Upcoming Events

Show 8pm

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.

Show 8pm // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

GRAILS
with EXPENSIVE SHIT

Grails is a band most easily described as “restless”. They’ve stubbornly pushed against the staid cliches of instrumental music and towards new sonic frontiers, creating heavily textured albums, stacked deep with epic song hooks and exotic instrumentation.

Released in late 2023, “Anches En Maat” is the first new album from Grails in over a half-decade – following the masterful Chalice Hymnal in 2017 – and their first album recorded with all members in the studio together since Doomsdayer’s Holiday in 2008.

The core group of founding members Alex Hall and Emil Amos (Om, Holy Sons) joined Jesse Bates, Ilyas Ahmed, and AE Paterra (Zombi, Majeure) in Atlanta, GA to record “Anches En Maat” together – a novel event for a band who had become so accustomed to recording separately and then laboring in post-production for months or years on end.

An improbable blend of melted 1980s softcore and daytime soap opera soundtracks, cosmic minimalism, aching Westerns, melancholy electronic pulses, and massive soul-disco strings, “Anches En Maat” is one of Grails’ most ambitious albums of their 20+ year career.

Show 8pm // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

NOELINE HOFMANN

with KADE HOFFMAN

Noeline Hofmann, a 21-year-old country artist hailing from the rugged Badlands of Southern Alberta, Canada, is making a name for herself in the world of independent country music. From bittersweet ballad to gritty barn burner, Hofmann brings the glowing expanse of the Plains to the stage, drawing deep inspiration from her experiences working in honky tonks and as a ranch hand across the prairies. Praised for her “mature and haunting voice, and an innate knack for storytelling” (Whiskey Riff), she has been named one of Holler Country’s “New Country & Americana Artists for 2024" and released her debut EP, Purple Gas, on October 18. The EP includes recent singles "Rodeo Junkies," "August," "Lightning in July (Prairie Fire)" and “Purple Gas,” which originally gained notable attention after being featured on Zach Bryan's Belting Bronco YouTube series and was recorded as a duet for his album, The Great American Bar Scene. "Purple Gas" has reached over 100M+ global streams and Noeline has reached over 1.1M monthly listeners on Spotify. As such, she was chosen as Spotify's EQUAL artist of the month in Dec 2024 and was included on RADAR Canada's Best of 2024 List. She was chosen as Amazon Music's Artist To Watch 2025 and Apple’s Up Next Artist. Noeline made her Grand Ole Opry debut in September 2024 and has toured alongside artists such as Turnpike Troubadours, Charley Crockett, Colter Wall, Wyatt Flores, Zach Top and Shane Smith & The Saints.

Show 8pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

DAVID NELSON BAND

The David Nelson Band has been recording and performing around the country since 1994.  Their broad musical palette spans the Almost Acoustic style that Nelson played with Jerry  Garcia, through roots rock n! roll, and psychedelic country-rock. The DNB perform David's compositions (many co-written with Grateful Dead lyricist Robert Hunter), select covers, and  several Grateful Dead classics upon which Nelson appeared on the original album releases.  These stylistic elements, combined with plenty of spontaneous free form improvisation, create  a sound that is uniquely David Nelson Band. Though the original songs are mostly written by  Nelson, the development of all the material is a fully collaborative effort. 

These days the DNB only tour select areas a few times a year, as the individual band members  are in high demand with other successful touring acts. Their loyal and enthusiastic fans relish  these special times to reunite at Nelson family gatherings. DNB shows are a joyous reunion for  all - a communal gathering where regulars and newcomers all feel part of an extended family.  Each show, being unique and exploratory in nature, is a magical adventure for band and  audience alike. 

David Nelson - guitar/ vocals - is a founding member of the New Riders of the Purple Sage  and long time musical partner of Jerry Garcia!s dating back to 1962 in the pre-Grateful Dead bluegrass band, The Wildwood Boys. Nelson was also a member of the Jerry Garcia Acoustic  Band (and appears on their 1988 album release “Almost Acoustic” and 2010’s “Ragged But  Right”) and performed on three Grateful Dead albums - “Aoxomoxoa”, “Workingman!s Dead” & “American Beauty” - playing the iconic electric guitar solo on Box of Rain. Nelson has also  performed as a member of Phil Lesh and Friends. 

Barry Sless - lead guitar/ pedal steel - currently tours with Bobby Weir and Wolf Bros and  Moonalice. He was a frequent member of Phil Lesh and Friends touring and local lineups since  2004. He’s toured with Chris Robinson!s Green Leaf Rustlers (and appears on their 2020 album release, From Within Marin), Kingfish, Cowboy Jazz, the Rowan Brothers, and Great American  Taxi. Barry!s pedal steel can be heard on selected tracks from Chris Robinson Brotherhood albums “Any Way You Love, We Know How You Feel”, “If You Lived Here, You Would Be Home  By Now", and #Barefoot In The Head”. Barry is a founding member of DNB. 

Mookie Siegel - keyboards/ accordion/ vocals - has toured with Bob Weir!s Ratdog, Phil Lesh and Friends, Kingfish and Donna Jean and the Tricksters. Mookie is an original member of  DNB. 

Pete Sears - bass/ vocals - was the bassist and keyboard player for the original Jefferson  Starship from 1974-1987, keyboardist for Hot Tuna from 1992 to 2001 and currently performs  with Moonalice and Zero. He’s a member of Chris Robinson’s Green Leaf Rustlers, has played  with Phil Lesh and Friends and appears on their 1999 release, Love Will See You Thru. Pete  began his career in England in 1964 and has performed with many artists including Jerry  Garcia, John Cipollina, and appears on Rod Stewart!s classic early British albums. Pete joined DNB in 2005. 

Wally Ingram - drums and percussion - has recorded, toured and played with countless acts  including Bob Weir & Phil Lesh, Anders Osborne, Leftover Salmon, Sheryl Crow, Jackson  Browne, Eric Burdon and The Animals, Timbuk3, and multi-instrumentalist string wizard David  Lindley to name but a few. Wally began playing with DNB in 2013.

Show 8pm 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

NEAL FRANCIS

with COLOR GREEN

The latest album from Neal Francis, Return To Zero, emerged from the kind of visionary fever dream that only the most masterful and inventive artists are capable of bringing to life. Amid a grueling tour schedule that found him playing nearly 400 shows from 2021 to 2024, the Chicago-based singer/songwriter/pianist immersed himself in creating a beautifully strange entangling of timeless rock & roll and ’70s-era dance music, merging supremely heavy guitar riffs with lush and pulsating grooves—all constructed sans digital programming, in keeping with his devotion to all things analog. Worlds away from the glitzy fantasia of archetypal disco, Return To Zero inhabits a far moodier atmosphere and ultimately makes for the most thrilling manifestation of Francis’ peerless musicality yet.

Equal parts heady and hedonistic, pensive and euphoric, Francis’ third studio LP echoes both his deep-rooted psych-rock sensibilities and a lifelong affinity for classic funk. “I’ve always been intrigued by music that toes the line between funk and rock,” notes Francis. “In the past I’ve asked myself things like, ‘What would it sound like if Thin Lizzy cut a disco record?’ It’s something I’ve been fascinated with for a very long time, so I finally decided to really go for it.”

The follow-up to his 2023 double live album and concert film Francis Comes Alive, Return To Zero marks Francis’ first full-length studio effort since In Plain Sight—a 2021 release acclaimed by the likes of leading rock critic Steven Hyden, who praised its “throwback big-band sound that recalls the highs of 1970s funk and swamp rock.” With his past work also including his 2019 debut album Changes (hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6), