9:00 PM21:00


Witch Burial shares the stage once again blazing the southern sky with Litany of Ruinous Entities (L.O.R.E.) and fellow local black/death metallers Cultum Nocte at Santos Bar, Saturday, Sept 29th!

Witch Burial
Cultum Nocte

Doors @ 9 PM / Show @ 10 PM / $7 Cover

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9:00 PM21:00


+Split Lips, Chicken Snake and Psychic Hotline

Doors @ 8PM - $12 Advance / $15 Day of Show
ADVANCE TICKETS:  https://holdmyticket.com/event/317395

Weasel Walter (The Flying Lutternbachers, Hatewave), 
Bob Bert (Sonic Youth, Pussy Galore)
Tim Dahl (Child Abuse)

Lydia Lunch Retrovirus


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9:00 PM21:00


From Sweden - Tribulation

w/ Benni and TBA

Emerging from the darkness of the Swedish death metal abyss in 2004, Tribulation has stood apart from what was already a crowded scene, betraying an uncompromising vision that refused to be shackled by any genre stereotypes.

Tribulation (Official)

Countless bands have gotten the trajectory wrong. Too many haven’t figured out the musical calculus. More than is fair have veered off the proverbial map never to be heard of again. And they’ve all suffered greatly from it. Not Tribulation. From 2009’s The Horror to 2013’s The Formulas of Death, the Swedes secretly figured out how to refactor death metal’s tenets to their favor. No more were Tribulation merely the product of their influences but rather something more, a step beyond wanton barbarity and the unharnessed fire of youth. Likewise, the venture between 2015’s The Children of the Night—a breakout moment for the Stockholmites—and new album Down Below is a yet another step into the unknown, where shadowy creatures glare with eyes ablaze and howl with white fangs bared. The years between and miles traveled could’ve forced the Swedes off their fiendish path, but they stayed true. From its obsidian core to its fluttering expanses, Down Below is a triumph of darkness and death. Or, very much Tribulation. “I wouldn’t say that evolution is as dramatic this time around,” says guitarist Adam Zaars. “There are elements from both The Formulas of Death and The Children of the Night (and The Horrorfor that matter) on the new album, but with a new flavor. Down Below is heavier and a bit rawer than Children and it wanders in similar territories when it gets more expansive, but it’s surely on different paths. It’s a very peculiar process when making music because you hear quite instantly whether something works if you try something ‘bold.’ And often you feel it even before you try it out and you have to tell everyone else to bear with you until you reach the point (whatever and where ever that is) where your idea has manifested in the way that you first saw or heard it. I think it’s the same for all of us. It’s all very Tribulation at least!” Indeed, Down Below has the hallmarks of Tribulation’s previous oeuvre. Frontman Johannes Andersson is as reptilian as ever, hissing and croaking poetic threads of necro-romance, while the guitars of Zaars and Jonathan Hultén seduce the dead and spellbind the living, and drummer—in his first appearance for Tribulation—Oscar Leander swings through Andersson’s bass playing with star-quality confidence. But there’s more to Down Below than Tribulation let on. There’s creepy pipe organs, John Carpenter-esque slasher movements, ominous church bells, and monk calls woven through and into the Swedes’ Jugendstil-inspired death. While most are conspicuous in their new travails, the Swedes hide their moody innovations on Down Below. “You can fit a lot into the space that we’re creating, but it’s always got to be of the right substance,” Zaars says. “It’s all a matter of balancing on the edge and not falling. I think that’s often what we do, actually. We push it all quite hard in many different directions and try not to fall over, be it cheesiness, pretentiousness or whatever. As an example, we have been writing about the vampire theme for a while now, a theme that is very, very cheesy if you do it in the wrong way (which to me is pretty much every way). Vampires and folk influences, it sounds like a pretty horrible mix, but it’s all very dear to us and so we treat it with respect. We try the same approach in the music. We take it all very seriously, and hopefully that works.” Written by Zaars and Hultén under the spell of countless blood moons, Down Below is the result of Tribulation exploring the painstaking process of songwriting from new vantage points. While Hultén wrote predominantly on his own, Zaars teamed up with Andersson and Leander. They acted not only as bandmates—musicians able to play out Zaars’ maniacal pieces—but also as a feedback loop. Together, they put the sinful skeletons of Down Below to digital tape. The two methodologies worked well between Tribulation’s touring schedule—the Swedes played over 170 shows in support of The Children of the Night—and other band-related commitments. “I worked more closely with Johannes and Oscar,” says Zaars. “I had them on hand throughout the process to help me see if certain ideas worked or not, as well as being open to whatever ideas they had. Very valuable! Oscar also helped me a lot in that he has more skills than I when it comes to music software (and hardware for that matter) so we could record demos of my songs more easily which is something I have never done before. I usually come with the songs to the rehearsal room to try it out there for the first time and then record the demos with the entire band. This saved us a lot of time that we didn’t have in the first place. It was difficult as well. Maybe more difficult than ever. But the result is absolutely worth all the hard work that we’ve all had to put in to this!”
Down Below was recorded at Soundtrade Studios and Studio Cobra, respectively. Soundtrade, renowned for hosting Swedish music legends ABBA, Yngwie Malmsteen, and Europe, is where Leander tracked the drums with Martin Ehrencrona (Vampire, The Oath) at the helm and Linus Björklund at his side. After the Soundtrade sessions were over—about a week, according to Zaars—Tribulation cut over to Studio Cobra, with Ehrencrona in tow, to record the bass, guitar, vocals, and other instruments. For three months the Swedes toiled into the dead of countless nights—where songs like ‘The Lament,’ ‘Lady Death,’ ‘Lacrimosa,’ and ‘Here Be Dragons’ invoked the vaults of heaven to remarkable effect—to realize Down Below. Harvest, however unpleasant, was positively plentiful. “We chose Cobra because we recorded some stuff there for Children and really enjoyed the time there,” Zaars says. “Both the time in Soundtrade and Cobra were very enjoyable. Cobra and Martin gave us the opportunity to be creative. It was a new experience for us to work with a producer as we have this time, and I think we all really enjoyed it. I left a few things unfinished in some of my songs so that we could have his input and he’s been giving input and ideas wherever and whenever he’s had some. You give and you take and you kill a lot of your darlings, but in the end that’s almost always a good thing, and this time it really elevated the songs.” Certainly, Tribulation have come away with an album full of gems. From the death-rock shake of ‘The Lament’ and the windy Carpathian haunts of ‘Subterranea’ to the gloomy post-punk of ‘Nightbound’ and the infectious refrains of ‘Here Be Dragons,’ Down Below is unbelievably great. But it doesn’t stop there. Inside the songs, Tribulation parlay awe and shock into something more impressive. Some of Zaars and Hultén’s best solo work can be heard on ‘Lady Death,’ ‘Cries from the Underworld,’ and ‘The World.’ Time-keeper Leander has also proven himself worthy of his newly appointed position. His ability to play simple yet clever continuously gets better as Down Below progresses. Check out ‘Here Be Dragons’! And Andersson’s vocals—even in their sublime decay—emote heavy sheaves of hate, mourning, loss, and fear. If The Formulas of Death was arboreal and The Children of the Night urban, then Down Below must be nestled in between. “A bit of both for sure,” says Zaars. “We were aiming in one direction that was a bit more foresty and that direction kind of made its own twists and turns, as it always is when we do something. We let it happen, we let it guide us. When we speak in terms like this I would say that it’s still somewhat in the city, but that city is much older, or in a different era, than the city that Childrenresided in. And it’s a lot closer to the forest, and even ventures quite deep into it.” Changes are inevitable. The force of momentum powerful. As with The Children of the Night, so too with Down Below. Tribulation has succumbed to change and momentum, but the Swedes didn’t let it become them. They’ve evolved (or are evolving) on Down Below. To wit, the evocative vibe of places frightful and things malign remains strong, as does Tribulation’s roots as an inspired death metal act. What’s changed is the approach and the inspirations affecting the approach. Down Below isn’t just Album of the Year material, it’s the type of effort that will be remembered for decades. Music from the other, indeed!

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8:00 PM20:00

Hey Kitty Girl! A Drag Cocktail Pop Up

- A charity event benefitting BreakOUT! and Planned Parenthood 

- Featuring a drag show hosted by Siren and including acts by queens such as Laveau Contraire, Annie Bacterial, Tarah Cards, and Fabigail Tchoupitoulas. 

- Cocktails by Alex Utter and Ryan Joyce of the French 75 Bar, sponsored by Campari 

- Wednesday, October 10th, downstairs at Santos from 10pm till 2am 

- Cover: $10 suggested donation at the door. All tips go to charity!

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Some Kind of Nightmare
8:00 PM20:00

Some Kind of Nightmare

San Diego's 3 piece high energy punk band SOME KIND OF NIGHTMARE return to New Orleans as part of their Generations Dead Tour. They will be joined by GUTTER VILLAIN (hardcore punk from Tulsa). Local support to be announced.

