Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
BALLYHOO!
with CYDEWAYS and THE HARBOR BOYS
Through 25 years and eight independent albums, the last four on their own Right Coast Records, Ballyhoo! have earned the exclamation point which marks their name. Starting in the basement of their mom’s Aberdeen, MD, home, rocking out on guitar and drums respectively, practicing every day, brothers Howi and Donald Spangler formed the proto-punk band in the mold of Green Day and Nirvana, with an eye towards the emerging ska genre led by Goldfinger, Sublime, 311 and No Doubt.
The group’s eighth and most recent studio album, the breezy, ska-fueled, hook filled Message to the World, on their own Right Coast Records, finds the self declared “beach-rockers,” having grown up in public, accepting the responsibilities of adulthood while still hanging on to their dreams of world domination. Stylistically, their music ranges from the hard-edged punk of 2018’s Detonate, which captured the feelings of anger and depression from dealing with personal loss and the exhaustion generated by over a decade on the road to the island reggae beats of the follow-up, Message to the World. “Whatever you want to achieve, just focus on that and work towards it,” explains Howi about the Ballyhoo! ethos. “Don’t worry about followers, views, or even money. Just keep making good stuff. One day it may be possible to finally quit that day job and live your dream full time.”Ballyhoo! is still doing just that, purveying good vibes, positivity and fun live shows meant to take you away from real life...
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
THE DIP
with LUKE TYLER SHELTON
The Dip is a Seattle-based Rhythm and Blues band that is known for its poignant songwriting, detailed arrangements, and vintage sound. Featuring a three-piece horn section, the group’s music harkens back to earlier soul and funk influences while hinting at the jazz foundations that brought the band’s members together. Along with singer and guitarist Tom Eddy, bassist Mark Hunter and drummer Jarred Katz are equally at home in a tight-pocketed groove as they are spacious free-improvisation. Trumpet player Brennan Carter joined by saxophonists Evan Smith and Levi Gillis serve as the band’s melodic counterpoint, playing off Eddy’s vocals to create a distinct sonic character that has drawn in millions of listeners to date.
'Love Direction', the follow-up to 2022’s 'Sticking With It' (which landed at #1 on the Billboard Current R&B Albums Chart) is the band’s fourth full-length studio album and second for Dualtone Records, is out now. This new record is the sound of the band taking their next step forward. The interplay of old and new is on full display throughout the album; and, the group augments their classic sound with an expanded instrumentation throughout. Eddy says of the album’s inspiration: “As you get further along in a relationship, sometimes you lose your way. The things that came easily in the beginning get hard. The love is still there, it’s just that people and life are complicated. Sometimes you don’t have the tools in the toolbox to figure out what you need to do to support the other person, so you have to get help and ask for directions.”
Still, despite the title, this latest record isn’t a collection of straightforward love songs, but an investigation into the different angles and challenges that relationships can bring. Expanding on the album’s theme, Eddy further notes “These aren’t ‘Love Songs’ in the most obvious sense. They deal with the middle stages, the hinterlands of love and life together - figuring someone out and what they need, learning how to communicate, and examining your own faults. We set out to write music that felt more grown, a little wiser. The songs that emerged all pointed in the Love Direction.”
Their last album cycle saw the band headline and sell-out shows at iconic venues across the country. They have also had the opportunity to support new friends like Lake Street Dive and The Black Pumas, while also appearing at major festivals including Bonnaroo and Outside Lands. No strangers to the road, this new album represents a reflection on the band’s touring gravitas as well as the promise of a new destination appearing on the horizon. Directions now in hand, The Dip is looking forward to furthering this exploration into all matters of the heart by bringing this expansive and detailed new recording to life in their next travels together.
Show 8:30pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
MAGIC CITY HIPPIES - ENEMIES TOUR
with MUSTARD SERVICE
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
RICH KIDS ON LSD
with SEIZED UP, PULLEY and CIGAR
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
BADFISH - A TRIBUTE TO SUBLIME
with KYLE SMITH and FAYUCA
Badfish is a vibe. Badfish is a sonic house party complete with plenty of gyrating fans sipping libations and enjoying various extracurricular activities. Badfish is feel-good music.
For almost 25 years, the Rhode Island-based band – Joel Hanks on bass, Scott Begin on drums, Pat Downes on vocals and guitar, Danny Torgersen on horns, keyboards, and guitars – have successfully paid tribute to Sublime, the influential California group that brought ska-punk and reggae-rock to the mainstream. Badfish’s heartfelt celebration of Sublime’s musical spirit and legacy is so sought-after that they’ve headlined theaters, sold out shows, and played 15-20 gigs a month.
But now, Badfish is more. After two decades of Sublime reverence, Badfish originality is stomping into high gear. Badfish recently released its second new song, the anthemic, groove-fortified “F You Pay Me,” with special guest Grieves, as the follow-up to the band’s first single, “High With You.” Now the Sublime repertoire is nicely augmented by fresh original tracks that blend seamlessly together.
Show 8pm
FULLY SEATED
V.M.H. & Rum & Humble Present:
LADYSMITH BLACK MAMBAZO
Let us tell you a story. An impossible to believe, yet, true story. Once upon a time there was a teenage boy working on his family farm in apartheid South Africa. The year was 1960. This boy loved to sing, in fact he loved to sing so much that he allowed himself an impossible dream. In his dream he would create a group of singers, from his family members, to sing traditional South African songs. His group would perform all over South Africa and they would become the greatest music group his country would ever know. How could such a dream come to a young farm boy in a country rife with hardship, violence and trouble? Well, Joseph Shabalala was this young farm boy and his dream would become Ladysmith Black Mambazo.
The year 2023 marks the 63rd anniversary of Joseph Shabalala forming Ladysmith Black Mambazo. His group would not only conquer all of South Africa, but would become a worldwide phenomenon, winning more GRAMMY Awards (Five), and receiving more GRAMMY Award nominations (Nineteen), than any World Music group in the history of recorded music.
