Madilyn Mei
Globe Hall Presents Madilyn Mei with Sparkbird on Sunday, July 21 — 16+, under 16 admitted with a ticketed parent or guardian
Los Shadows
Globe Hall Presents Los Shadows on Thursday, September 5th.- 16+, under 16 admitted with a ticketed parent or guardian
SPRINTS
Indie 102.3 presents SPRINTS on Thursday, October 10th. “This is an exploration of pain, passion and perseverance.” The dedication for Sprints’ debut album serves as a neat summation of their story so far. Transforming pain into truth, passion into purpose and perseverance into strength, the Dublin four-piece have steadily grown in stature over the last three years, sharing two acclaimed EPs and building a fearsome live reputation opening for the likes of Yard Act and Suede. Letter To Self is the sound of Sprints co levelling up once again, revisiting their most vulnerable moments and imbuing their visceral garage-punk with a palpable sense of catharsis that we can all benefit from. Singer, guitarist and lead-songwriter Karla Chubb has never shied away from confronting inner turmoil. Born in Dublin, she spent a portion of her early childhood in Germany, initially turning to music as a consequence of feeling out-of-step with the world. “I lived in a constant state of existential crisis,” she recalls. “Music became an outlet for emotion, and a way for me to understand myself and society.” The foundations for Sprints were laid when Karla met guitarist Colm O’Reilly and drummer Jack Callan — childhood friends who’d been playing music together since the age of 10. Recruiting bassist Sam McCann to complete the line-up, the quartet found their sound after seeing Savages play Electric Picnic in 2016. “Seeing the energy of Jehnny Beth and those gnarly guitars totally captivated us,” Jack explains. Karla continues, “I’ve always loved anger-fuelled music but I had fallen into the trap of writing what felt least offensive, simply because I saw anger as a negative emotion, rather than something that can be therapeutic and cathartic. [After watching Savages] I decided I don’t really care how I’m interpreted — I’m just going to write exactly what I feel.” Principled and plain-spoken, Karla has always used her platform to address inequality. Debut single ‘The Cheek’ skewered the misogynistic fetishisation she’s experienced as a bi-sexual, while the title track of their 2021 EP Manifesto was inspired by the campaign for Repeal The 8th, and women’s ongoing fight for bodily autonomy. For Letter To Self, the band dug even deeper, transforming so-called “negative energy” into an opportunity for communal catharsis and healing. If the buoyant love song ‘Literary Mind’ marks the album’s brightest moment, ‘Shadow Of A Doubt’ is unquestionably its darkest. Recorded in three takes, it features a strikingly vulnerable vocal performance punctuated by jagged breaths, and details suicidal thoughts emanating from past trauma. “Can you help me stop the screams?” Karla begs at the song’s climax, as searing guitars crash in waves around her. And yet, with the title track, the album ends on a note of acceptance, seeing Karla celebrating her autonomy in lines like, “I don’t have to take the path that was carved out in front of me.” As she explains, that message lies at the very heart of the album. “No matter what you’re born into, or have experienced, there’s a way to emerge from this and be happy within yourself.” It’s a hard-won truth that the band hope others will be motivated by, inspiring listeners to use pain as fuel for growth, ultimately unearthing a path to seek contentment. For though the route to self-acceptance is anything but easy, with pain, passion and perseverance Sprints are proving that anything is possible. – 16+, under 16 admitted with a ticketed parent or guardian
The Family Crest
Globe Hall Presents The Family Crest on Sunday, July 7th.- 16+, under 16 admitted with a ticketed parent or guardian
Bennett Coast – Where Are You Going? Tour 02
Globe Hall Presents Bennett Coast – Where Are You Going? Tour 02 on Saturday, July 27th. Who is Bennett Coast? A filmmaker who happens to be a songwriter. A songwriter who happens to be a filmmaker. Spike Jonze if he grew up in the age of Frank Ocean’s Blonde. A Gen-Z Ryan McGinley who designs his own merch. The Gallagher Brothers, if the first movie they fell in love with was Terrence Malick’s The Tree of Life. Los Angeles-based Coast is all of these things. A ruthlessly talented, ambitious creative who does it all. On his debut EP, Where Are You Going?, 22 year-old Coast lets us in on the mystery, just a little bit. Like his work as a visual artist, Coast’s music is a reflection of his surroundings and his youth. Huge vistas, grassy hills, the blue of the sea. Boys getting into fights in parking lots. A first kiss with someone you end up being really, really sweet on. All of it is deeply personal and felt. The cascade of drum machines on “Driver” fall into hazy guitars, and Coast’s vocals oscillate from the staccato of a rap to something more languid. In the video for the song, Coast lights up a cigarette, gets in a car, begins a journey. What unfolds is a rapid-fire energy of moments unfolding, a controlled chaos, all of it revolving around a mantra of