Doors at 9pm

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Comeback Kid w/ TBA
9:00 PM21:00

Comeback Kid w/ TBA

Complacency kills creativity, and nobody seems to know that better than Comeback Kid.

Outsider, the long-running hardcore outfit’s latest LP, showcases that in spades. Capturing the all-out intensity of the band’s riotous live shows, it’s as urgent and unrelenting as anything they’ve done in the past. And yet while many of their peers consider sonic evolution an enemy of their scene, Comeback Kid has built a career on progression and evolution, continually expanding their now-signature sound while never compromising its integrity.

“We’re a hardcore band, but we don’t feel like we belong to any particular sect of that,” states frontman Andrew Neufeld, speaking on behalf of bandmates Jeremy Hiebert (guitar), Stu Ross (guitar), Ron Friesen (bass), and Loren Legare (drums). “We don’t want to be limited in any sense, and prefer to work on our own terms.”

Indeed, over the course of their career, they’ve covered a lot of territory – both musically and literally.

Comeback Kid first united in 2000 and dropped their debut LP, Turn It Around, in 2003. Its follow-up, 2005’s Wake the Dead, further cemented the band’s foundation of energetic, punk-propelled hardcore. With the departure of original vocalist Scott Wade, Neufeld moved from guitar to lead vocals ahead of 2007’s Broadcasting... More recent releases like Symptoms + Cures and 2014’s Die Knowing find the band incorporating a wider array of elements and influences into their combustible sonic concoction.

Outsider – Comeback Kid’s sixth full-length and first on the iconic Nuclear Blast Records (New Damage Records in Canada) – represents the pinnacle of that progress to date, simultaneously pushing new boundaries while returning to the in-your-face immediacy of their first releases.

“It’s always been about refining what we do and incorporating new things,” Neufeld affirms. “This time around, we were really focused on songs that we knew would connect from the stage.”

To that point, “Surrender Control” is essentially a clinic in inciting a riotous moshpit with an anthemic chorus while “Absolute” injects some thrash metal into more familiar CBK staples of call-and-response gang vocals and a punishing outro breakdown. They’re as furious as anything in the band’s back catalogue and effective foils to more ambitious offerings like “Hell of a Scene,” which combines blazing blast beats in the verses with an infections melodic hardcore chorus, and the more hard rock-centric “Consumed the Vision.”

Neufeld’s voice is as powerful and piercing as ever while also pushing into new, often more melodic territory. That’s fitting considering the wide breadth of topics he tackles in his lyrics, from the plight of innovative thinkers to a world ripe with distractions from meaningful interactions to wrestling with personal demons, however they might materialize.

Of course, these 13 tracks will be volatile in the live environment. As longtime road warriors who are strangers to nowhere, Comeback Kid is sure to continue conquering new corners of the world. “We’ve always prided ourselves on trying to reach as many places as possible,” Neufeld offers, and their still-swelling crowds everywhere from Southeast Asia to South America to mainland Europe are proof of that. They’ve performed at virtually every major heavy music festival and shared the stage with a who’s who of their peers across virtually every genre that seeps into their ever-evolving sound.

After six LPs, an EP, two live albums, and countless shows over the course of 15-plus years, Comeback Kid still takes pride in pushing sonic boundaries and bringing their riotous live show across new borders.

“We still feel lucky to be a part of this,” Neufeld says assuredly. “It’s bigger than us and we have no intentions of slowing down or standing still.”

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9:00 PM21:00


Live Nation presents SWINGIN’ UTTERS plus GALLOWS BOUND


The Swingin’ Utters have been kicking around the San Francisco Bay Area for 25 years now. They’ve met their wives and their best friends on these streets; they’ve grown and aged right here in the Bay Area. This has ignited the very essence of what goes into their value system and more importantly their music, because it is a reflection of those experiences. For example, the band took a break to raise their families, right at the height of their popularity! Did it faze them? Not really. That’s the thing with these guys. It is family first, with music always germinating within those life choices. During the Utters’ semi-hiatus, they all continued playing music in bands like Druglords of the Avenues, the Re-volts and Filthy Thieving Bastards. Their life experiences influence what goes into their records. A case in point is their debut: 1995’s The Streets of San Francisco; their first full length and an essential “streetpunk” masterpiece. Fat Mike took notice of their grit and honesty, and signed them to Fat Wreck Chords. From there they put out a ton of great records, including A Juvenile Product of the Working Class, Five Lessons Learned, Brazen Head, Swingin’ Utters and Dead Flowers, Bottles, Bluegrass, and Bones. For 10 years the Utters toured relentlessly with the likes of Rancid, NOFX, Dropkick Murphys and everyone in between. Which brings us back to celebrating their 25th anniversary, the band fully recharged with their second album in three years and no signs of slowing down anytime soon.


