Upcoming Shows
Kuarantine (featuring Chris Jericho), Enuff Z'Nuff, Dr. Chang
Tomorrow June 26, 20268:00pm $25.00
Kuarantine is the world's BEST non make-up, 80's KISS Kover band! They first debuted in May 2020 with the release of No No No, which reached #25 on the Billboard Mainstream Rock Charts. They now have three more TOP 20 hits in Silver Spoon (#20), Good Girl Gone Bad (#11), and Turn On The Night (#17)! The band tours regularly, bringing their high-octane rock n roll party to thousands of fans across North America, including opening for KISS themselves at the Kiss Kruise- Landlocked In Vegas extravaganza in November of 2025!Frontman and lead singer Chris Jericho has surrounded himself with a group of top-notch touring musicians for Kuarantine. Kent Slucher has been the powerhouse behind the kit for country music sensation Luke Bryan for the past 14 years, from small clubs to headlining stadiums and amphitheaters. Joe McGinness is a rising country singer and guitarist who has shared the stage with artists such as Old Dominion, Florida Georgia Line, and Granger Smith, and is also a member of KLASSIK '78, a digital tribute to 1970s KISS. KLASSIK '78's Latest Album, "Phantoms, reached #1 on the iTunes rock charts in 2022. Bassist PJ Farley rose to fame in the New Jersey-based gold-selling rock band Trixter, who toured with KISS, Poison, and Scorpions before writing and recording two solo albums and eventually joining Fozzy in 2020. Charlie Parra, who hails from Lima, Peru, is a global rock guitar YouTube sensation, boasting nearly a million followers and over 176 million views on his channel.
Midwest Emo Night vs Pop Punk Revival
Saturday June 27, 20268:00pm
MIDWEST EMOModern Baseball
Tiny Moving Parts
The Front Bottoms
Mom Jeans
Joyce Manor
Hot Mulligan
+ MORE
POP PUNK REVIVAL
The Wonder Years
Neck Deep
State Champs
Knuckle Puck
Turnover
Title Fight
Real Friends
The Story So Far
DRESS UP COMPETITION
Best 'fit wins venue vouchers & plushies
Recently Added Shows
Michael Jackson On Repeat
Saturday June 27, 202611:00pm
DON'T STOP 'TIL YOU GET ENOUGHDJs playing hit after hit with no breaks and no filler for you to moonwalk to on repeat.
THEMED DRINKS
Beat It Brew
Smooth Criminal Cup
Dirty Diana Drop
Emily Nenni
Thursday August 13, 20268:00pm $20 advance / $25 door
Whenever Emily Nenni is onstage, she welcomes everybody to the dancefloor. The California-born, Nashville-based singer-songwriter wants the honkytonk to be a place of escape, where fans can shed their troubles for a few hours and feel safe and free. "You can have trouble whenever you mix late hours and alcohol," she says. "I've been in bad situations before, and I've tried to learn from those experiences. But it's heartbreaking that some people don't feel safe or don't feel like they're allowed to exist in this world. So I'm always watching the dancefloor and making sure everybody's being respectful." Or, as she sings on the supremely funky title track to her new album Movin' Shoes, "Here's where you dress for you and dance the way that you want to."Movin' Shoes is an album about how we treat each other and how we treat ourselves--whether we're at the honkytonk or not--and Nenni writes and sings like someone who has seen enough shit go down that she's not going to allow any more, at least not on her watch. "When I was writing these songs, I was thinking about just how hard it is to live in this world," she says. "How are we leaving our mark in this world? How are we interacting with other people and with ourselves, too? Pain is part of the human experience. The world is so scary, but there's so much beauty to it. And so much of that beauty comes from how we treat each other and ourselves. That's the album's entire message."
These are lessons she's learned from some of her favorite artists, from Aretha Franklin to Stevie Wonder, and her new songs reflect these influences that extend beyond the honkytonk. "This isn't strictly honkytonk like my former records, even though it's still all the same influences," Nenni explains. "I'm just drawing from more artists and genres than I have in the past." Confident in its touchstones and compassionate in its insights, Movin' Shoes eloquently and wryly blends southern soul from Memphis and Muscle Shoals with southern rock from Macon and outlaw country from Austin. These songs percolate with new sounds, like the bluesy Rhodes organ that kicks off the title track and the Lone Star harmonica that weaves throughout her bluesy cover of Paul Simon's "Tenderness."
