ What Makes United We Dance Unique?

A Wide Ranging Electronic Experience: A diverse mix of electronic music designed to keep you dancing all night.

High Production Value: A focus on engaging lighting and visuals

A Welcoming Atmosphere: A vibrant, inclusive vibe that brings everyone together.

Talented Resident DJs: A High-octane music selection, creating an electrifying atmosphere.

Festival/rave attire encouraged!

With Resident DJ’s

Jonathan Hess

Adonix

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

iDKHOW & PHANTOM PLANET

iDKHOW - I DONT KNOW HOW BUT THEY FOUND ME (iDKHOW) is the professional moniker of singer/songwriter Dallon Weekes. Formerly a contributing creative member and bassist for Panic! at the Disco, He also fronted Salt Lake City cult favorite indie band The Brobecks, where he honed his signature blend of retro-inspired alt rock and witty, introspective lyricism. As a multi-instrumentalist and producer, Weekes draws from a variety of influences, blending elements of 70s new wave, glam, 90s Brit-pop, and indie garage rock into his music.

iDKHOW formed secretly in 2016, and quickly gained a cult following despite Weekes spending it’s first year denying the project even existed. With his theatrical aesthetics, infectiously sharp songwriting and charismatic stage presence, iDKHOW has earned not only a Certified Gold Record with the independently produced “Choke”, but has also received critical acclaim, as well as commercial success solidifying Weekes’ place in the alternative music scene and beyond.

Phantom Planet - Formed in 1994, Phantom Planet is a Los Angeles band that has released five albums of melodic, energetic Alt Rock. Helping to define the early 00s music landscape, they’re best known for writing anthemic hits like “California,” (theme of the TV series: The O.C.) and their wildly exciting live shows with deep fan engagement. The band has entertained the masses through a combination of stellar musicianship & compelling song writing which now spans over 30yrs.

After a hiatus in 2008, the band reunited in 2019, continuing to evolve their sound while maintaining their signature energy and melodic sensibilities. Phantom Planet is comprised of Alex Greenwald, Sam Farrar, Darren Robinson, and Andrew Parker. Phantom Planet is no longer missing; they are ready to reclaim their position in the music industry.

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

SILVERADA (formerly Mike and the Moonpies) 

Evolution. It's what keeps the best bands afloat — song after song, show after show,  record after record.  

Mike Harmeier was still in his early 20s when he formed Mike and the Moonpies. From  the start, they were the definition of a workingman's country band, cutting their teeth  with five-hour sets on Austin's dancehall circuit before spreading their music to the rest  of America. By the early 2020s, they'd become global ambassadors of homegrown  Texas music, flying their flag everywhere from Abbey Road Studios (where they  recorded 2019's Cheap Silver & Solid Country Gold with help from the London  Symphony Orchestra) to the Grand Ole Opry. 

The growth was remarkable, but all that momentum left Harmeier and his four  bandmates — drummer Taylor Englert, guitarist Catlin Rutherford, bassist Omar  Oyoque, and steel guitarist Zachary Moulton — looking for something new. After all,  their music had decidedly changed. Why shouldn't their name do the same?  

Silverada marks a new chapter in the band's history. It's not just the title of the boldest  release of the group's critically-acclaimed career; it's also the name of the reinvigorated  band itself.  

"Back in the day, all we wanted to do was play the Broken Spoke," says Harmeier,  nodding to the hometown honky-tonk in Austin, TX, where Silverada began sowing the  seeds for a sound that mixed timeless twang with modern-day dynamics. "We had  different aspirations back then. We were still figuring out what kind of band we were  gonna be, and that took a lot of time and a lot of records." 

A lot of records, indeed. Silverada marks the group's ninth release, and it balances the  strengths they've accumulated along the way — sharp, detailed songwriting that  bounces between autobiographical sketches and character studies; gorgeous swells of  pedal steel that drift through the songs like weather; a rhythm section capable of country  shuffles, hard-charging rock & roll tempos, and everything in between — with a  willingness to break old rules and open new doors. "Radio Wave" is a roots-rock anthem  for the highway and the heartland, peppered with Springsteen-worthy hooks and War  On Drugs-inspired atmospherics. "Eagle Rare" launches the band into outer space  during its explosive middle section, which the band improvised in the recording studio.  "Stay By My Side" showcases Silverada's road-warrior credentials — the band recorded  the track live during a tour across the American Southeast, capturing it in a single take  at Capricorn Sound Studios in Macon, Georgia — while "Wallflower" blends the organic  with the otherworldly, finding room for harmonized guitar solos, driving disco beats, and  808 percussion. 

"Going into the studio, everybody in the band felt inspired to do something bigger than  what they'd done before," Harmeier explains. "We all knew we were at a precipice, and  we wanted to jump. I brought in some songs that were metaphorical and not always  straightforward, and that showed the guys that I wanted to take this music somewhere  new… so they threw their own rulebooks out the window, too." 

Harmeier wrote the bulk of Silverada in his backyard studio, surrounded by dozens of  books he'd picked up at a local Goodwill. "We'd been on tour for so long, playing the  same set for almost two years, and I wanted to write something that was a departure,"  he remembers. Jeff Tweedy's books on songwriting were a big help, but Harmeier  pushed himself to get weird, too, finding inspiration in everything from astronomy texts  to sci-fi novels. "I would read some, work a little bit, read some more, and work a little  more," he says of the creative process. "I spent a full month in that studio, going there  every night, making word ladders and highlighting lines and learning to free write." 