Swingin Utters photo.jpg
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Avi Buffalo - Haunted Summer - Room 13
8:00 PM20:00

Avi Buffalo - Haunted Summer - Room 13

Avi Buffalo: Ah, yes, age—much was made of it when Avi Buffalo’s first album hit the ground running, and for good reason: While his Millikan High School classmates were preoccupied with quaint and youthful pursuits, Avi Buffalo was busy making an off-kilter pop gem that eventually bowled over NME, The AV Club, Pitchfork, the BBC, and numerous other outlets on both sides of the Atlantic whose tastes are respected by the general public. Like a lot of kids his age, Avi celebrated the end of high school in Europe, but instead of visiting the Louvre and Buckingham Palace, their overseas journeys took them to the festival stages of Reading, Leeds, Glastonbury, the Pavement-curated All Tomorrow’s Parties in Minehead, and beyond. Buffalo is ready to take on the world (again), armed with all of the experience he’s compiled over the past few years. And he’s made sure this time around will be just as memorable as the first.


twitter @hauntedsummerla


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Days N Daze
8:00 PM20:00

Days N Daze

AGES 21+

Houstonians Whitney Flynn and Jesse Sendejas formed Days N Daze as a duo in 2008. Since then, they've taken on different musicians to create a full recording and touring band. Presently, the band's rhythm section includes bassist Geoff Bell and percussionist Meagan Melancon. Flynn and Sendejas remain the band's principal songwriters.

The group's sound has been described as "riot folk" or "thrashgrass." Song themes run the gamut from social (gang violence, terrorism, annihilation of the environment for corporate pocket-lining, the mundane and unavoidable anxieties of modern life, et al) to recreational (how the fuck did we end up in jail?).

Days N Daze embraces the D.I.Y. ethic by recording, packaging and promoting its music independently.

DnD is best known for is its live shows, which are energetic to the point of audience members stripping their clothes off in ecstatic, music-induced jubilation (or, too much PBR). The band has performed throughout the United States and Canada in venues ranging from house shows to festivals. DnD independently booked and promoted a full U.S tour with New Zealand’s Night Gaunts after their split release in 2015. They also had the privilege to tour with Leftover Crack and featured on LOC’s newest album “Constructs of the State”. On the road, DnD has played the D.I.Y. staple Mountain Blood Fest, at Skatopia's Bowl Bash and has played multiple sold out shows across the states including New York City and Los Angeles. At home, it performs routinely at well-regarded spaces such as Walter's and Warehouse Live. The band was honored to be awarded Best Punk Act in 2015 by The Houston Press. 

2016 Days N Daze will be releasing their seventh full length album “CrustFall” and will be touring Europe through Pumpkin Records.

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Drivin N' Cryin
8:00 PM20:00

Drivin N' Cryin

Celebrating their 33rd Anniversary together, Atlanta-based folk rock act, Drivin N Cryin, have spent most of 2018 on tour. In October 1985 Drivin N Cryin played their first show at Atlanta’s famed 688 Club. The band quickly gained attention for their blistering live shows, and amassed a rabid fanbase in the fertile soil of the late-1980s Southeast music scene. Now, 33 years later and releasing four full length albums on Island Records and one on Geffen Records, founding members Kevn Kinney and Tim Nielsen find themselves enjoying a milestone anniversary for the band, having survived the pressures of fame, a shifting musical landscape, multiple lineup changes, and miles of backroads and highways to arrive here.
With a gold record, 10 full-length albums, and a handful of EPs to their credit, the band still refuses to rest. In 2012, a documentary about the band entitled Scarred but Smarter: Life n Times of Drivin' N’ Cryin' was produced. In 2015, a collection of 10 choice cuts from the band’s 4-EP “Songs” series, entitled Best of Songs, was released on Nashville’s Plowboy Records. Additionally, the band was inducted into the Georgia Music Hall of Fame the same year. The following year, Drivin N Cryin released a vinyl-only album, entitled Archives Vol One, with a collection of basement recordings from the years 1988 to 1990.
With Dave V. Johnson as their drummer, and the band's newest member Laur Joamets (originally Sturgill Simpson) now being added to the lineup, Drivin N Cryin is continuing to tour the U.S. to great acclaim.
Island Records re-released their much celebrated “Mystery Road” album through Universal Music Group (2017) & Darius Rucker cut “Straight to Hell” on his new album, “When Was the Last Time”, released October 2017 with guest vocal appearances by Luke Bryan, Charles Kelley, and Jason Aldean. “Mystery Road” was recently named one of The 50 Best Southern Rock Albums of All Time by Paste Magazine.
A quote from the band’s lead singer, Kevn Kinney, gives a little insight into what Drivin N Cryin is all about: “We are a band that's like your record collection.” Drawing influence from a wide array of musical elements, Drivin N Cryin has developed a unique sound over the years. Their name derives from the eclectic nature of this sound: a little drivin' rock n roll and a little country twang. Comfortable with their past and confident in their future, the band has an arsenal of songs, a full tank of gas, and no plans of stopping any time soon.