She cites Sly Stone and Linda Ronstadt's Motown covers as specific influences, but the old styles sound fresh and current because her personality and charisma come through in every note. Especially on some of the darker tunes, Nenni found strength in her heroes. With its piercing blasts of Stax horns and weeping pedal steel, "What Have I Done Wrong" pleads for empathy and patience: "Please believe I'm trying," she sings. "I'm faulty by design." In addition to some of her most incisive lyrics, the song also features one of her most powerful, soulful vocal performances. "I wasn't trying to sing like Aretha--who could possibly do that?!--but I was thinking of her and her power and her confidence. I've heard so many songs that have lifted me out of something and made me feel like I'm not alone.
Drawing from a lifetime of experiences, Nenni wrote these songs in isolation, usually during lonely winter months. Alone with her thoughts, she found perspective devising lyrics and melodies. "That's when all those dark things come to the surface, but I can put it all down on paper. I process life by writing songs." On the rambling, rousing "Livin' in Shame," with its crackling guitar licks, she examines her own relationship with her body. Nenni notes that the song shares a title with a 1969 hit by the Supremes, but she tweaks the phrase to show how unkind we can be to ourselves. "We are so hard on our bodies. Back in middle school I wore a back brace. It was particularly challenging at that age as our bodies are changing, and it largely changed the relationship I had with my body and confidence. It's such an insecure time for anyone, again, not just women. I still struggle with how I speak to myself and my body as a result of my experience and I see so many others struggling with the same. We should all be nicer to ourselves, but of course, that's easier said than done."
To record these songs, Nenni drove down I-40 from Nashville to Memphis, where she worked with producer John James Tourville (the Deslondes) and Matt Ross-Spang. They worked together on 2024's Drive & Cry, but the setting--Ross-Spang's new Southern Grooves studio--was different. "Matt's place is incredible. He put so much time and care into it, and the building it's in--Crosstown Concourse--is a wonderful community based around art and education and food and culture. It's a special spot." Recording in the home of the blues--and the home of soul and the home of rock & roll--Nenni let some of those local influences seep into the music, especially the Stax fanfares on "Talk to Me" and "Yes It Hurt." "Initially we weren't going to do horns, but John James gently brought up how horns could make a few songs really pop. That's always the fun part about recording: You walk in with a song you think is going to sound one way, but it turns into something different because the musicians come from different places and have different interests."
One of the most important crew members at Southern Grooves was Edna herself, who provided comfort during the writing as well as the recording process. "She loved laying outside the echo chamber," Nenni says with a laugh Edna is also the subject of "Home with My Dog," a catchy ode to staying in rather than going out. "When I was in my early twenties, I was always going out to see live music, hanging out, popping up onstage. Now that I'm older and on the road more, I just want to stay home with Edna. She doesn't do that thing where she's looking past you to see if there's someone else she needs to meet."
Making Movin' Shoes was a process of discovery for Nenni. Musically she found all new ways to combine the disparate artists she loves so much, and lyrically she found all new ways to relate to herself and to others. "We should at all times acknowledge and accept the fact that we're imperfect people," she explains. "We all make mistakes and we should all rethink the way we go about things. I am flawed. Everyone around me is flawed. But that's not a bad thing. It just means we're all human. This album is about making mistakes and learning from them. I'm always trying to put that into my songs.
Joe Jordan
Wednesday September 16, 20268:00pm $20 advance / $25 door
Independent singer songwriter Joe Jordan has an eclectic musical background. Growing up in the northeastern United States and playing any bar or honky tonk that would let him plug in his guitar, Jordan learned quickly how to engage the crowd. His honest unfiltered lyrics led Jordan to write one of the biggest country hits by an indie artist in decades - Rayne Johnson's "Front Seat", penned by Jordan, has over 100 million cumulative streams to date.The prolific songwriter has been releasing his own music over the past year and is now streaming over 3 million per month! His social media & streaming caught the attention of several record labels, and as a result, Jordan has recently signed with Pure Tone/Atlantic Records. Jordan will be dropping a new full length release this year!