Recorded at Yellow Dog Studios with longtime producer/collaborator Adam Odor,  Silverada propels the band forward without losing sight of their roots. "Stubborn Son" —  a loving, unsparing sketch of the family patriarch who set Harmeier's creativity in motion  — unfolds like a close cousin to Steak Night at the Prairie Rose's title track, laced with  fiddle solos from longtime George Strait collaborator Gene Elders. "Doing It Right"  channels the same throwback, slow-dance ambiance that informed 2019's "You Look  Good in Neon." "Load Out," which chronicles the grind of blue-collar jobs both on and  off the road, could've found a home on 2021's One To Grow On.  

There's a smart sense of history here — a celebration not only of where the band is  headed, where they've been, too. Even so, Silverada doesn't spend much time looking  in the rearview mirror. Instead, it keeps its gaze focused on the road ahead. This is a  snapshot of a band in motion, chasing down the next horizon, writing the soundtrack to  some new discovery. It's the sound of alchemy, of some new metal being forged. And  like silver itself, Silverada shines brightly. 

"We spent the first part of our career figuring out who we are and what we're good at,"  says Harmeier. "Now we want to evolve not only the sound of the band, but the dynamic  of the live show, too. We're all lifers here. We're in this for the long haul. Silverada is us  setting the stage for the next leg of the journey."

Show 8pm

FULLY SEATED

Ventura Music Hall Presents: 

TOMMY CASTRO AND THE PAINKILLERS

Multiple award-winning, California-based blues and rock sensation Tommy Castro is the guitar slinging, soul-singing leader of the telepathically tight and wildly raucous Tommy Castro & The Painkillers. He’s released 17 previous albums over the course of his four-decade career. Each release features its own individual sound and style, ranging from horn-fueled R&B to piping hot blues and soul to fiery, stripped-down rock ‘n’ roll. With his new album, Closer To The Bone, Castro has returned to his roots, delivering what he calls “a real blues record, the way they would have made them back in the day.” Closer To The Bone is the most unvarnished, straight-ahead blues release of Castro’s career, one that bristles with every ounce of his dynamic energy and raw emotion.

On Closer To The Bone (Castro’s 8th Alligator release), Castro and his Painkillers—bassist Randy McDonald, keyboardist Mike Emerson and drummer Bowen Brown—mix new Castro originals (Ain’t Worth The Heartache, Can’t Catch A Break, Crazy Woman Blues) with songs originally performed by many of Castro’s friends and heroes. Artists and their songs include Johnny Nitro (One More Night, on which Castro plays his treasured 1966 black Fender Stratocaster, a guitar once owned by Nitro himself), Magic Slim (Hole In The Wall), Ron Thompson (Freight Train), Mike Duke (Keep Your Dog Inside) and Chris Cain (Woke Up And Smelled The Coffee). Castro additionally chose obscure songs by Wynonie Harris (Bloodshot Eyes), Eddie Taylor (Stroll Out West), Jimmy Nolen (The Way You Do) and Johnny “Guitar” Watson (She Moves Me). According to Castro, “These are not the obvious artists people generally cover, and that was most definitely on purpose.”

Closer To The Bone was produced by master guitarist and studio wizard Christoffer “Kid” Andersen (producer of over 100 albums), at his now-famous Greaseland Studio in San Jose, California. Closer To The Bone finds Castro at the top of his game, bringing his seemingly limitless energy and boundless talent to the studio. Guests on the album include labelmates Andersen, Rick Estrin, Chris Cain and Billy Branch, along with saxophone player/vocalist Deanna Bogart, keyboard wizard Jim Pugh and, on three songs, the voices of The Sons Of The Soul Revivers.

Born in San Jose, California in 1955, Tommy Castro first picked up a guitar at age 10. He fell under the spell of six-string stars like Elvin Bishop, Taj Mahal and Mike Bloomfield. Almost every major rock and soul act, from Ike and Tina Turner to Janis Joplin to Tower Of Power, toured through the area, and Castro was at every show. He saw John Lee Hooker, Albert King, and Buddy Guy and Junior Wells at a local club, JJ’s Blues Bar. Castro often jammed at JJ’s, dreaming of busting out and making a name for himself. He created his own personal sound and style by mixing the blues, R&B and funk music he loved into his own, instantly recognizable brand of uplifting, soul-healing music.

As his reputation spread, Tommy played in several Bay Area bands, quickly making a name for himself as a hotter-than-hot live artist bursting at the seams with talent. In 1985, he became lead singer and guitarist for the regionally popular blues band NiteCry before joined popular Warner Brothers’ artists The Dynatones, gigging all over the country. He formed the first Tommy Castro Band in 1992 and has not stopped touring since. In 1995, soon after releasing their first album on Blind Pig Records, The Tommy Castro Band were selected as the house band for three seasons on NBC Television’s Comedy Showcase (airing right after Saturday Night Live). The show brought Tommy in front of millions of viewers every week and cemented his reputation as a not-to-be-missed live performer.

After a series of successful releases on the Blind Pig, Telarc and 33rd Street labels, Tommy Castro joined Alligator Records in 2009. His label debut, Hard Believer, launched to massive popular and critical acclaim. 2011 saw the release of the raucous Tommy Castro Presents The Legendary Rhythm & Blues Revue—Live!. In 2014, Castro & The Painkillers released The Devil You Know, followed by Method To My Madness in 2015, Stompin’ Ground in 2017, and the irresistible Killin’ It—Live in 2019. With 2021’s A Bluesman Came To Town, Castro told the story of a young musician’s journey through the blues world. AllMusic said the album was “a towering achievement.”