w/ The Cosmic Americans & Greazy Alice
9pm 21+ $15 ADV. Tix

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Smoking Popes
8:00 PM20:00

Smoking Popes

The Smoking Popes // Chad Price // Amuse // HiGH

8PM Doors, 9PM Show, $12 Adv / $15 DOS
ADVANCE TICKETS:  https://holdmyticket.com/event/322999

The Smoking Popes (Chicago indie punks back on tour!)

Chad Price (Solo Folk/Punk from the singer of ALL)

Amuse (Indianapolis pop-punk on Dodgeball Records)

HiGH (NOLA punk darlings + it's IZZY's BDAY!)

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The Ataris 'So Long Astoria' 15th Annv. Tour w/ The Queers
8:00 PM20:00

The Ataris 'So Long Astoria' 15th Annv. Tour w/ The Queers

The Ataris 'So Long Astoria' 15th Annv. Tour w/ The Queers

To the countless fans who loudly asked for it... 
Here you go!!
We are excited to announce the second leg of The Ataris "So Long, Astoria" 15th Anniversary tour!
(*The dates marked TBA will be announced later this week.)
And for the fans who missed out in Southern California and Las Vegas due to Kris having pneumonia. 
Hang tight. 
We will be announcing some make up dates and a couple bonus West Coast dates for December very soon!
See you all at the shows!
10.18 - Minneapolis, MN - The Cabooze
10.19 - Des Moines, IA - The Gaslamp
10.20 - Saint Louis, MO - Fubar
10.21 - Chicago, IL - Bottom Lounge
10.22 - Cincinnati, OH - Northside Yacht Club
10.23 - Columbus, OH - Rumba Cafe
10.24 - Indianapolis, IN - The Hi-Fi
10.26 - Detroit, MI - Diesel Concert Lounge
10.27 - Pittsburgh, PA - Smiling Moose
10.28 - Buffalo, NY - Mohawk Place
10.29 - Stanhope, NJ - Stanhope House
10.30 - Boston, MA - Hard Rock Cafe 
10.31 - Philadelphia, PA - Voltage Lounge
11.1 - Brooklyn, NY - Kingsland
11.2 - Easton, PA - One Centre Square
11.3 - Durham, NC -Motorco
11.4 - Charleston, SC - Tin Roof
11.6 - Orlando, FL - The Soundbar
11.7 - Miami, FL - Gramps
11.8 - Jacksonville, FL - 1904 Music Hall
11.9 - Satellite Beach, FL - The Sports Page
11.10 - Ocala, FL - O'Malley's Alley
11.11 - Pensacola, FL - Vinyl Music Hall (w/ The Queers)
11.12 - New Orleans, LA - Santos Bar (w/ The Queers)
11.14 - Houston, TX - Satellite Bar (w/ The Queers)
11.15 - Austin, TX- Grizzly Hall (w/ The Queers)
11.16 - San Antonio, TX - TBA
11.17 - Dallas, TX - TBA
10.15 - Merriam, KS - Aftershock Live Music Venue 
STRANGE 80's 2
10.12 - Strange 80's 2 - Los Angeles, CA - The Fonda Theatre
(Members of No Doubt, Anthrax, The Ataris, Slipknot, Stray Cats and countless others playing songs of the 80's supergroup style with all proceeds going to benefit mental health. Hosted by Finn Wolfhard of Stranger Things.)