During the dark years of South African Apartheid, Ladysmith Black Mambazo followed a path of peaceful protest through songs of hope and love. When Nelson Mandela was released from prison, in 1990, he said that Ladysmith Black Mambazo’s music was a powerful message of peace that he listened to while in jail. When Mandela was awarded the Nobel Peace Prize, in 1993, he asked the group to join him at the ceremony. It was Mandela who called Ladysmith Black Mambazo “South Africa’s Cultural Ambassadors to the World.”
The group sings a traditional music style called isicathamiya (Is-Cot-A-Mee-Ya), which developed in the mines of South Africa. It was there that black workers were taken to work far away from their homes and families. Poorly housed and paid, the mine workers would entertain themselves, after a six-day work week, by singing songs into the wee hours on Saturday night and Sunday. When the miners returned to their homes, this musical tradition returned with them.
In the mid-1980s, American singer/songwriter Paul Simon famously visited South Africa and incorporated the group's rich harmonies into his renowned Graceland album – a landmark recording considered seminal in introducing World Music to mainstream audiences. This brought the group to the attention of music lovers all over the world, the beginning of a global musical career that shows no sign of ending.
After leading his group for over fifty years and approaching his seventy-fifth birthday, Joseph Shabalala retired in 2014, handing the leadership to his three sons, Thulani, Sibongiseni and Thamsanqa Shabalala. Having joined their father’s group in 1993, their many years of training had prepared them in ways no others could be trained. Now, carrying their father’s dream into the future, the Shabalala Family continues the group’s success for the world to hear.
Ladysmith Black Mambazo is Thulani Shabalala, Sibongiseni Shabalala, Thamsanqa Shabalala, Msizi Shabalala, Albert Mazibuko, Abednego Mazibuko, Mfanafuthi Dlamini, Pius Shezi and Sabelo Mthembu.
Show 9pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
LITTLE STRANGER
with WAX
Hailing from Philadelphia and now based in the vibrant city of Charleston, SC, alt indie hip-hop duo Little Stranger (Kevin and John Shields, no relation but best friends) have spent years honing their signature sound and perfecting their version of the “organized chaos” that a Little Stranger live show entails. In an era where genre is increasingly irrelevant, Little Stranger delivers a fresh take on melodic hip-hop garnering comparisons to newer artists like Remi Wolf, Still Woozy, and Marc Rebillet but also the golden age of hip hop running into pop epitomized by early 2000s Timberland, Gorillaz and NERD. Between John’s melodic singer-songwriter magnetism, Kevin’s in-your-face delivery, and an overall undeniable groove the duo has become known for their unique sound, - garnering millions of streams, playing countless sold-out shows and major festivals like Lollapalooza, Governor’s Ball, Hangout Fest, BottleRock, Levitate Music & Arts Festival, and more.
Their new album Sat Around Trippin (out June 28 on Ineffable Records) was written and recorded from the duo’s home studio in Charleston for the most part, but started at a remote cabin in Bat Cave, NC with the boys’ shared goal of disappearing a bit and recalibrating their creative minds after months on the road. Several of the tracks on the album were spawned there in those small magical windows of time when late nights became early mornings and creativity didn’t have to vie for their attention. Lead single “Kama Sumatra” was written in response to the political drama surrounding transgender rights and features a tropical melody complete with the marimba. The single sends a message of acceptance and reminder that yourself is the best thing you can be.
Slinky hip-hop/reggae single “Fly Guy” is a cheeky track that pokes fun at old habits, “I used to be a fly guy, used to smoke but now I get too high.” The song was written while looking back on a past version of themselves while also looking ahead to the ideal version of themselves they can become in time.
Feel good gospel inspired focus track “God at a Festival” featuring Andy Frasco was written in collaboration with Andy as well as Ross Bogan (keyboard player of Doom Flamingo,) and Damn Skippy out of the duo’s home studio in Charleston. A unique mix of rap and soul, the track encompasses the feeling of freedom and self-expression one gets from live music and the atmosphere of a festival.
“Nobody Like Me” sees Little Stranger lean into their rock side with punk guitars, screams, and a killer bass line for this high-energy anthem. The track explores feeling lonely in a society where status is king. Sat Around Trippin is largely self-produced and is an album that you can lay back and kick it to, whether you are 18 or 81 showing the band’s ability to connect with anyone regardless of age. Sat Around Trippin serves as the follow up to cult favorite Trip Around Saturn, which featured Del the Funky Homosapien and The Elovaters among others.
This summer, Little Stranger is staying busy joining Stick Figure on the road, releasing new music, playing festivals like Governor’s Ball, Hangout Fest, Electric Forest, and more. Following their summer tour and festival run, Little Stranger is bringing their electric live show to various cities across the U.S. on their Fall headline tour kicking off September 26. Mental health is something the duo have been actively speaking about for years from firsthand experience. For their upcoming tour with Stick Figure, Little Stranger has partnered with Backline, a mental health fund for musicians, to donate $1 of every ticket sold on the tour. In Little Stranger’s live shows, these lifelong road dogs offer a chance to lose yourself, be yourself, and be accepted as part of a community (the “Strangerverse”), all while leading with love, getting loose and putting the fan experience first.
Between their out-of-the-box creative endeavors and an ever-increasing arsenal of new tunes, Little Stranger is poised to make 2024 another slam dunk. For more information, please visit www.littletrangermusic.com
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
THE GARCIA PROJECT
The Garcia Project is the only nationally touring tribute that performs full, classic Jerry Garcia Band set lists from 1976-1995!
The Garcia Project stands as a premier tribute band dedicated to faithfully recreating the legendary performances of the Jerry Garcia Band. With a meticulous attention to detail, they reconstruct not only the beloved setlists but also the distinctive tempos, arrangements, and even utilize replica guitars and gear to authentically capture the essence of Jerry Garcia's sound.
Comprised of dedicated musicians and passionate fans of Jerry Garcia's solo work, The Garcia Project goes beyond mere homage, striving to transport audiences back to the intimate and transformative concert experiences that defined the Jerry Garcia Band. From soulful ballads like “Mission In The Rain to electrifying jams such as "Deal," every performance is a journey through Garcia's musical universe, faithfully recreated with precision and reverence.