Castro received his fourth prestigious and coveted Blues Music Award for B.B. King Entertainer Of The Year in 2023. He’s taken home a total of 10 Blues Music Awards and is among the genre’s most decorated artists. Castro’s relentless road-dog approach—gig after gig, 150 nights a year—continues to earn him loyal, lifelong fans everywhere he plays. The Washington Post says Castro is “phenomenal and funky” with “soulful vocals and inspired blues guitar.” Famed guitarist Joe Bonamassa says, “Tommy has always been top of the heap among blues guitar players. He always puts on a great show.”

Tommy Castro & The Painkillers’ deceptively simple approach on Closer To The Bone delivers one thrilling performance after another. Says Castro, “Here, I’m not the contemporary guy, not the rock guy, not the soul guy. This is the deeper blues side of me. I know, with these songs, I am at my most authentic.”

Show 9pm // 18+

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

POP GIRL PRIDE

We’re throwing down this Pride season for our reigning pop girls - Gaga, Charli, Chappell & Sabrina! ✧˖°

Show 8pm 

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Ventura Music Hall Presents:

SOULS OF MISCHIEF

Show 9pm

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Ventura Music Hall Presents:

WHITEY MORGAN & THE 78’S

In a career spanning more than 15 years, Morgan has released six studio albums and a live recording from his hometown of Flint, Michigan. Additionally, he has toured relentlessly, averaging over 125 shows annually. Rolling Stone has described him as a "Waylon Jennings acolyte...modern day outlaw [with a] hard hitting blue-collar brand of music," while NPR hailed, "Staying close to the sound and subject matter of classic outlaw artists like Waylon Jennings, Merle Haggard and David Allan Coe, Morgan is poised to lead this hand-worn brand of country to the next generation."

Since “Hard Times and White Lines,” dubbed by American Songwriter as his "finest set yet," came out in 2018 , Morgan has been touring relentlessly, culminating in his official Opry Debut earlier this year. With this debut, Morgan not only cemented his place in country music's pantheon but is also embracing a pivotal moment that signifies his evolution from a hard-touring artist to a recognized torchbearer for outlaw country's enduring legacy.

Whitey recently returned to the studio and left with a handful of songs, of which he says " I’m more excited about these than I've been about music in a long time." These tracks, all produced by Shooter Jennings, signal Morgan's reinvigorated dedication to pushing the boundaries of what country music can be. "Let Me Roll," the first of these three new songs to be released, is a gritty, heartland anthem with soulful, blue-collar sound and is available to stream everywhere now. The remaining songs are aimed to release this fall and early 2025.

Show 8pm

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Ventura Music Hall Presents:

OZOMATLI

If Los Angeles had a soundtrack, it would be Ozomatli. Since 1995, the multi-genre, six-piece band has blended Latin, hip-hop, funk, reggae, and global influences into an unmistakable sound that captures the city’s energy and diversity. Emerging from LA’s politically charged streets, Ozomatli has spent 30 years uniting communities through music, earning three GRAMMY® Awards, performing at the Hollywood Bowl, and touring worldwide—from Burma to Mongolia. Their socially conscious lyrics and infectious grooves have made them a beacon of unity, resilience, and celebration. As they embark on their fourth decade, Ozomatli remains a living testament to the past, present, and future of Los Angeles—continuing to inspire and move hearts, minds, and dance floors across the globe.

Show 8pm // 18+

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Ventura Music Hall Presents:

NEON MOON COUNTRY PARTY

Show 8pm

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Ventura Music Hall Presents:

LAKEVIEW

with AUSTIN G

Tattooed, rural, and blue-collar country duo Lakeview (Jesse Denaro and Luke Healy) are among Nashville’s hottest newcomers. Garnering 130M+ streams and amassing a loyal following of 550K+ across social media, these “weekend warriors-turned-Music Row favorites” (The Tennessean) have managed to carve their own, niche lane in the country genre – thanks to a hard-charging, signature sound that effortlessly bridges the gap between metal-core and mainstream country. Fresh off the release of their self-titled debut album, Lakeview has been busy crisscrossing the nation, opening for the likes of Breaking Benjamin, Staind, Chase Matthew, Lynyrd Skynyrd, Mitchell Tenpenny, and more. Coming up, the breakout duo will kick off 2025 touring with their “Blue Collar Country” headline tour. Fans can keep up with what’s to come by visiting lakeviewofficial.com or downloading the “Lakeview Crew” app.

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served. 

Ventura Music Hall Presents:

BARRINGTON LEVY

One of the great success stories of the 80’s, arrived on the dancehall scene and swiftly remodeled it in his own image. Although numerous DJ’s and vocalist would rise and fall during this decade, Levy was one of the few with staying power, and he continued releasing massive hits well into the 90’s. Born in Kingston, Jamaica, as a youngster, Barrington Levy formed the Mighty Multitude with his cousin Everton Dacres.
They started off playing the sound systems and cut their first single, “My Black Girl,” in 1977. All of 14, Levy broke out his own the next year and recorded his debut solo single, A Long Time Since We Don’t Have No Love.” It didn’t have much of an impact, however the teen’s appearances in the dancehalls were eagerly awaited events. It was at one of these that Levy met former singer turned producer Junjo Lawes and Mew York-based producer Hyman “Jah Life” Wright. The pair took the youth into King Tubby’s studio, accompanied by the Roots Radics, and recorded a clutch of cuts. The first fruits of this union were “Ah Yah We Deh,” quickly followed by “Looking My Love”, and “ Wedding Ring Aside.” Success was immediate, but it was the mighty “Collie Weed” that really cemented the teen’s hold of dancehall.