work, life, sleep. A bright red sports car does donuts. A naked woman dives into a pool. A cop kisses his wife as her mistress crawls out the window. Coast dabbles around in a cubicle, pulling the strings of it all. Much of Coast’s art is like this: defies easy categorization, embraces the coming, the going, the catharsis. He reaches for roots, the bottom-line harmonies of human experience. It makes sense: Coast is an inherently introspective person. Someone who grew up in the Bay Area suburbs and never quite fit in, getting into a few fights along the way. Someone who tried out film school but was already making videos at the age of seven. Where Are You Going? is a reflection of all of that. It’s a story about growing up, fitting in, not fitting in, being who you think other people want you to be only to end up singularly yourself. It’s about watching your world dilate, get huge. One minute you’re driving around your small town, the next, you’re in college, figuring out who you are and what to hold on to. Music, for Coast, is an extension of all of his other artistic practices, all of which are connected, incredibly symbiotic. Coast is growing, sinking into his seat, shaping the aches and sighs into a substance worth sharing—the result is something like an anchor, a pin to drop on a time in your life. – 16+, under 16 admitted with a ticketed parent or guardian
sombr
Globe Hall Presents sombr on Saturday, July 20 — 16+, under 16 admitted with a ticketed parent or guardian
renforshort
Globe Hall Presents renforshort on Wednesday, September 11 — When you’re young, it can feel like the world is ending every day. But as you grow, you discover new ways to cope. What used to feel heavy is lighter; what once felt muddy can be scrubbed away. This is the overarching theme of rising star renforshort’s vulnerable third EP, Clean Hands Dirty Water, which mines coming-of-age moments and emotional isolation to reveal raw, bittersweet alt-pop ballads and bangers.Born Lauren Isenberg, the Toronto-based singer/songwriter grew up in a musical family with three brothers who also played instruments and parents who’d play Amy Winehouse and Stevie Wonder concert videos in the background while preparing dinner. By high school, Lauren began composing what would become her first singles on piano and performed at open-mic nights in Toronto.Releasing her lush, R&B/pop debut single “waves” in 2019, Lauren soon followed up with the teasing and upbeat “mind games,” two EPs (teenage angst (2020) and off saint dominique (2021)), and a bracingly honest debut album, dear amelia (2022). Each project offered a clear-eyed portrait of where Lauren was in her life, whether it was having conversations around mental health or maturing from late adolescence to early adulthood.Lauren brings her sharply observed, old-soul songwriting to Clean Hands Dirty Water, a fortifying five-song collection of alt-pop tracks that instantly make the personal feel universal.Written in London during a period of intense personal reflection, Clean Hands Dirty Water features collaborations with Jeff Hazin, Jonny Latimer, Ian Fitchuk, Tommy English, PJ Harding, Paul Phamous, Ethan Schneiderman, Y2K, midi jones and nick ferraro. Led by the strummed, contemplative single “serpentine,” Clean Hands Dirty Water is a masterclass in classically truthful storytelling and contemporary pop flair.“The entire EP’s art is done in charcoal, which is objectively a very dirty medium,” Lauren shares. “I wanted to do that because it felt like a fresh start. I realized that nothing is so irreversible, even if it feels daunting at the moment. The younger you are, things feel a lot heavier. Your hands feel dirty with something someone said to you once that you think will never go away, or a direction that your life is taking that you feel you don’t have any control over… But you do. You can wash your hands. Charcoal’s not that hard to get off. You really could have a fresh start if you wash your hands.”The first song Lauren wrote for the EP, “serpentine,” came to her as she walked through rainy London alone. “It was the most independent I’d ever felt in my life,” she says. “Even though I’ve lived alone since I was 18, I never felt so far away from my family, my partner, and my friends.There’s something terrifying about that. But also, it felt special—being able to decide every day for myself, by myself. Being an indecisive person, that was a good exercise. And I knew, I’m not going to feel this way forever. I’m not always going to be alone.”- 16+, under 16 admitted with a ticketed parent or guardian
The Lemon Twigs (Night 1)