Fruition
Saturday October 3, 20268:00pm $20 advance / $25 door
For nearly two decades, Fruition have built their genre-bending version of American roots music around harmony -- not just the vocal interplay of the band's three songwriters, but the deeper harmony created between five friends who've spent years on the road together. On their eighth album, Something More, those bonds grow into something more collaborative than ever before.Produced by Grammy winner Tucker Martine, Something More steps beyond the live-in-the-studio performances of 2024's How To Make Mistakes. If that overdub-free record nodded to the band's strength as a live act -- to the musical chemistry they've been developing since their busking days, when Jay Cobb Anderson, Kellen Asebroek, and Mimi Naja began performing together on Portland street corners -- then Something More finds Fruition stepping into an era defined as much by exploration as craft. The recording studio isn't just a room here; it functions as its own instrument, layering the music with analog tones and atmospheric textures. The result is an indie-influenced Americana record fueled not only by electric guitar, cello, Mellotron, and old-school drum machines, but by the melody-driven songwriting that's always anchored the band's sound.
This time around, much of that songwriting took place during collaborative sessions that unfolded everywhere from a lakeside house in Denver to a flower-filled bungalow outside San Diego. There, Fruition's vocalists teamed up to write songs like "Forward," "How Does It Feel," and "By Now," adding a shared perspective to a band whose previous albums -- including 2020's Wild As The Night, Broken At The Break Of Day, whose lead single "Dawn" became a hit on Americana radio -- often threaded three different visions from three different writers. "Writing together is a gentle thing," says Anderson, who shares frontman duties with his two co-founders. "People can get offended easily, but we've known each other for a long time, so it makes it easier to be vulnerable with each other. It's a sign of maturity."
Maturity, indeed. Fruition's melting pot of rock, folk, pop, and soul has never sounded so fully-developed -- or so expansive. "Forward" makes room for slide guitar and a dry, deep-pocketed groove inspired by Bahamas, while "All Over" incorporates a vintage drum machine, a finger-plucked chord progression, and dub-inspired reverb influenced by Lee Scratch Perry. For every laidback moment like "Reason To Live" -- a rootsy love song, its gorgeous melody punctuated by harmonica -- there's an anthemic counterbalance like "I'm Not Afraid," whose indie-rock guitar figures and all-hands-on-deck refrains unwind like tailor-made moments for the band's live show. The title track even turns to gospel music for inspiration, mixing triple-stacked vocal harmonies with live-tracked piano. Tying everything together are autobiographical lyrics that tackle uncertainty, acceptance, and the band's long journey from past to present.
"As songwriters, we're always writing about the lessons that life is forcing us to learn," Asebroek explains. "We're aging, we're maturing, so the lessons become heavier and more crystallized. These songs are about reflection, and acknowledging that the future is unwritten -- and being at peace with that."
Those lessons go beyond the music itself. "We've always been known as a harmony-driven band," Asebroek adds, "but that harmony goes beyond our vocals. We've gained an understanding of the ways harmony can work between five different souls, and we've learned to operate harmoniously despite our differences. Harmony doesn't really work without dissonance and friction. The whole idea of tension and release in music is so emblematic of the world around us, so the lessons we've learned in the band are lessons that apply to our individual lives, too. We're living in harmony with each other and the world at large, and I feel lucky to experience that with this group of people."
For Naja, Something More builds upon the momentum -- and the themes -- that its predecessor made. "How to Make Mistakes was about learning lessons, making mistakes, and leaning into who we are as a band," she says. "This new album feels like a progression from that era. The lessons are realized and we're growing from them. It feels like we're saying, 'We went through this experience, and here's an evolved, more mature version of who we've become.'"
Years earlier, Fruition had tapped Tucker Martine to produce 2018's Watching It All Apart. They rekindled that partnership for Something More, capturing the album's 11 songs during a seven-day session at Martine's studio, Flora Recording and Playback. There, surrounded by analog gear, they allowed themselves to chase down a new level of creativity in the recording studio. A vintage Ace Tone organ from the early 1960s made its way onto every track, with all five bandmates -- including bassist Jeff Leonard and drummer Tyler Thompson -- playing the instrument at various points. Pedal steel guitar was woven through the laidback folk-rock single "Oh Well." Horns were added to the upbeat "Somewhere Down The Line," while cello, acoustic guitar, and cinematic percussion helped steer the soft-hued opening track, "Compass." Martine's collection of musical equipment became a launchpad for the band, encouraging them to dress up their songs with arrangements that were every bit as eclectic as the writing itself. "We walked in there like kids in a candy shop," says Naja. "We were drawn to all of Tucker's weird gear. We couldn't have made an album like this -- an album about growth, evolution, and maturity -- without that enthusiasm, that space, and that guy."