“Shine Eye Girl”, was a smash follow up, and the young Levy was now in great demand. A stream of singles followed “Jumpy Girl”, a lovely version of Horace Andy’s “Skylarking”, “Reggae Music”, Levy joined forces with producer Alvin Ranglin for another sting of hits—“Never Tear My Love Apart,” “Jah”, “You Made Me So Happy,” and “When You’re Young and in Love.”Levy’s rich vocals were made for duets, both with other vocalists and DJ’s , and it wasn’t long before the young star was also recording collaborative singles. Toyan was a great foil on “Call You on the Phone””, he paired with Jah Thomas on “Moonlight Lover” and “Sister Debby”, and joined forces with Trinity for “Lose Respect” and a follow-up, “I Need a Girl” in 1980. That same year, Levy made a sensational appearance at Reggae Sunsplash, then returned in 1981. During these early years, the singer seemingly spent all of his time between the recording studios and the dancehalls. Amidst the deluge of singles, four albums arrived as well between 1979 and 1980. First up was Bounty Hunter, which boosted three smash singles—“Reggae Music”, “Shine Eye Girl”, and “Looking My Love” –and a clutch of other tracks that were just about as good. In Britain, the Burning Sounds label released Shine Eye Gal, also a hits heavy package which included the title track-track, “Collie Weed”, and “Ah Yah We Deh.” It was swiftly followed by the mighty Englishman, an absolutely fabulous record which was overseen by the unbeatable studio grouping of Junjo Lawes and two of King Tubby’s protégés—Scientist and Prince Jammy. A veteran of the clubs, he brought the spontaneity of the DJ to his records while returning vocals back to the sound system scene which had been purely the realm of the Djs.
Utilizing old roots rhythms revitalized by the Radics, and giving the songs a hard, but danceable edge, Lawes and Levy together helped establish a whole new dancehall sound.

1980’s Robin Hood merely affirmed that everyone in Jamaica already knew: That Levy was now the biggest star on t he island, with a talent that was unbeatable. Or more accurately, he was king of the singers, because ruling beside him was DJ Yellowman, another Lawes’ discovery, that was brought to him by Barrington Levy. Robin Hood was as big as its predecessor and was beginning to have an impact in Britain as well, where both it and Englishman had been released by the Greensleeves label. Not surprisingly, both albums heavy rhythms would provide the building blocks for the Scientist V Prince Jammy dub clash album. Unfortunately, Levy’s very popularity was now beginning to have some serious drawbacks. Even before stardom arrived, the singer had noticed with delight fans tapping his sets at the dancehalls, and these tapes were coming back to haunt him. Suddenly, the shelves were buckling under the weight of the bootlegged albums, featuring not just older pirated live material, but also unreleased outtakes and recycled older singles. In response, Levy didn’t release a new album for two years, but in the meantime, new singles more then made up for it. From 1980 came such hits as the haunting Lawes-produced “Mary Long Tongue” producer Linval Thompson’s “Too Poor,” and a string if hits cut with Karl Pitterson, including “ I Have a Problem” and “Even Tide Fire a Disaster”. And as the decade progressed, the flood hits continued. “I’m Not in Love”, “You Have It”, “Tomorrow Is Another Day”, “Robberman”, “BlackRose” “My Women”, and “Money Move” were just a small number of the hits released between 1981 and 1983, with the latter song the biggest smash of the batch. Levy even tried his hand at self-production, recording such excellent songs as “In the Dark” and “Love of Jah.” Amongst there were fabulous singles recorded for Joe Gibbs, “My Women” included. The Reggae Vibes album would bundle up Levy’s best with the producer, s well a number of cuts from fellow dancehall singer Sammy Dread.

1983 finally saw the release of Levy album “Money Move”. The latter was excellently overseen by George Phang and boasted a stupendous group of rhythms that Sly & Robbie had specifically made for the producer. In the U.K, the burning sounds label also released Hunter Man, a greatest-hits collection. But the hits were still coming on strong; in 1984 none were bigger then Levy and Jah Screw produced “Under Mi Sensi.” The pair would also record a new album that year, Here I come, whose title-track would the top 50 in the U.K The album itself took Britain by storm and ensured that Levy walked away with the best Vocalist Award at Britain’s Reggae Awards. It was also these songs that secured his spot in the Guinness Book of World Records, as the first reggae artist to hold both 1st and 2nd place slots in the charts. The same year, the singer also joined forces with another young singer who was tearing up the dance floors, Frankie Paul, for the intriguing sound clash set Barrington Levy meets Frankie Paul. 1985 brought Prison Oval Rock (the Volcano Jamaican label release, and not to be confused with the RAS label’s U.S. compilation of the same title), which found the singer joining forces with Lawes again, for another roots-fired set equal to its predecessors. It had been six years since Levy burst onto the scene with all the force of a nuclear weapon. Now in his early twenties, the singer’s output significantly began to slow. He did return to Reggae Sunsplash in 1987 and would remain a top attraction at the festival until 1985. He also released “Love the Life you Live” in 1988, a rather patchy effort compared to previous releases. It was to be his last new album until 1991.But Levy wasn’t a spent force yet. Before the 80’s were over, he scored tow more hits with “My Time” and “Too Experience”, both under the aegis of producer Jah Screw, and both covers of songs written by Bob Andy (ex-Paragons and also of Bob & Marcia fame).