Through their commitment to authenticity and musical craftsmanship, The Garcia Project ensures that each show is not just a nostalgic trip down memory lane, but a vibrant celebration of Jerry Garcia's enduring musical legacy. By meticulously recreating the nuances of Jerry Garcia Band concerts, from the gear to the groove, The Garcia Project honors Garcia's spirit of improvisation and musical exploration, ensuring that his music continues to inspire and resonate with audiences everywhere.
Not a Grateful Dead tribute, but a tribute to Jerry Garcia’s beloved other band, The Jerry Garcia Band, which toured in between Grateful Dead tours, and played original songs as well as great covers from many genres, including rock, Motown, gospel, bluegrass and more.
“The Garcia Project is a must-see for anyone who had the good fortune of seeing Jerry’s band live. I was lucky enough to share the JGB experience with Jerry, John Kahn, Maria Muldaur, Keith and Donna. Being on stage with Mik, Kat, Dan and the crew is the closest thing to the original. They are Jerry’s kindred spirits when it comes to making music. Even if you never saw JGB live, you can see and hear their spirit at a Garcia Project performance.”
– Buzz Buchanan, Drummer for The Jerry Garcia Band 1977-1978
Often called the “DSO of JGB” by fans, The Garcia Project’s performances are based on actual set lists performed by The Jerry Garcia Band. All of their performances are recreations of full classic Jerry Garcia Band shows from 1976 to 1995. For anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.
The founding members of The Garcia Project got to see the Jerry Garcia Band live on tour for many years, and the sound and feelings are deeply embedded in them. With precise arrangements and the proper instrumentation and feel for the various eras, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and the fans through many years of musical bliss. It’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another.
Praised by Dennis McNally, the press, and fans, The Garcia Project has been recreating classic Jerry Garcia Band set lists with stunning accuracy and detail across the country since 2010.
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
SUN ROOM
with TRESTLES
Born and raised in SoCal's surf-rock scene, Sun Room, quickly went from getting the cops called on them for playing too loudly at house shows to performing their music in sold out room across dozens of countries.
After a series of unexpected viral moments, two of their songs were included on the hit Netflix series, Outer Banks, which continued the wave of excitement online. So within just six months of the band forming, Sun Room went on to sell out a run of shows across the US, support Louis Tomlinson's North and South American tour, and support Inhaler in Europe.
Making their way back to the US in Fall 2022, Sun Room embarked on their first headline tour across North America, selling over 13,000 tickets. Getting back on the road in Spring 2023, the band toured the US with Inhaler, then went straight into their own headline run.
After returning home to San Diego for the summer, Sun Room finished their latest EP "At Least I Tried" - A 4 track EP produced by Zac Carper from FIDLAR, one of the band's biggest influences growing up in the California DIY scene. The project was met with great responses from the public, scoring playlist covers across DSPs, a highlight from Iggy Pop on BBC 6 and DIY Mag describing them as "a band so unashamedly indebted to the garage rock'n'roll of decades past..." The project dropped as the band kicked off their second headline tour across all of North America, playing in over 30 cities, before finally jetting off to Australia for a headline tour and series of festivals for December 2023 - January 2024.
Coming off a headline run and festival circuit in Spring 2024, Sun Room is gearing up to release their latest EP on August 9th with the first singles "Hate It When You Call" and "Get Me Outta New York City" out now. Watch the music video for "Hate It When You Call" HERE. This EP drops, just before the band joins Dayglow on his fall headline tour for 20+ dates across the US before jumping into their own biggest West Coast tour yet.
In 2023, Sun Room gained over 500k followers across social media with a steady flow of global listeners that continue to grow as they experiment with their sound, play in new cities, and pull influences from the unique experiences they have encountered in just three years of being a band.
Show 9pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
MICRO MANIA WRESTLING
MicroMania Tour is a high powered, explosive, athletic Pro Wrestling show with just the right touch of comedy thrown in to make for a unforgettable BIG event not necessarily BIG people!!
These micro athletes may be short in stature but are giants in the world of entertainment where they will keep you on your feet screaming from the opening bell through the Main Event!
Show 8pm
FULLY SEATED
Ventura Music Hall Presents:
SONJA MORGAN: Sit Down with Sonja in Your City
Sonja is coming to your town for an unfiltered cabaret comedy show that will have you seeing
double and feeling single!!! Sit Down with Sonja in your City for a show unlike any other where
YOU are the star! Well, Sonja is the star, but she wants to meet you too. Come ready to ask all
your burning questions and you know Sonja will answer in her unabashedly unlike anyone
fashion. Bawdy and real.
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
THE BROTHERS COMATOSE
with TWO RUNNER
The Brothers Comatose's singer-songwriter Ben Morrison share some insight into their latest polarizing single "The IPA Song," "We generally use our music to unify people, but there comes a time for every band when you have to make a statement. This is our most controversial song and we realize that some of our audience will hate us for it, but it's time we finally say something: we can't drink IPAs anymore!"
"Phew, that felt good to get off my chest."
"In all seriousness though, we overdid it quite a bit, back when we were sponsored by a great beer company and they delivered multiple cases of IPA to every tour stop of ours. It was great for a while, but it got to the point where we had cases and cases of warm IPA in our van and that's all we drank. Too much warm IPA will change a person, and now we can only drink light beer. We're more of a quantity over quality band these days, at least when it comes to beer."
"This song came about because there are lots of craft beer lovers in our musical world and we would find ourselves drinking lots of high alcohol percentage beers when we’re playing shows, and we just can’t do it anymore. We want to enjoy a few beers while we’re playing without getting too drunk, and light beer saves us from that. Pabst Blue Ribbon, if you’re reading this, we’re still looking for sponsorships!”
The Brothers Comatose's new single "The IPA Song" is available now
Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock-n-roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy, rock concert-like shows.