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The Dirty Nil
9:00 PM21:00

The Dirty Nil

The Dirty Nil w/ Dead Soft and The Diplocrats

The Dirty Nil Embark on First US Headlining Tour

Following co-bills with The Who, Against Me!, Juno “Breakthroughs” Headline in Chicago, LA, NYC, and more this Fall

Listen to “Pain of Infinity” at Alternative Press: XX

After pummeling through 350+ shows over the last three years, 2017 Juno Award “Breakthrough Group of the Year” winners The Dirty Nil embark on their first ever US headlining tour. The band will play tracks from their upcoming LP ‘Master Volume’ (out September 14th on Dine Alone Records) with a raw, kinetic, straight-up rock & roll energy that’s equal parts punk intensity and 80s-rock-god decadence. Equipped with an


inimitable live “swagger” (Brooklyn Vegan), guitarist/vocalist Luke Bentham, bassist Ross Miller, and drummer Kyle Fisher will juxtapose their muscular, venomous riffs and clap-along choruses with stories from the road of good-natured run-ins with the cops and impromptu stripteases in German Christmas Markets.

Watch their no-holds-barred live show video for “Bathed in Light” HERE

Flirting cooly with some of life’s cruelest realities and made to reach the back of the arenas, ‘Master Volume’ rips open with “That’s What Heaven Feels Like,” a late-night ode to living fast and dying young (specifically, blasting through the windshield of your lover’s car) that plays like a greased-up, sucker-punched “There Is

A Light That Never Goes Out,” and ends with “Evil Side,” a six-minute epic perfect for a midnight graveyard stroll. In between, the band alternates between playful lyrics and power riffs (“Please, Please Me,” a ferocious punk track that’s sonically the opposite of its melodic 60s namesake, but shares the same raunchy subject matter) and topical issues like millennial numbness and substance.

Listen to “Pain of Infinity,” which Alternative Press says, “XXX,” HERE

When creating the classic horror, pop-art ‘Master Volume’ cover, designer/illustrator and longtime collaborator Christopher Blackwell of Providence, RI apparel/accessory brand Hungry Ghost Press said he “wanted to do something that felt a little bit gnarly for ‘Master Volume’ - kind of an ode to trash and metal bands that we all grew up on. The whole Dine Alone team have an awesome love and appreciation for vinyl, and the amount of time and energy they put into their releases is refreshing to see. Artwork is


only part of the job- what really ties the album together is the packaging and how the listener can experience the record while listening to the music."

Since they busted out of their quiet hometown of Dundas, Ontario, in 2011, The
Dirty Nil have been making bold impressions with their hard-to-define (only accurate label: rock & roll) sound. Championed by the likes of Vice Noisey and Stereogum and praised by Pitchfork for smashing “the boundaries separating ‘indie,’ ‘pop punk,’ and

‘alt-rock,” the band have cut their teeth on co-bills with everyone from The Who, The Menzingers, and Alexisonfire to Against Me! and Bleached.

The upcoming tour kicks off October 25 at Underground @ DIME in Detroit, MI, and hits many of the nation’s premiere music clubs, including The Echo in LA and Mercury Lounge in NYC, before closing out with a four-night homecoming streak in Ontario.

‘Master Volume’ Track Listing:

1. That’s What Heaven Feels Like 2. Bathed In Light
3. Pain Of Infinity
4. Please, Please Me


5. Auf Wiedersehen 6. Always High
7. Smoking Is Magic 8. Super 8

9. I Don’t Want That Phone Call 10. Evil Side

The Dirty Nil Tour Dates:


Thu, October 25, 2018 - Detroit, MI - Underground @ DIME


Fri, October 26, 2018 - Chicago, IL - Cobra Lounge


Sat, October 27, 2018 - TBA

Sun, October 28, 201 - Minneapolis, MN - 7th Street Entry
Tue, October 30, 2018 - Winnipeg, MB - The Good Will
Wed, October 31, 2018 - Saskatoon, SK - Amigos
Thu, November 1, 2018 - Edmonton, AB - The Starlite Room – Temple Fri, November 2, 2018 - Calgary, AB - Commonwealth Bar & Stage


Sat, November 3, 2018 - Vancouver, BC - Biltmore Cabaret Sun, November 4, 2018 - Victoria, BC - Lucky
Tue, November 6, 2018 - Seattle, WA - Funhouse
Wed, November 7, 2018 - Portland, OR - Sirens (Upstairs)