Signing with MCA in t he U.S., Levy attempted to cross over into the North American market with 1983’s Barrington. Produced by Lee Jaffe, the Album featured a re-recorded “Under Mi Sensi”, and boasted strong songs as “Murderer” and “Vice Versa Love” and “Be Strong”, a major hit in the Caribbean and South America. However, the relationship with MCA was not a happy one and Levy quickly departed. Meanwhile, back in Britain, the singer was chalking up another hit with “Work”. In 1994, Levy was joined by Beenie man on the singles “Two Sounds” and “Murderer”. Both soon reappeared as fiery jungles remixes, with “Sensi”, in particular, mashing up the dance floors.

Under Jack Scorpio’s direction, the singer next paired with Mega Banton for “She’s Mine”. Jah Screw took these collaborations to the next logical step, and recorded an entire album and recorded and entire album of shared songs, Duets (this is its American title and it was released in the U.s. by RAS, and in the U.K., Levy’s relationship with Greensleeves continued, where the album there was titled Barrington Levy’s DJ Counteraction). From this set, “Living Dangerously” with Bounty Killer rocketed up the Jamaican charts and set pace at clubs around the world . Time Capsule came hot on its heels in 1996, a short album (a mere eight tracks plus five dubs), which more than made up for lack of quantity with quality.Over the next two years, his circle of friends was obviously growing, and 1998’s re-make of “Murderer” featured such diverse artists as rap master Snoop Doggy Dogg and Southern California punk-reggae heroes Long Beach Dub All-Stars. In 2003, his debut album Bounty Hunter was reordered and reissued as Moonlight Lover on the Burning Bush label. Two years later, the Sanctuary label collected his recordings with Henry Lawes and Alvin Ranglin for “Love Your Brother man: The Early Tear”. Numerous compilations have continued to appear featuring much of the singer’s greatest work.He was also featured in 2000 on rapper on Shyne’s debut album “Bad Boyz”, with two singles “Bad Boyz” which was number 1 on the hip-hop charts, and “Bonnie and Shynz.

Barrington Levy continues to tour extensively, selling out shows all over the world. He is currently working in an album which will be titled “Its About Time” and he has said it will be his last. This album will feature artist like Damion Marley, Buji Banton, Beres Hammond, Heavy D and a lot more surprises. He expresses love and appreciation to all his fans across the world, and looks forward to seeing you in future events.

Show 9pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

DABOII

with BIGSAD1900 and YOUNGINSOSLEAZE

Show 8pm

FULLY SEATED

Ventura Music Hall Presents:

DUANE BETTS & PALMETTO MOTEL

Duane Betts ignites and brings an evolution to the Southern rock tradition. With a fiery legacy forged by his father, the legendary Dickey Betts, the second generation musician infuses it with his own soul-stirring blend of blues, raw passion, and six-string mastery. Backed by his band, Palmetto Motel, Betts delivers a dynamic live show filled with searing guitar solos, heartfelt storytelling, and a mix of classic influences with fresh energy. Fans can expect a blend of roots rock, blues, and some improvisational jamming, creating an electrifying yet deeply authentic experience. With top-tier musicianship, a connection to rock ‘n’ roll history, and the desire to make every performance a true experience, a Palmetto Motel show is an unforgettable journey that no music lover should miss.

Palmetto Motel is…

Johnny Stachela (guitar, vocals)

Pedro Arevalo (bass, vocals) 

Vincent Fossett Jr. (drums)

Max Butler (B-3 organ)

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

ENTER SHIKARI

ENTER SHIKARI is ; 

Rou Reynolds - vocals / electronics

Rory Clewlow - guitar / vocals

Chris Batten - bass / vocals

Rob Rolfe - drums / vocals

Since forming in 2003 at school in their hometown of St Albans, U.K, Enter Shikari has, thus far, released seven full-length studio albums; TAKE TO THE SKIES (2007), COMMON DREADS (2009), A FLASH FLOOD OF COLOUR (2012), THE MINDSWEEP (2015), THE SPARK (2017). NOTHING IS TRUE & EVERYTHING IS POSSIBLE (2020), and the latest, A KISS FOR THE WHOLE WORLD which was released Friday 21st April 2023.

All seven albums debuted in the UK Album Chart top 5 “midweeks”, with 2023’s 'A Kiss For The Whole World' finally scoring the band their first ever UK Album Chart #1 record. Enter Shikari have been recipients of multiple awards and topped many a magazine reader’s poll, picking up 'Best Live Band’ gongs like there’s no tomorrow, as well as a plethora of ‘Best UK Artist’ and ‘Best Album’ statuettes, from the likes of Kerrang!, Rock Sound, the Heavy Music Awards and NME.

Summer 2020 saw the band announce a partnership / shirt sponsorship with local football team St Albans City FC. Frontman / songwriter / producer Rou Reynolds has published four books with Faber Music, the most recent (and most ambitious) being a ‘A Treatise On Possibility’ in the summer of 2021. As well as Rou Reynolds authored publications, in October 2022 Faber Music also published ‘Standing Like Statues - The Enter Shikari Biography’ written by Kerrang! Magazine editor Luke Morton.

Enter Shikari have played somewhere in the region of 3000 live shows around the globe, including three headline arena-sized tours in the UK, substantial UK / Europe arena supports in their early career with The Prodigy, Linkin Park and 30 Seconds To Mars, and more big and small festivals worldwide than it would be possible to list. The band’s last full U.K tour (December 2021) sold out across the board, including the band’s fourth headline show at London’s 10,000 capacity Alexandra Palace.