The Brothers Comatose is comprised of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Steve Height (bass), Philip Brezina (violin), and Greg Fleischut (mandolin, vocals). When they’re not headlining The Fillmore for a sold-out show or appearing at Hardly Strictly Bluegrass Festival, the band is out on the road performing across America, Canada, Australia, and hosting their very own music festival, Comatopia, in the Sierra foothills.
The San Francisco quintet are heading out for a massive U.S. tour in further support of their most recent album Ear Snacks - a heartwarming collection of collaborations from their Ear Snacks YouTube series.
Show 9pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
JERRY'S MIDDLE FINGER
Show 7pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
VUNDABAR & YOT CLUB
with FAERYBABYY
Artist Presale: Wednesday, December 4 @ 10am PT
Spotify Presale: Thursday, December 5 @ 10am PT
*All presale end Thu. December 5 @ 10pm PT
Public onsale: Friday, December 6 @ 10am PT
Vundabar -
Vundabar is a Boston-based trio that delivers jangly, fuzzed-out math-and surf-tinged indie rock shot through with plenty of post-punk spirit. Formed in 2013 by vocalist/guitarist Brandon Hagen and drummer Drew McDonald while still in high school, the duo eventually recruited bassist Zack Abramo and began playing locally. Sporting a melody-rich blend of knotty folk and loud-soft-loud indie rock à la Beantown luminaries Pixies, Vundabar issued their debut album, Antics, in late 2013. They adopted a grittier tone on 2015's Gawk, which added grungy post-punk to the mix. The cathartic and dense Smell Smoke arrived in 2018, delivering an earworm-heavy set that was both bracing and sincere, and in 2020 the trio released the tight and succinct Either Light, which saw them working with a producer, Patrick Hyland (Mitski), for the first time. In 2021, online snippets of fans singing along to the group's 2015 single "Alien Blues" flooded social media, which garnered millions of streams for the seven-year-old cut. Devil for the Fire, Vundabar's wide-ranging fifth studio effort, appeared the following year.
Yot Club -
For decades the bright lights of New York have drawn artists to its storied city streets — those seeking their tribe, those looking to solidify their identity, and those hungry for inspiration and fresh encounters, all there for the taking on this new, broadened horizon. And now 26-year-old Ryan Kaiser has joined those ranks, moving from Nashville to Brooklyn, at the tail-end of 2022. Except, unlike so many who have come before him, Kaiser’s already made a name for himself creating daydreamy, sun-blasted, Polaroid-pop as Yot Club.
With Yot Club’s second full-length, Rufus, Kaiser is expanding his sonic palette and challenging his own established modes of music making by letting collaborators in. The record includes co-writes with the likes of Tommy English (Carly Rae Jepsen, Kacey Musgraves), and singers Charli Adams and Harrison Lipton, with Patrick Wimberly (Lil Yachty, Joji, Blood Orange, MGMT ) on mixing duties, and the result is a collection of songs that sounds bolder and brighter. From the shimmering surf-pop of opener “Stuntman,” to the minor chord angst and quiet-loud-quiet pulse of “New Day,” to The Strokesian swoon of album closer “Lazy Eyes,” Kaiser lo-fi hooks have a new cinematic scope.
But let’s rewind to 2019 when his music first captured the ears and imagination of listeners thanks to the song “YKWIM?” off his Bipolar ep, one of three EPs he released that year alone. Newly graduated and still living in his college town of Hattiesburg, Mississippi, it was a pivotal year for Kaiser. Seemingly out of nowhere the streams on “YKWIM?” started climbing: 500k streams a day soon ballooning to a million. Unbeknownst to Kaiser, his song — which is now 2x RIAA Platinum — had become a go-to sad song for nostalgia-centric TikToks. The virality didn’t stem from a dance craze. It was about a vibe.
The knock-on effect was every major label came calling, but for Kaiser, signing his music away for 25 years in exchange for an non-recoupable advance was a hard no. Ultimately, Kaiser signed with Amuse, a distro company-turned-label, where he retained ownership of his masters and gained their full support for his vision. Kaiser followed 2020’s Nature Machine EP with 2022’s Santolina EP, and then, in 2023, he released his debut album off the grid and the EP amateur observer. Not to mention a ton of loosies including “LAUREN” with spill tab, and “Safe House” with Jordana, releases which underscore his newfound explorations in collaboration.
Nostalgia is an oft-used descriptor too, but it’s one that Kaiser’s unafraid to lean into — “I don’t like anything that sounds like it was made now,” he notes — with his own song titled, “Nostalgia,” ringing out like the perfect soundtrack to a movie montage directed by John Hughes (with just a pinch of The Postal Service). And then there’s “Drowning,” written with Charli Adams, where Kincaid’s razored guitars recall Bloc Party. With production credits including MGMT, Solange, and Lil Yachty’s latest LP, Patrick Wimberly mixing brings a different dimension to Yot Club’s sound.
There’s an economy to Kaiser’s songwriting, a feel-it, sing-it straightforwardness that cuts to the meat of the matter, with his titles often providing the jumping off point, like lead single “Pixel.” With its ticking urgency and cascading guitar line, it was written and recorded in two days with producer Tommy English, and features Kaiser on live, looped drums, with additional slide guitar. “That song’s about getting caught up in your own life and technology in relation to self-importance and how you see yourself,” offers Kaiser. “It’s never been harder to appreciate your own circumstances than it is today because you can play the comparison game. It’s a complicated dynamic: the people whose lives look the best can often suck, ’cos why else would they go to such efforts to make it look like their lives are great!”
Then there’s “Human Nature,” written with artist Harrison Lipton, who also plays in the band MICHELLE and happens to live down the street. Written and recorded at Lipton’s parents’ 100+ year old Connecticut house, Kaiser describes it as a driving-down-the-Pacific-Coast-Highway kind of tune. But those sunny sonics belie the melancholic inevitability of so many splits: the lover you spent every day with can eventually turn into someone you don’t recognize at all. “This album is not meant to serve as an eloquent story where there’s characters and side characters and betrayal and heartbreak,” he says. “It’s just 13 separate episodes that restart and don’t necessarily match each other, but I wanted to give it a character to wrap it all together.”