Indie 102.3 Presents The Lemon Twigs (Night 1) on Friday, November 8 — Following the release of Everything Harmony, which garnered acclaim from Questlove, Iggy Pop, Anthony Fantano, The Guardian, and countless others, The Lemon Twigs—the New York City rock band fronted by brothers Brian and Michael D’Addario—have once again captured the attention of the music listening public. They are in their premature “comeback” stage, and coming back this early has its benefits; the brothers have the energy of 24- and 26- year-olds, plus the experience and songwriting chops of seasoned musicians, having recorded their first album, Do Hollywood, nearly a decade ago at ages 15 and 17. Set for release less than a year after their last album, A Dream Is All We Know is a joyous affair. As the title suggests, it’s less of a sober look at the darker side of life, and more a hopeful sojourn into the realm of dreams. The tone has shifted away from dreary melancholic ballads and moody power pop. Brian and Michael are revisiting their “1968” sound. This album feels closely related to Do Hollywood, but their songwriting and recording techniques have vastly improved over the course of five albums. The brothers combine elements of the Merseybeat sound, the California Beach Boy harmony sound, and Bubblegum to create a unique collection of pop nuggets. (They say it’s part of a new “Merseybeach” movement, sure to catch on, though that fact remains to be seen.) The sense of urgency imbued in lead single “My Golden Years” comes in part from the jangly 12-string guitars and driving drums, but also from the anxiety of a narrator who can feel their “golden years” slipping away from them. Michael’s line, “In time I hope that I can show all the world the love in my mind,” can serve as a statement of intent for the whole collection of songs, as the brothers race against time to create as much quality pop material as possible. “They Don’t Know How To Fall In Place” propels the album forward into bubblegum paradise with its euphoric harmonies and biting clavinet, while the Roy Wood inspired “Church Bells” takes you on a journey in its two-minute and nine-second run time. At every turn you’re introduced to a new instrument, and as Michael sings “ring goes the bell,” the drummer switches to the bell of the ride cymbal and the song reveals itself as a pop tone poem, complete with cellos, mandolin and trumpets, all played by Brian. Not to mention the fun Mersey pun, using famous drummer Ringo’s name in a song that conflates images of the west side of Manhattan with the atmosphere of northern England. Next comes the titular “A Dream Is All I Know,” an existential space age epic, followed by the baroque pocket-prog of “Sweet Vibration.” – 16+, under 16 admitted with a ticketed parent or guardian
The Lemon Twigs (Night 2)
Indie 102.3 Presents The Lemon Twigs (Night 2) on Saturday, November 9 — Following the release of Everything Harmony, which garnered acclaim from Questlove, Iggy Pop, Anthony Fantano, The Guardian, and countless others, The Lemon Twigs—the New York City rock band fronted by brothers Brian and Michael D’Addario—have once again captured the attention of the music listening public. They are in their premature “comeback” stage, and coming back this early has its benefits; the brothers have the energy of 24- and 26- year-olds, plus the experience and songwriting chops of seasoned musicians, having recorded their first album, Do Hollywood, nearly a decade ago at ages 15 and 17. Set for release less than a year after their last album, A Dream Is All We Know is a joyous affair. As the title suggests, it’s less of a sober look at the darker side of life, and more a hopeful sojourn into the realm of dreams. The tone has shifted away from dreary melancholic ballads and moody power pop. Brian and Michael are revisiting their “1968” sound. This album feels closely related to Do Hollywood, but their songwriting and recording techniques have vastly improved over the course of five albums. The brothers combine elements of the Merseybeat sound, the California Beach Boy harmony sound, and Bubblegum to create a unique collection of pop nuggets. (They say it’s part of a new “Merseybeach” movement, sure to catch on, though that fact remains to be seen.) The sense of urgency imbued in lead single “My Golden Years” comes in part from the jangly 12-string guitars and driving drums, but also from the anxiety of a narrator who can feel their “golden years” slipping away from them. Michael’s line, “In time I hope that I can show all the world the love in my mind,” can serve as a statement of intent for the whole collection of songs, as the brothers race against time to create as much quality pop material as possible. “They Don’t Know How To Fall In Place” propels the album forward into bubblegum paradise with its euphoric harmonies and biting clavinet, while the Roy Wood inspired “Church Bells” takes you on a journey in its two-minute and nine-second run time. At every turn you’re introduced to a new instrument, and as Michael sings “ring goes the bell,” the drummer switches to the bell of the ride cymbal and the song reveals itself as a pop tone poem, complete with cellos, mandolin and trumpets, all played by Brian. Not to mention the fun Mersey pun, using famous drummer Ringo’s name in a song that conflates images of the west side of Manhattan with the atmosphere of northern England. Next comes the titular “A Dream Is All I Know,” an existential space age epic, followed by the baroque pocket-prog of “Sweet Vibration.” – 16+, under 16 admitted with a ticketed parent or guardian
Typhoon & The Gale Force Winds w/ Cactus Cat + The Sweet Reliefs
Globe Hall Presents Typhoon & The Gale Force Winds with Cactus Cat and The Sweet Reliefs on Thursday, May 23rd.- 16+, under 16 admitted with a ticketed parent or guardian