2023 kicked straight off with Enter Shikari releasing the single ‘(pls) set me on fire’ in January, accompanying an announcement of their new album, and what became known as the Residency Tour, which took in five British cities over the course of one week, repeating for three months. In May 2023, Enter Shikari announced UK arena tour dates for 2024, including the band’s first ever Wembley Arena show. In recognition of the grassroots touring scene which birthed the band, the band has pledged £1 from every ticket sale for the tour to be donated to the Music Venue Trust to support grassroots music venues in the UK. The band also announced a short European run, including the largest German and Netherlands shows Enter Shikari has played thus far. The band kicked off festival season for summer 2023 by headlining the UK’s Slam Dunk Festival in Hertfordshire and Leeds.

www.entershikari.com

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served. 

Ventura Music Hall Presents:

MONOPHONICS

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Ventura Music Hall Presents:

NICK WATERHOUSE

with LOS SO-LOWS

Nick Waterhouse is a modern American singer-songwriter who released his debut album, Time’s All Gone, in 2012. In his music you will hear echoes of things you might think you know, or believe you remember, filtered through the lens of a unique artistic perspective. You will hear rhythm and blues, garage rock, radio soul and wee-small-hours balladry – but reconfigured, made new. In Waterhouse’s music, the time is both now and then. The past is the present is the future. The sound is classic yet unclassifiable.

Show 7pm

Ruff House Barbecue Presents:

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

GLASS BEAMS

Initially conceived through the rekindling of childhood memories relating to his father, who emigrated to Melbourne from India in the late 1970's. Glass Beams aka Rajan Silva cites one particular memory — the watching of 'Concert for George,' a starstudded tribute to late Beatles member George Harrison performed at London's Royal Albert Hall in 2002, featuring legendary Indian sitar player Ravi Shankar with daughter Anoushka, alongside Western icons Eric Clapton, Paul McCartney and ELO's Jeff Lynne — as being especially formative. It is this spirit of cross-pollination between East and West, of old and new, that he has sought to capture in the self produced works of Glass Beams, whose output presents a timeless fusion of cultures and sounds beamed through a prism of live instrumentation and DIY electronica, all wrapped up inside a mesmerizing and mystical visual world of their own making. Through debut EP 'Mirage' and recent breakout EP 'Mahal,' Glass Beams have catapulted into the collective consciousness of millions of new followers who came to discover the serpentine, psychedelic-tinged tracks through social media, streaming services and word of mouth. Expanding from solo project to a trio for their live shows, the band have also seen phenomenal success selling out every show on both their debut European and North American tours — adding numerous additional dates and venue upgrades due to demand.

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

BABE RAINBOW

They say it ain’t where you’re from, it’s where you’re at. But for Angus Dowling, Jack ‘Cool-Breeze’ Crowther and Dr Elliot ‘Love Wisdom’ O’Reilly, the character of their home, Australia’s idyllic Gold Coast, permeates every atom of the dreamlike, joyful, psychedelic music they create together as Babe Rainbow. “The old Aquarius hippie connection is everywhere around here,” singer Angus says. “We tap into it, and absorb it all.” And their new album, Slipper Imp And Shakaerator, is their most “homegrown” project yet – a suite of maverick, zephyr-light acid-pop following its own north star and chasing subtle, slippery, subterranean grooves to delirious destinations. 

The trio grew up in Rainbow Bay, later relocating to nearby Byron Bay. An area of breathtaking natural beauty, where the waves are always strong, the magic mushrooms grow freely, and old, abandoned farm buildings abound. It was and remains the perfect locale for young dudes to play their music as loud as they want. “We were 16 and 17 years old, working at Tropical Fruit World in Duranbah, cruising around the kiosks and listening to the Nuggets compilations,” remembers Angus, of the group’s earliest days. “Jack and I met in the Australian youth choir as junior songbirds years before that, and he was still the only technical musical guy I knew, but I had the feeling we could all play this music we loved in our own way. We lived on an avocado farm up around then, in the macadamia orchard of the property. And it was so much fun making random noise while surrounded by the mangoes and the bush.”

The trio jammed tirelessly in those abandoned shacks, and as their sound began to develop, they booked shows in Brisbane, the nearest city, a two-hour drive away. While playing Brisbane, they crossed paths with King Gizzard & The Lizard Wizard, who began to book the embryonic Babe Rainbow as opening band at their shows. “This is before Gizz’s ‘stadium-rock’ period,” Dowling grins.

The Gizz connection would prove fortuitous for Babe Rainbow, who signed to the group’s Flightless label for their 2015 eponymous EP, and whose 2017 self-titled debut LP was produced by Gizzard King Stu Mackenzie. The album established a loyal following for Babe Rainbow, one which has only grown over the records since. And Babe Rainbow’s music itself has evolved across those years, as the band have travelled, toured the world and connected with new friends in faraway places. “Early on, we got to play in California, came early, stayed late, caught a ton of good waves and met some of the best people in the world,” Angus says. “We began rolling around the world, picking up new styles and collaborating with everybody.” 

This creative sprawl reached its apotheosis with 2022’s The Organic Band, which Angus remembers as coming together “on the road, a lot of friends together. We met [drummer] Miles Myjavec from Sydney and began chucking ideas down. We were meeting amazing people in California and London and Paris just jamming and singing, everyone’s so happy, having the best time ever.” 