Rufus is not exactly Ryan Kaiser, but these snapshots capture the essence of his experiences: a bad relationship and fresh realizations; leaving it all behind to try and find footing in a shiny new city that maybe isn’t exactly the imagined, mythologized creative utopia. It continues Kaiser’s coming of age — looking back, picking it all apart, trying to work it all out, and constantly pushing forward.
VUNDABAR – Fast Track Includes:
YOT CLUB – Fast Track Includes:
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
ALLAH-LAS
“A ship in harbor is safe, but that’s not what ships are built for” the saying goes. But suppose the proverbial harbor is Los Angeles — a place not particularly known for being the origin of adventures. From the Spanish Conquistadors to the countless starry-eyed nobodies hoping to make it big, LA is usually the destination.
So it’s no wonder the Allah Las became fascinated with both the carefree spirit and glitter-in-the-gutter lifestyle of their hometown. After three records mining its lore and lure (from the desert to the sea) they have become global ambassadors of not just a place but a location.
Having taken their compact California on the road across the world (making stops in North, Central, and South America, Europe, South Africa, Australia, Russia, East Asia and beyond), they couldn’t help but peek through the other end of the telescope.
On their fourth LP, drummer Matt Correia, bassist Spencer Dunham, and guitarists Miles Michaud and Pedrum Siadatian turn their collective gaze outward and toward the horizon. Simply titled LAHS (a reference to a common misspelling of the band’s name), their forthcoming release on Mexican Summer finds the band turning in their most cohesive and ambitious work yet.
The Allah Las seem to be transmitting from a place not found on any map. Those familiar with the band’s work will recognize their skillful melding of melodies and moods, but through that lens we see them venturing into new, exciting territories. Indeed, their growth not just as songwriters, but as performers, arrangers, and producers — is clearly audible.
Correia sings in Portuguese on “Prazer Em Te Conhecer” (Nice to Meet You), which evokes George Harrison while also sounding like a rare 45 from a Brazilian flea market. The breezy sweetness of “Pleasure” could pass for a song by Spanish folk darlings Picnic, were it not for the wistful wisdom in Dunham’s delivery. “Polar Onion” takes us through the inevitable lows one encounters on a long journey, as Michaud laments “drown in the sea, I fill my cup - but it’s not enough”- a caricature of the lonesome cowboy seeking and occasionally glimpsing enlightenment.
One of the most notable evolutions from their previous work is a razor-sharp focus on the groove. We hear the rhythms of Krautrock influencing songs like “Houston” and “Electricity,” with steady and precise drumming that create complexity from repetition. Whilst both “Roco Ono” and “Star” incorporate elements of disco and soul into Allah Las universe, highlighting an airtight rhythm section unafraid to tap their toes.
Opener “Holding Pattern” conveys what the title suggests; you’ve almost arrived, you can see the ground, but you’re not quite there yet. Airy, ethereal harmonies chant the title, holding you in suspense- and eventually give way to an entirely different mood just before the fade- as if telling the listener “we’ve landed safely.” The persistent shuffle of “In The Air” drives the song forward, while Siadatian’s echo slapped voice bounces along on top, describing “images that can’t compare to the real thing in the air.” Electric guitar and mellotron trade licks, mirror each other's kinetic ascending and descending lines and calling to mind the playful jubilance of Kevin Ayers in his prime.
“We’ve been traveling a lot the past couple years and I think that played a role in influencing the broader variety of songs on this record” Correia explains. And this is precisely what sets LAHS apart from its predecessors -- a record inspired less by time, but by place. “LAHS to me feels like a soundtrack to the past 5 years or so. A sort of audio postcard to anyone who wants to listen.” This sentiment is echoed in the album’s artwork — a collection of exotic postcards, postmarked from equally exotic locals (designed by Matt Correia & Robbie Simon).
Tracking was done mostly by the band at their own studio in Los Angeles, allowing them more time and space to experiment with tunes and tones. Producer/Engineer Jarvis Taveniere (Woods) was brought in to help polish it off, resulting in a sound both crisp and clear while keeping with the warmth and atmosphere the band are known for.
The Allah Las have left the harbor. The infectious wanderlust that fuels these thirteen songs continues to propel the group forward across new frontiers, as they collect and catalog all they find and return with plenty of inspiration in tow. With LAHS we not only discover what souvenirs they’ve brought back for us; they’re inviting us aboard and taking us along for the ride.
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
COLLIE BUDDZ
with HECTOR ROOTS LEWIS
Colin Patrick Harper hails from the tiny island of Bermuda. In the music industry, he is known as the reggae artist Collie Buddz. Buddz was born on August 21, 1984 in New Orleans, Louisiana. After graduating from high school, he attended Full Sail University in Winter Park, FL, where he decided to study studio engineering. Upon graduating from the top in his class at Full Sail in 2006, Buddz began looking for work in the recording industry as a performer or producer. One of his first major gigs was working with recording star Shaggy on the single "Mad Mad World" from Shaggy's new album at the time entitled Intoxication, which was released in 2007. That was the same year Collie released his self-titled debut album with Sony Music with tracks such as ‘Come Around’ and ‘Blind To You’. The album was a success and well-received by critics. WWE (World Wrestling Enterprises) fans would immediately recognize Buddz's voice from the entrance theme ("SOS") for WWE superstar wrestler Kofi Kingston, which was included on the 2008 compilation WWE The Music, Vol. 8. Over the next year, he would continue making guest appearances on the works of many other artists.