Fri, November 9, 2018 - San Francisco, CA - Hotel Utah Sat, November 10, 2018 - Los Angeles, CA - The Echo Sun, November 11, 2018 - Phoenix, AZ - Rebel Lounge Tue, November 13, 2018 - Austin, TX - Barracuda

Wed, November 14, 2018 - Dallas, TX - Three Links
Thu, November 15, 2018 - New Orleans, LA - Santos
Fri, November 16, 2018 - Atlanta, GA - Purgatory at The Masquerade


Sat, November 17, 2018 - Nashville, TN - The End
Sun, November 18, 2018 - Chapel Hill, NC - Local 506
Tue, November 20, 2018 - Washington, DC - DC9
Wed, November 21, 2018 - Philadelphia, PA - Voltage Lounge
Fri, November 23, 2018 - New York, NY - Mercury Lounge
Sat, November 24, 2018 - Boston, MA - Middle East - Upstairs
Mon, November 26, 2018 - Quebec City, QC - L'ANTI
Tue, November 27, 2018 - Montreal, QC - Bar Spectacle L'Escogriffe Wed, November 28, 2018 - Ottawa, ON - Babylon
Thu, November 29, 2018 - Kitchener, ON - Wax
Fri, November 30, 2018 - London, ON - Rum Runners
Sat, December 1, 2018 - Toronto, ON - The Opera House

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The Buttertones
9:00 PM21:00

The Buttertones

Last year the Buttertones put out Gravedigging, but on their newest Midnight In A Moonless Dream, they’re digging deeper and discovering something dark. If Gravedigging felt like an oversaturated spaghetti-western desertscape, Midnight is much more biting—music made for the swampland that spit out Australia’s mad Scientists, or for the Mickey Spillane night city where the Cramps met all those garbagemen and werewolves. Or maybe the Buttertones are heading for an even more primal place: “Show more teeth / Bite your way in,” sings guitarist Richard Araiza. “You’re back in the jungle again!”


They’d started in 2011 as a trio of music-school misfits. Araiza, bassist Sean Redman and drummer/multi-instrumentalist Modesto ‘Cobi’ Cobiån all wanted to pursue something more than boring industry adequacy, and soon locked together their current five-piece line-up with sax player London Guzman and guitarist Dakota Boettcher. With Gravedigging, they leapt from backyard parties to back-to-back tours, including their first trip to Europe, and scored a Coachella slot for 2018. It was a year that made them sharper, stronger, even more sophisticated. And when they were ready to record, they were ready to do things differently.


Midnight was made in two flash sessions at Long Beach’s Jazzcats studio with Gravedigging producer Jonny Bell, whose genre-smashing record collection and appetite for experimentation made for a perfect match. (He’s really a guru, they say.) What was supposed to be a six song EP during the summer of 2017 bloomed into a full-length by the end of that December. Midnight was like a trust fall, the band says—leap of faith after leap of faith, cut to tape as it happened by a tight and tour-tested band. On this album, they’d decided, everything would be new—not just new sounds, like their first-ever string section, but new ways of working together and writing together. They worked on trust and instinct, by feeling instead of thinking. If it worked, they’d keep it, and if it didn’t, they’d burn it and move on. Gravedigging played like the soundtrack to a good heist movie, but Midnight was like the true story itself—a perfect and intricate crime, executed by a crew of professionals under cover of night. 


On the vicious “Winks and Smiles,” the spirit of sax and violence that powered cult-classic L.A. punkers the Deadbeats suddenly comes to life; on the starked-out “You and Your Knife” and fog-and-smoke follow-up “Brickhead,” you’ll hear the cryptic echoes of Suicide or Bauhaus. It’s music made for dancers but also for doomed romancers, and you’ll hear it best on the pocket symphony “Eros,” which closes the album with Lynch-ian vision and power—here Araiza sings with almost startling passion, and if you don’t linger on the idea of graveyard angels in perpetual embrace, it’s a love song for the ages. This is the strong stuff, the kind that comes in an unmarked bottle and burns when it hits.


“It’s the darkness that brings us together,” laughs Guzman—in person, this is a band who prefer comedy to tragedy, even if they do claim to spend hours listening to Smiths records all day. But there’s still a tension and even a sinister new dimension on Midnight that the Buttertones never quite had before. Like lead single “C4,” which ignites like something from a New York no-wave song, with slashing sax and ferocious drums and a piano riff falling of a cliff before Araiza fights through the noise and gunsmoke, and what’s the very first word on the whole album? “Bang!” he shouts—and that says it all.


