Written by Tom Joens

The Japandroids, the two-man band from Vancouver, Canada consisting of Brian King on guitar and vocals and David Prowse on drums and vocals, wowed an appreciative crowd on Sunday night at the Pitchfork Music Festival.  I hope you were there to see their amazing performance.  If you closed your eyes, you thought you were hearing a six-piece band.  The intensity and pure noise of the Japandroids are overwhelming.

Texas-native Black Joe Lewis & The Honeybears return with a new trio of gritty, punked-up blues and rock influenced tracks in anticipation of an extensive North American tour. Recorded in their hometown of Austin, with Grammy award winning producer Stuart Sikes (The White Stripes, Cat Power, Modest Mouse), the group have unfolded lead single “Culture Vulture” plus “Face In The Scene” and “Girls on Bikes” which are now available through all major streaming services.

Bill and The Belles announce their first full-length studio album, DreamSongs, Etc . From the foothills of Blue Ridge in Johnson City, Tennessee, Bill and The Belles captivate fans with rich vocal harmonies and simple catchy melodies, built on a strong foundation of love for early American music. The forthcoming album, recorded in just two days inside a beautiful old farmhouse in the rolling hills of Southeast Virginia, is set for release on August 24, 2018 on Jalopy Records .

Written by Tom Joens

When Australian Alex Cameron began his late afternoon set at the Pitchfork Music Festival on Sunday if you didn't know anything about him and his band, you may have thought it was curious that a "lounge singer" was playing at Pitchfork.  You should have known that Cameron is best known for taking on the personality of a failed entertainer, both as part of his live performance and in the music that he has released.

The Guess Who is responsible for countless rock classics, which still retain a major presence on rock radio - “American Woman,” “No Time,” “These Eyes,” etc. The band is set to return on September 14th with their latest album, ‘The Future IS What It Used To Be’, released via Cleopatra Records (available in CD, Vinyl, and Digital formats).

Produced as an annual celebration of and fundraiser for Mount Tamalpais State Park by Roots & Branches Conservancy, the annual one-day festival has raised $175,000 for Mount Tam in just its first three years. Last year, San Francisco Magazine named Sound Summit as Best Festival of the North Bay in its annual Best of the Bay issue, citing its quality and intimacy.

Japanese Breakfast entertained a Sunday late afternoon crowd at the Pitchfork Music Festival with their high energy music.  Opening her set by exclaiming" "We're Japanese Breakfast and we're from Philadelphia!," lead singer/ songwriter Michelle Zauner's solo project impressed fans with a high energy stage presence and hard-hitting music.  Jumping around for her entire set, whether playing her guitar or not, Zauner's enthusiasm carried over to the audience, who clearly enjoyed

The War on Drugs rocked the Pitchfork Music Festival Saturday night to an enthusiastic and appreciative audience.  The Philadelphia indie-rock band (which is what you would expect at Pitchfork) was ably led by front-man/co-founder/ primary songwriter/guitarist  Adam Granduciel, who did not speak to the crowd much during The War on Drug's hour-plus set, but rather let the music do the talking.  The music was carried by the rhythm section of Charlie Hall on drums and David H

The ALLMAN BROTHERS BAND in 1970 were on the brink of superstardom. They had only been together for 11 months when promoter Bill Graham, who had booked them in San Francisco and New York, invited them back to Fillmore East on a triple bill with Grateful Dead and Love. And fortunately for us, the Dead's soundman (and early acid progenitor) Owsley "Bear" Stanley had his tapes rolling.

Liz Beebe is best known as the female powerhouse of the critically acclaimed band Dustbowl Revival. With an international touring schedule that spans over continents, and months on the road, Beebe found herself becoming an aunt in the midst of the madness. A desire to be present and contribute to the lives of her family and loved ones became what is her first lullaby album, Hush Now, Lullabies for Sleepy People.