It is no small coincidence that his stage name "Buddz" is slang for marijuana. There have been photographs taken of the artist holding bongs and other pot-smoking paraphernalia over the years. Of course, other reggae artists such as Bob Marley have made weed seem an essential part of the reggae lifestyle. When not working in the studio, Collie found himself selling out venue after venue on one of his many exhaustive tours. Now with new music being released and a good reputation under his belt, Buddz finds himself playing at some of the biggest reggae music festivals all across the world such as, Reggae Rise Up, One Love New Zealand, and California Roots Music Festival
At the end of the decade, Buddz started his own record label called Harper Digital. In 2011, he would finally release his second album entitled Playback followed shortly with the Blue Dreamz EP. Buddz would then go on to release his next album, Good Life, fully independently through Harper Digital with features from the likes of Snoop Dogg, Jody Highroller, and the Bay Area’s very own, P-Lo.
More recently, he has finished up his fully self produced album Hybrid which came out in the spring of 2019. Hybrid is Collie Buddz's third full-length album. The album is fully produced by Buddz and features two tracks with Russ, as well as tracks with Tech N9ne, B Young, Stonebwoy, Dizzy Wright, and Johnny Cosmic. The first five songs on the album have been released and highly praised as singles. The FADER called "Love & Reggae" a "quintessential reggae jam," and Billboard praised "Bank" feat. Russ & B Young, claiming "Buddz effortlessly [flowed] on the self-produced melody." Meanwhile, "Bounce It" featuring Ghanian Grammy nominee Stonebwoy has gotten radio play around the world including on Sirius XM Pitbull's Globalization channel, and Buddz's latest single "Show Love" has quickly earned radio play on Sirius XM The Joint and was added to Spotify's elite New Music Friday playlist.
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
THE SKATALITES
2024 marks the 60th Anniversary of The Skatalites. The original members played on hundreds of recording sessions before forming the band in 1964. Backing most of the vocalists in Jamaica at that time, including Bob Marley, Toots and The Maytals, Jimmy Cliff, Alton Ellis, Ken Boothe and many more The Skatalites secured their place in musical history early on. After disbanding in 1965 the individual members continued playing in various groups as the music evolved from ska to rocksteady to reggae.
In 1983 The Skatalites reunited to play Reggae Sunsplash in Montego Bay and subsequently in London at The Crystal Palace for the U.K version of The Sunsplash event. A few years later they began emigrating to the U.S.A and in 1986 the first US shows began at The Village Gate in NYC. The band supported Bunny Wailer on The Liberation Tour in 1989 and followed it up in 1990 embarking on their first-ever headline tour of The U.S.A. The Skatalites have not stopped touring the world ever since and continue to be available for festivals, casinos, and intimate venue settings. Their unique infectious brand of authentic Jamaican ska excites audiences of all ages across the globe year after year.
“We hope you will enjoy listening to our music as much as we enjoy performing it for you.”
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
The Hard Times & Ventura Music Hall Present:
LAURA JANE GRACE & THE MISSISSIPPI MEDICALS
with ALEX LAHEY, RODEO BOYS and HEAD CUT
Laura Jane Grace is a major figure in today’s rock scene as both a solo artist and the front person of Against Me!, which she founded in Naples, FL in the late 1990s. As a working artist, she has released six solo offerings and seven albums with Against Me!, and in 2012 went public with her gender transition in the pages of Rolling Stone. In her music, she continues to detail her journey all while staying true to her earlier themes of outspoken political critique – environmentalism along with personal and social liberation – with a base in American music including country and folk-rock, with a penchant for noise and anarchy. Laura Jane will be joined by her band "The Mississippi Medicals" featuring Matt Patton of Drive-By Truckers (bass), Mikey Erg of The Ergs (drums) and Paris Campbell Grace (vocals, percussion).
Show 9pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
TWISTED GYPSY - FLEETWOOD MAC... REIMAGINED
Join us as TWISTED GYPSY celebrates and REINVENTS the timeless music of the legendary FLEETWOOD MAC. “MORE THAN JUST A TRIBUTE”, Twisted Gypsy takes you back to the early days of Hollywood’s Sunset Strip and the heyday of 70’s Rock ’n Roll. They will transport you back in time to memories you forgot you had with their passion, ULTRA HIGH ENERGY, stellar all-live harmonies, fun stage banter AND RAW, TRACK-FREE performances! Close your eyes and you'll be blown away by our modern interpretation of the beloved Mac, whose music and vocals dominated the hearts of the planet. Not just another tribute band... TWISTED GYPSY is a surreal EXPERIENCE that will forever fill your soul …..
Show 9pm
FULLY SEATED
Ventura Music Hall Presents:
VIEUX FARKA TOURÉ
with ALEX SIEGEL
Often referred to as “The Hendrix of the Sahara”, Vieux Farka Touré was born in Niafunké, Mali in 1981. He is the son of legendary Malian guitar player Ali Farka Touré, who died in 2006. Ali Farka Touré came from a historical tribe of soldiers, and defied his parents in becoming a musician. When Vieux was in his teens, he declared that he also wanted to be a musician. His father disapproved due to the pressures he had experienced being a musician. Rather, he wanted Vieux to become a soldier. But with help from family friend the kora maestro Toumani Diabaté, Vieux eventually convinced his father to give him his blessing to become a musician shortly before Ali passed.
Vieux was initially a drummer / calabash player at Mali’s Institut National des Arts, but secretly began playing guitar in 2001. Ali Farka Touré was weakened with cancer when Vieux announced that he was going to record an album. Ali recorded a couple of tracks with him, and these recordings, which can be heard on Vieux’s debut CD, were amongst his final ones. It has been said that the senior Touré played rough mixes of these songs when people visited him in his final days, at peace with, and proud of, his son’s talent as a musician.
In 2005, Eric Herman (still Vieux’s manager today) of Modiba Productions expressed an interest in producing an album for Vieux; this led to Vieux’s self-titled debut album, released by World Village in 2007. Ali Farka Touré’s work to tackle the problem of malaria is continued as 10% of proceeds are donated to Modiba’s “Fight Malaria” campaign in Niafunké through which over 3000 mosquito nets have been delivered to children and pregnant women in the Timbuktu region of Mali. On this first album, Vieux pays homage to his father and follows Ali’s musical tradition, giving new versions of the West African music that is echoed in the American blues. The album features Toumani Diabaté, as well as his late father.