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9:00 PM21:00
Ritual Talk
10:00 PM22:00

Ritual Talk


Guts Club 
"'Trench Foot' is Guts Club’s third album, a transfixing record that has touches of psych, country and folk, all grounded by Baker’s direct, beautifully unadorned singing. Her subtle vocal inflections draw the listener in further, every song seemingly a story she’s telling directly to you. Or sometimes at you." - OffBeat Magazine

Ritual Talk (NY)
Ritual Talk is a Brooklyn-based indie rock trio with lush instrumentation and exploratory vocal arrangements that tinge each song with an unmistakable color, on and off the stage. Led by songwriter/multi-instrumentalist Alex DeSimine and joined by drummer Tom Criblez and fellow multi-instrumentalist Dylan Gleit, each member of the band uses every limb they have to create a soundscape that transcends their three-person appearance.

Jack Sledge
"... New Orleans-based singer-songwriter originally from Brooklyn. After releasing five albums with three projects in two cites over six years, Sledge released his first solo EP in 2017. … Sledge’s folk-inspired guitar playing and storytelling blend with his sweet falsetto to transport listeners to the rosy contentment of love, the simple bonds of childhood friendship, and the breezy shores of Dauphine Island, Alabama." - Now Playing Nashville


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9:00 PM21:00


Doors @ 8PM - $10 Advance / $12 Day of Show
ADVANCE TICKETS:  https://holdmyticket.com/event/321226

(Green Bay Death Metal on Prosthetic Records)

(Phowenix, AZ Death Metal)

(Tech/Death from KC, MO - Unique Leader Records)


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THE 5678'S
9:00 PM21:00

THE 5678'S

Doors @ 8PM - Show at 9PM
$12 Advance / $15 Day of Show

Japanese all-lady garage trio THE's live at Santos Bar with legendary NOLA rock-n-rollers THE ROYAL PENDLETONS!
The Prince of New Orleans R&B GUITAR LIGHTNIN' LEE and his THUNDER BAND kick this one off!

The's Official


Guitar Lightnin' Lee and His Thunder Band

Presented by The Mystick Knights of the Mau Mau and Eighty Sixed Productions 

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9:00 PM21:00


Jack Name is the alias of prolific Los Angeles-based indie musician/producer John Webster Johns, who has also worked under the monikers of the Fictional Boys and Muzz, among others. Johns has been a fixture in the L.A. underground since the late '90s, releasing myriad recordings and eventually collaborating with artists like Cass McCombs and White Fence (as guitarist in the live band). Further developing the psychedelic and experimental pop styles of earlier projects, Johns' first release under the Jack Name moniker was the sci-fi-leaning Light Show album from Drag City imprint God? Records, released in January 2014. After a switch over to Castle Face Records, Name returned with a second album, Weird Moons, a year later in early 2015 ~ Timothy Monger


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10:00 PM22:00


Tour Announcement! Time to “Burn and Shred”

Were thrilled to announce our upcoming North American “Burn & Shred” headline tour, featuring support from Aethere (8/10-9/7) and Lody Kong (9/14-9/28). The two-leg tour will begin on August 10 in Austin, TX and visit several major North American cities, ending on September 28 in the our hometown of Phoenix, AZ. Tickets will be available via each individual venue. See below for all current tour dates, with more to come!

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8:00 PM20:00


tiRed oF fEeLiNg LiKe a c0g iN tHe LuBeD-uP Mega-Masc™ Decadence Machine™ ???
wuNnA fEeL & L00k as cUtE && sWeET aS tHaT High Profile™ Lo0KiN' d0LL u oNcE hAd iN uR AOL iNsTanT MessEnger bUddY ic0n ???
WELL THEN g0 aHeAd && p0St tHaT aWaY mEsSaGe && cOmE kiCk oFF uR Decadence™ wEekEnD tHe 0nLy wAy High Profile™ kn0Wz h0w --- wiiTh a FiiERCE & FEMME extravangaAaAaA ! ! ! !

Come dressed PIXEL PERFECT and let our femininity make u FEEL somethin' ~ * ~ * ~ * 

}}}::: DJ SET :::{{{
~* EDGESLAYER *~ Edge Ra

}}}::: P3RF0RMANC3S BY :::{{{
~* ViSQUEEN *~
~* JASSY *~
~* LAGNIAPPE (dtx) *~
~* LUNA REI *~
~* TIFA COCKHART (atx) *~

$$$$5 COVER$$$$

~*//JEALOSY iiZ a iLLnEzz --- gEt WeLL so0n biSh~*

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