For the new album, however, Babe Rainbow have opted for a different approach – one Angus says “keeps to the powers of the Rainbow”. The collaborations with all the free spirits they encounter along the way have been curtailed this time. “We’d done a few albums of us experimenting with people we met on the road and bringing in influence from everywhere,” says Angus. “This is the first record since our debut EP where it’s just the ‘original Gs’, pushing the songwriting in the direction we want, without any groove geniuses around helping us in those really deep and special moments of writing a song.” This back-to-basics, back-to-the-source vibe explains the album’s enigmatic title, the (Bunyip) Slipper Imp and the Shakaerator, aka the Yeoman plow, a sub-soiler chisel plow designed for the more extreme conditions found in Australia, the “revolutionary new ripper of great strength – haha!” says Angus.

The trio took over a massive warehouse on an old banana farm where they could get to work alongside friend and producer Timon Martin and magical Miles Myjavec on percussion and flute. The roots of the tracks often lay in riffs and figures cooked up by guitarist Jack Crowther. “‘Cool Breeze’ has always got something going on” says Angus. “He’s always keen to jam, and Timon’s so good with helping to realise the potential of a song.” The key this time was not to overwork these early ideas, to give them space “to flow, to grow”, he explains. “Keeping a loose feeling to the music is so important. An idea develops together outside but it doesn't take its wings until you take it into the studio. Every step of the way, I'm always trying to stay connected to Jack’s original moment of inspiration. We experiment with synths and drum machines and overdubs, and we love that, but we never wanna escape too far from the hippie power of the music. We're made of rainbow.”

That looseness and that true essence are key to the pleasures within Slipper Imp And Shakaerator. The album rambles gleefully wild, the jams running long but with purpose, lysergic harmonies loosely tethered to deftly funky rhythms loops and fragments of guitar that channel the lyricism of high-life (What Is Ashwagandha), the flash of 80s funk (Like Cleopatra, a glorious, sun-soaked pop banger in disguise), the white-heat of acid-rock (When The Milk Flows). There are haunting instrumental vignettes (Apollonia), nuggets of lo-fi introspection (Now And Zen), even a massive, ground-quaking, reggae-informed excursion starring old friend Stu Mackenzie (the woozy, wonderful Mt Dub), who also mixed the album.

Indeed, while the connection between the core Rainbow Babes here is crucial to the character of Slipper Imp And Shakearator, they weren’t working entirely alone. One key collaborator was singer Camille Jansen, who the group met through their friend and old band mate Maria Benz, and who joined them onstage on their recent US tour. “Cami sang on all the songs on the album, but I feel we haven’t fully tapped into our connection together yet,” says Angus. “She brings an insane new flavour, which is stupendous. It feels really cool and powerful to add her to this lineup.”

But ultimately, Slipper Imp And Shakearator is a celebration of all the colours of the Babe Rainbow – the milk, Angus jokes. “I love the fact that, with all the touring and the changing tides, and hair, the creative relationship within the band still feels so strong. I feel so lucky to have this psychedelic family, which is really the essence of the band. We’re just a bunch of laid back surfers, cattlemen’s sons.”

But as Slipper Imp And Shakearator proves, these babes have access to powerful, home-baked psychedelic magic, and they aren’t reluctant to share. Come grab some – all are welcome.

Show 9pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

KOLOHE KAI

with Special Guest FIA

Kolohe Kai stands as a pioneering force in Pacific Island reggae, blending island melodies, roots reggae, pop, and R&B into a sound that resonates across generations. Fronted by singer-songwriter Roman De Peralta, the Oahu-born artist has captivated audiences worldwide with heartfelt lyrics, smooth vocals, and an undeniable connection to the aloha spirit. 

Since breaking onto the scene as a teenager, Kolohe Kai has amassed millions of streams, multiple Reggae Album of the Year awards, and a dedicated global fanbase. His signature hits, including “Ehu Girl,” “Cool Down,” and “Heartstrings,” have become anthems of island culture, while his recent collaborations and evolving sound continue to push the boundaries of the genre. 

In 2025, Kolohe Kai embarks on his next chapter with the release of two powerful singles leading up to his upcoming full-length album, What Aloha Means. His January 24th release, “Day by Day” featuring The Green, showcases an uplifting, soulful collaboration with one of Hawaii’s most beloved reggae bands. Now, on April 4th, he follows up with the title track “What Aloha Means”, a deeply moving song that reflects the true essence of aloha—love, kindness, and connection. The track features the Kamehameha Schools Children's Chorus, known for their role in the classic Disney film Lilo & Stitch, bringing an angelic harmony that enriches the song’s heartfelt message. 

To celebrate the release of What Aloha Means, Kolohe Kai is set to launch a nationwide amphitheater tour in Summer 2025, bringing his signature feel-good energy and message of aloha to fans across the U.S. The tour will span major cities, including New York, Chicago, Denver, Phoenix, and multiple California stops. 

With a career spanning over a decade, Kolohe Kai remains one of Hawaii’s most streamed and beloved reggae artists. His commitment to spreading positivity, embracing his island roots, and creating music that inspires has solidified his place as a leading voice in contemporary island reggae. Whether through viral hits, award-winning albums, or electrifying live performances, Roman De Peralta’s mission remains the same—to share the meaning of aloha with the world, one song at a time.

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

KOLOHE KAI

with Special Guest FIA

Kolohe Kai stands as a pioneering force in Pacific Island reggae, blending island melodies, roots reggae, pop, and R&B into a sound that resonates across generations. Fronted by singer-songwriter Roman De Peralta, the Oahu-born artist has captivated audiences worldwide with heartfelt lyrics, smooth vocals, and an undeniable connection to the aloha spirit. 