Fruition's journey has been a wild one. They've grown their career the old-school way: night by night and song by song, unafraid to roll up their sleeves and do the work, making their way from the street corners of the Pacific Northwest to bucket-list stages like Red Rocks and San Francisco's Great American Music Hall. Something More feels like the next chapter: a collection of lessons absorbed, trust deepened, and a band fully embracing what they've become.
"If anything," says Anderson, "this record is us trusting each other more than we ever have -- as humans and as musicians. It's the sound of us leaning into each other."
And within that trust, Fruition discovered exactly what the album's title promises: something more.
Joe Stamm Band
Thursday October 15, 20268:00pm $20.00
Joe Stamm has a way of making seemingly minor moments feel as expansive and full as the Illinois River that runs through his central Illinois homeland. As Joe continues building a life in that same river valley, new stories continue revealing themselves to him. In the sound of the crickets on a summer night. In the smell of bonfire smoke on a mild winter day. In the taste of a cold garage beer.After more than a decade of writing, performing, and touring, Stamm has honed his storytelling ability to such fine detail, you'd think he was there when you were getting up to no good in your hometown. Or at your dinner table when you got the bad news. Or on your porch when you got the good news. His salt-of-the-earth writing style, coupled with a voice that urges you to feel deeply...well, that's what honest music is all about.
"With uncommonly great songwriting, and a serious rock n' roll attitude...Joe Stamm Band casts a wide net of appeal that captures most anyone with any sense of taste who falls within earshot." - Trigger Coroneos for SavingCountryMusic.com
Expect a unique mix of rootsy rock and rugged country from all of Joe Stamm Band's work -- a sound they've coined Black Dirt Country Rock. This genre-bending sound flexes even further in the band's newest full-length album Little Crosses. Produced by Al Torrence, a member of Charles Wesley Godwin's right-hand band The Allegheny High, Little Crosses brings together the best parts of Midwest and Appalachian music.
Josh Meloy says Little Crosses is "like watching a movie." Read Connolly, of Zach Bryan's touring retinue, simply states, "This is American music."
With gold-record know-how, Torrence "applaud[s] JSB endlessly for taking risks, and letting the songs steer them in the direction where the music takes them."
But no matter what artistic turn they take, JSB has stayed true to what their dedicated fans have come to love from them: distinct imagery, high energy, big builds, and a voice that cuts straight through.
Joe Stamm Band is rounded out by longtime members, Bruce Moser on bass, Dave Glover on guitar (and occasional keys), and Tim Kramp on drums, all born, raised and still residing in central Illinois (except for most of the time...when they're in a Ford Transit van).
Delicate Steve, Yellow Ostrich
Thursday October 29, 20268:00pm $20 advance / $25 door
Take a visit to Luke's Garage, Delicate Steve's latest album, and you'll discover a place where sparks of creativity fly in all directions, where melodies splatter the walls like brightly hued paint, where no idea is too simple, too ingenuous, too full of childlike wonder. The L.A.-via-Jersey guitarist born Steve Marion, whose credits include session work for Amen Dunes, Paul Simon, and Deradoorian, had no grand plan for making it: he would simply book some time at a friend's studio, hunker down, and play. He's always allowed intuition to guide him, composing his jubilantly tuneful instrumentals as he records them, but this time, he felt freer than ever to "keep the seams showing, and don't polish everything, and keep it raw, and alive, and electric-feeling," he says. He chose the title, Luke's Garage, as a tribute to his pal and sometime collaborator Luke Temple, but also for the anything-goes adolescent innocence it conjured: the feeling of heading over to a buddy's house, turning up the amps, and creating your own world.In the world of Luke's Garage, a passage of music that feels like a sketch in progress might open into a hook so finely wrought, so obviously right, that you have a hard time believing you haven't heard it before. The two passages may in fact be one and the same. There are songs that feel destined to soundtrack memories of windows-down road trips, and those more suited to moments of hushed intimacy. A shadowy synth-pop excursion ("Light of the World") veers into a candlelit soul ballad ("Shall Be Free"); a chugging garage-rocker (the title track, naturally) sets up an unexpected detour into slinky disco ("There Goes My Baby"). Delicate Steve's unmistakable sensibility, his tone airy yet tactile, his lines full of poignant bends and whimsical asides, is a benevolent guide through the ever-shifting landscape, keeping a steady hand on the wheel no matter the surroundings. He has little interest in showing off, focusing instead on clarity, simplicity, and directness--more like an openhearted pop songwriter than a look-what-I-can-do shredder.