On his second record, Fondo on Six Degrees (2009), Vieux branched out and presented his own sound: while remaining true to the roots of his father’s music he uses elements of rock, Latin music, and other African influences. The album received a great deal of critical acclaim from across the globe, and Vieux was clearly moving out of his father’s shadow.
By June 2010, Vieux was performing at the opening concert for the FIFA World Cup in South Africa. That month Vieux also released his first live album, LIVE. His live performances are highly energized and Vieux is known for dazzling crowds with his speed and dexterity on the guitar, as well as his palpable charisma and luminous smile, both of which captivate audiences from all audiences in spite of any language barriers (though Vieux does speak 8 languages).
In 2011 Vieux released his 3rd studio album, The Secret, so named because the listener will hear the secret of the blues with a blend of generations from father to son. It was produced by guitarist Eric Krasno (of the Soulive trio) and features South African-born vocalist Dave Matthews, Derek Trucks on electric slide guitar and jazz guitarist John Scofield. The title track is the last collaboration between Vieux and his late father. With the heralded release of The Secret, Vieux Farka Touré has clearly established himself as one of the world’s rare musical talents and guitar virtuosos with a distinct style that always pays homage to the past while looking towards the future.
Vieux released The Tel Aviv Session (Cumbancha) in April 2012, a collaborative project with Israeli superstar Idan Raichel dubbed ‘The Touré-Raichel Collective’ that has been hailed by fans and critics alike as a masterpiece and one of the best collaborative albums in the history of international music, drawing comparisons to Ali Farka Touré and Ry Cooder’s legendary Talking Timbuktu album.
In 2013, Vieux Farka Touré’s beautiful and critically acclaimed album Mon Pays was released as an homage to his homeland. Being that his native Mali had recently been splintered by territorial fighting between Tuareg and Islamic rebels since January 2012, Mon Pays was devoted to reminding the world about the beauty and culture of his native Mali. Translated as ‘My Country,’ this predominantly acoustic undertaking transformed into an artifact of cultural preservation. Two songs on the project - ‘Future’ and ‘Peace’ feature Sidiki Diabate’s kora leading an emotional charge complemented by Touré’s spectacular guitar work. Both tracks represent an important generational “passing of the torch” as Sidiki’s father, Toumani is considered one of the greatest living kora masters and was a close friend of Vieux’s father Ali. Mon Pays has been widely hailed as the most mature and lovely record yet from one of this generation’s most exciting artists to come out of Mali and one of world music’s true rising stars.
Vieux reunited with Idan Raichel in Paris to record, release and subsequently tour their 2nd collaborative album as The Touré-Raichel Collective in 2014. The result was yet another musical and critical triumph, titled 'The Paris Session' (Cumbancha) revered by many as not just a musical gem for the ages, but a powerful testimonial to the power of art and fraternity to transcend vast cultural and political divides. In 2015, Vieux released another unexpected, genre-bending collaborative album, this time with New York-based singer Julia Easterlin, aptly titled 'Touristes'. The album shot to the top of the iTunes World chart and earned critical acclaim, including that of John Schaefer (NPR) who called it "brilliant." On April 7, 2017, Vieux released his next album 'Samba', recorded live in front of a small audience at Applehead Studio in Woodstock, NY.
When the COVID pandemic hit in 2020 and all touring ground to a halt, Vieux stayed focussed on his craft at home. He worked tirelessly in the studio he built at his family's compound (which he named 'Studio Ali Farka Toure' in honor of his late father) to record his debut album for World Circuit Records/BMG, the prestigious UK-based record label with whom his father recorded and released most of his own work. The resulting album, 'Les Racines' (released June 2022), sees Vieux masterfully return to the deep roots of the Desert Blues music that his father introduced to the world and Vieux spent most of his career to date exploring, experimenting with, and expanding. 2022 also saw the release of a long-awaited collaborative album between Vieux and Houston-based psych-rock superstars Khruangbin called ‘Ali’ - an album on which the artists join forces to pay homage to Ali Farka Toure by reimagining eight of his songs together. The album was an instant hit around the globe, immediately getting millions of streams, enormous critical acclaim and even earning the praise of Sir Elton John who called it "one of the albums of the year - absolutely wonderful music." With each new project Vieux broadens his horizons, embraces new challenges and further entrenches his reputation as one of the world’s most talented and innovative musicians.
As a passionate champion for the people of Mali and The Sahel, Vieux founded the charity Amahrec Sahel in 2012. As part of Amahrec Sahel’s mission to support humanitarian reconstruction and culture, the charity has provided school supplies for children, supported an orphanage in Bamako and provided musical instruments for young musicians in Mali. Vieux is also the director of The Ali Farka Touré Foundation, an international organization dedicated to the preservation of Ali’s legacy and the cultural growth of Mali.
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
STEEL PULSE
Bearing witness to the accelerating negativity of global affairs, British reggae powerhouse Steel Pulse exemplify musical vengeance to halt the disarray of humanity. The band's twelfth studio production, titled Mass Manipulation, reflects four decades committed to bettering mankind through music. Steel Pulse songs and lyrics continue to engage controversial topics of racial injustice and human rights on a global scale. Themes are as potent and relevant today as they were at the beginning of their career. Hailing from Birmingham, England, Steel Pulse emerged in 1975 with music that provokes thought toward global unification. Songs like “Chant a Psalm” have landed on Rolling Stone’s Top 200 Best Songs list of the 1980s, and the six-time Grammy nominated group won the Grammy Award for Best Reggae Album for Babylon the Bandit. Lead singer and guitarist, David Hinds’ creativity, human persona, and visionary views are revealed through inspiring compositions that capture the effects of the African Diaspora. As reggae revolutionaries, Steel Pulse is revered by the younger generation of artists and remains a powerhouse on stages around the globe. Through the example of Mass Manipulation, Steel Pulse demonstrates the endless possibilities that come from breaking down the walls of systemic greed and nurturing the fellowship of mankind.