Since breaking onto the scene as a teenager, Kolohe Kai has amassed millions of streams, multiple Reggae Album of the Year awards, and a dedicated global fanbase. His signature hits, including “Ehu Girl,” “Cool Down,” and “Heartstrings,” have become anthems of island culture, while his recent collaborations and evolving sound continue to push the boundaries of the genre. 

In 2025, Kolohe Kai embarks on his next chapter with the release of two powerful singles leading up to his upcoming full-length album, What Aloha Means. His January 24th release, “Day by Day” featuring The Green, showcases an uplifting, soulful collaboration with one of Hawaii’s most beloved reggae bands. Now, on April 4th, he follows up with the title track “What Aloha Means”, a deeply moving song that reflects the true essence of aloha—love, kindness, and connection. The track features the Kamehameha Schools Children's Chorus, known for their role in the classic Disney film Lilo & Stitch, bringing an angelic harmony that enriches the song’s heartfelt message. 

To celebrate the release of What Aloha Means, Kolohe Kai is set to launch a nationwide amphitheater tour in Summer 2025, bringing his signature feel-good energy and message of aloha to fans across the U.S. The tour will span major cities, including New York, Chicago, Denver, Phoenix, and multiple California stops. 

With a career spanning over a decade, Kolohe Kai remains one of Hawaii’s most streamed and beloved reggae artists. His commitment to spreading positivity, embracing his island roots, and creating music that inspires has solidified his place as a leading voice in contemporary island reggae. Whether through viral hits, award-winning albums, or electrifying live performances, Roman De Peralta’s mission remains the same—to share the meaning of aloha with the world, one song at a time.

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

SUNNY DAY REAL ESTATE

Formed in 1992, Seattle’s Sunny Day Real Estate are known as the godfathers of Emo. The four piece of Jeremy Enigk, Dan Hoerner, William Goldsmith and Nate Mendel released their debut album, Diary, on Sub Pop Records in 1994 to critical acclaim (including topping Rolling Stone’s “40 Greatest Emo Albums Of All Time”) and followed up with 1995’s LP2, which was released after their breakup. 1998 saw the reunited band (not including Mendel) release How It Feels to Be Something On, followed by 1999’s Live and 2000’s The Rising Tide before they disbanded for the second time. The original four piece band reunited for touring in 2009 and 2010 including their first ever European shows (debuting at Spain’s legendary Primavera Sound) and Coachella. Sunny Day Real Estate’s only new recorded output since The Rising Tide was 2014’s “Lipton Witch,” released on a split 7” with Circa Survive for Record Store Day. In 2022, Enigk, Hoerner and Goldsmith returned to the road on a sold out 24 city tour with the band rounded out by Greg Suran and Chris Jordan. 2024 sees the band celebrating the 30th anniversary of their debut album with a tour, a re-recorded version and their first new song in 10 years.

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Nastyboy Records Presants:

MC MAGIC & LIL ROB

with Special Guest ANTONIO CARDENAS

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

Y&T

Before Mötley Crüe, before RATT, even before there was a Metallica, Y&T was slogging away in sweaty rock clubs around America. When the band formed in the early 1970s, little did they know they would set the standard for hard rock bands that trailed. Many of the biggest acts of the ’80s became popular opening for headliners Y&T—and cut their teeth on the band, as evidenced by the Y&T mentions in tell-all books by acts such as Metallica and Mötley Crüe.

Born in Oakland, California, Y&T is one of the San Francisco Bay Area’s own innovators of the hard rock sound. Whether performing to a festival crowd of fifty-thousand or in an intimate nightclub, Y&T’s high-energy set and passionate performances still captivate legions of fans around the globe, proving Y&T’s music timeless.

Originally formed as Yesterday and Today, the initial powerhouse quartet—featuring Dave Meniketti (lead guitar/lead vocals), Phil Kennemore (bass), Leonard Haze (drums), and Joey Alves (rhythm guitar)—tore through the ’70s and ’80s with their own brand of hard rock. After two ’70s albums on London Records, they shortened their name to Y&T and released eight albums on A&M in the ’80s. Two more albums with Geffen Records marked an era of change with Jimmy DeGrasso (Alice Cooper, Suicidal Tendencies, Megadeth) on drums and Stef Burns (Alice Cooper, Berlin, Huey Lewis) on guitar.

With a discography of 18 albums, three greatest hits collections, plus a boxed set, Y&T has sold over four million albums since their 1974 inception. The band’s most recent single I’m Coming Home has climbed to roughly 1.5 million views on YouTube. Y&T received extensive airplay with hits such as Forever, Rescue Me, Mean Streak, Don’t Stop Runnin’, and Summertime Girls—which played in heavy rotation on MTV. Y&T songs have been featured in a multitude of movies and television shows, including Real Genius, Out of Bounds, Baywatch, and Hunter. After five top 100 albums, songs that tipped into the 40s, two Bammie Awards, and many international television appearances, Y&T’s hits are still played on VH1 Classic and classic rock radio stations worldwide.

With the passing of Kennemore, Haze, and Alves, it’s Meniketti who carries on the legacy that is Y&T. Y&T continues to tour the world, featuring the dynamic original frontman Dave Meniketti (lead guitar/lead vocals), John Nymann (guitar/vocals), Aaron Leigh (bass/vocals), and Mike Vanderhule (drums/vocals), playing songs that span the band’s five-decade career and including all the hits and fan favorites. Prepare to have your face melted.

Show 8pm

GA tickets are standing room only, with very limited seating available first come, first served.

Ventura Music Hall Presents:

AUTOHEART

Show 9pm

GA tickets are standing room only, with very limited seating available first come, first served. 

Ventura Music Hall Presents:

SUGA FREE