Marion played every instrument on Luke's Garage himself--guitars, drums, keys, bass--which heightens its homespun charm. The album's sense of music as a colorful playground for exploration may remind you of Paul McCartney's early solo work, made at a time when he was shrugging off the weight of expectation and digging into his own idiosyncrasy, tinkering alone until he found a sound that made him feel and trusting it would do the same for others. As with the McCartney, this record's air of easy spontaneity belies serious craftsmanship and care: the exuberantly arcing melody of "We'll Be Friends" and the quietly hopeful one of "Die With It" didn't just come out of thin air, no matter how natural or even preordained they may seem. To hear Marion tell it, the audible joy in his music isn't some affect he's choosing to put on, but an honest expression of his own delight and relief when he finally finds the right note, the right rhythm. The prevailing mood of Luke's Garage is one of discovery, because you're hearing Marion discover the music himself.
Another important reference point is Donuts, the classic swan song by the late Detroit hip-hop legend J Dilla, one of Marion's favorite albums. That may be a surprising inspiration for an instrumental guitar record, but it makes sense as soon as you hear Luke's Garage, the way it feels both offhanded and profound, its deep beauty inextricable from its casual presentation. Marion's love for Dilla is also evident in the way he treats each track as a little universe with its own parameters, its own language and laws of physics. And in the way he flicks through them as if he's auditioning a bin full of records for a last-minute DJ set, giving each one whatever space it needs to develop and lingering for not a second longer than that. This collage-like presentation of Luke's Garage keeps Delicate Steve's guitar-centric instrumentals firmly situated in the present, in subtle conversation with sample-based and electronic music even though Marion composed it entirely on live instruments. In a sense, Luke's Garage is not "guitar music" at all, but a fizzy, brightly colored pop record that just happens to feature the guitar as its lead voice.
Luke's Garage may seem at first like a low-key collection, and in some ways it is. Don't let that fool you into thinking it isn't deep. Music gets asked to be a lot of things these days: a cure for what ails you, or for society itself. Luke's Garage is neither of those things, nor does it attempt to be. It offers a simple but powerful proposition instead: in its very looseness, its embrace of happenstance, its irrepressible groove, and its joyful refusal to be anything other than itself, it'll leave you feeling just a little freer than you did before you pressed play. That's more than enough.
Are We Not 80s? – A Night of New Wave
Thursday November 5, 20268:00pm $15 advance / $20 door
Featuring Weird Science, Xposed 4Heads and Revo - Devo Tribute from MinneapolisWeird Science play classic 80s party music remade into modern Power-Pop that is extremely high-energy Rock & Roll FUN! Xposed 4Heads will play their original new wave quirk pop heard on local and national radio stations. Revo are Minneapolis Devo tribute band headed for Cleveland to play this year's DEVOtional fan fest. It will be a special night of quirky New Wave fun!
MKE Unplugged
Friday November 6, 20268:00pm $20.00
MKE Unplugged is Milwaukee's own tribute to the music of the popular Mtv series: "Mtv Unplugged". Focusing on song selections from the 90s, MKE Unplugged features both male and female lead singers to recreate the magic of all prominent artists from that time period. Imagine combining the acoustic performances of all your favorite bands packed into a single show!Damaged Justice, Hellbilly Deluxe
Saturday November 14, 20268:00pm $12 advance / $15 door
Damaged Justice is Chicago's Metallica tribute band, formed in 1996 by drummer Robert Masliansky. Robert kept the band together through the thick and thin of Metallica's career and the local Chicago music scene. It's the band's long-term goal to play every single song in Metallica's catalog live on stage. In the short term, Damaged Justice aims to please Metallica fans of every type; with set lists routinely comprised of tunes spanning the entire Metalli-collection.Pat McCurdy
Friday December 18, 20268:00pm $10.00
Pat McCurdy is a singer/song writer from Wisconsin. He tours the mid-western part of the USA, his shows usually consisting of just him and his guitar. While the majority of his audience is made up of a college-age crowd, McCurdy manages to appeal to a large number of people of all ages with his interactive shows. Performing well over 300 shows a year, his large catalog of original songs (nearly 600 and growing) covers a variety of topics such as lost loves, politics, family vacations, the joys of Asian cuisine, and the sex organs of long-dead French Emperors.Classifying McCurdy's style has long been a problem since he tends to follow wherever his muse takes him. Many of his songs could be classified as rock/pop, though he's been known to wander into folk, jazz, country and even Gilbert and Sullivan. Whatever style he chooses, his songs often include memorable lyrics.