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
STEEL PULSE
Bearing witness to the accelerating negativity of global affairs, British reggae powerhouse Steel Pulse exemplify musical vengeance to halt the disarray of humanity. The band's twelfth studio production, titled Mass Manipulation, reflects four decades committed to bettering mankind through music. Steel Pulse songs and lyrics continue to engage controversial topics of racial injustice and human rights on a global scale. Themes are as potent and relevant today as they were at the beginning of their career. Hailing from Birmingham, England, Steel Pulse emerged in 1975 with music that provokes thought toward global unification. Songs like “Chant a Psalm” have landed on Rolling Stone’s Top 200 Best Songs list of the 1980s, and the six-time Grammy nominated group won the Grammy Award for Best Reggae Album for Babylon the Bandit. Lead singer and guitarist, David Hinds’ creativity, human persona, and visionary views are revealed through inspiring compositions that capture the effects of the African Diaspora. As reggae revolutionaries, Steel Pulse is revered by the younger generation of artists and remains a powerhouse on stages around the globe. Through the example of Mass Manipulation, Steel Pulse demonstrates the endless possibilities that come from breaking down the walls of systemic greed and nurturing the fellowship of mankind.
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
TYCHO
Tycho is embarking on their first headlining tour since 2020. Following the release of Weather in 2019, the band returns to their roots, delivering their signature blend of electronic dance music and melody-driven instrumental post-rock. Scott Hansen’s creative vision, delicate melodies, and mesmerizing soundscapes take on new energy in the live setting, thanks to the incredible drumming of Rory O’Connor and an immersive visual experience. With guitarist/bassist Zac Brown and multi-instrumentalist Billy Kim rounding out the lineup, Tycho has been captivating fans for over a decade.
Show 9pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
THE MOSS
In a musical landscape with fewer boundaries than ever before, THE MOSS’s exuberant brand of alternative rock spans genres, eras, and even oceans.
The Utah-via-Hawaii group was born on the shores of Oahu in 2015, as teenage buddies Tyke James (vocals/guitar) and Addison Sharp (guitar) picked up a gig serenading diners at local taco trucks in between surf sessions. Naturally, their songs took shape in the spirit of the island, imbued with the joyfulness and breeziness of reggae culture yet cut with the introspection and communal spirit of mainland indie acts like Pinegrove and Cage the Elephant.
By 2018, the duo had grown, enlisting Willie Fowler on drums and Addison’s brother Brierton on bass, and traded in beaches for the Great Salt Lake. They hit the stage at spots like local cornerstone Kilby Court, live-testing their modern-indie-meets-’60s-blues with a wide-eyed exuberance that translated effortlessly into their 2019 self-released debut, Bryology.
Colored by the sound of Stratocasters jamming through reverb-cranked Fender amps, all backed by bouncy rhythms, Bryology marked a big step for the still-young quartet – but, true to The Moss’s nature, was still hard-coded with a DIY ethos. “We basically had no budget,” James remembers fondly. “We bought some nice mics and an interface and I ended up learning how to mix while we were recording.”
The follow-up, 2021’s Kentucky Derby, brought a more aspirational, blue-sky tilt to the foundation they’d laid on Bryology, expanding the group’s sonic arsenal while keeping the relatable lyrical style and sun-soaked sentiment at the forefront. “I’m really proud of how we’ve evolved as a band over time,” Addison Sharp says. “It feels like we’ve taken every different influence and mashed them all together to create something that feels really special.”
“Bryology seemed like a collection of separate songs we put together to make an album, whereas Kentucky Derby is a similar thought and story coming together to collectively make a more cohesive album,” adds Brierton Sharp says, noting the album’s tracks are sneakily arranged in pairs of two that seamlessly flow into one another. “Each song could be listened to on its own, or you could listen to them all and get a broader sense of our intention.”
No matter how listeners choose to interact with The Moss’s music, the band just hopes they feel something. It’s that kinetic relationship between band and audience that makes their live performances – including a pitch-perfect recent set for Audiotree – so compelling. “No matter what we do, we want to make sure the songs are fun to play live,” says Fowler. “We pride ourselves on being a band people want to see live.”
“There’s something special that happens when you get an immediate reaction to a song,” says James. “Whether it’s during a live show or even just a songwriting session, if there’s a reaction from people in the room, you know you’re on the right track.” XX
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
GODSPEED YOU! BLACK EMPEROR
Godspeed You! Black Emperor released a string of albums from 1997-2002 widely recognized as redefining what protest music can be, where longform instrumental chamber rock compositions of immense feeling and power serve as soundtracks to late capitalist alienation and resistance. The band’s first four releases—especially F#A#∞ (1997) and Lift Your Skinny Fists Like Antennas To Heaven (2000)—are variously regarded as classics of the era and genre. Godspeed’s legendary live performances, featuring multiple 16mm projectors beaming a collage of overlapping analog film loops and reels—along with the distinctive iconography, imagery and tactility of the band’s album artwork and physical LP packages— further defines the sui generis aesthetic substance, ethos and mythos of this group. GY!BE has issued two official band photos in its 25-year existence (the second, left, a 2010 recreation of the first from 1997) and has done a half-dozen collectively-answered written interviews over that same span. The band has never had a website or social media accounts. It has never made a video. Few rock bands in our 21st century have been as steadfast in trying to let the work speak for itself and maintaining simple rules about minimising participation in cultures of personality, exposure, access, commodification or co-optation.
Following a seven-year hiatus that began in 2003, Godspeed returned to the stage in December 2010 (curating the UK festival All Tomorrow’s Parties) and the band’s post-reunion period has now lasted over a decade, marked by hundreds of sold-out live shows and three additional albums, all of which have been met with high acclaim.
G_d’s Pee AT STATE’S END! – the band’s fourth post-reunion album (and eighth overall) – was released on April 2nd, 2021.
Show 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
ZIGGY ALBERTS
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 8pm
GA tickets are standing room only, with very limited seating available first come, first served.
Ventura Music Hall Presents:
THIEVERY CORPORATION
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 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.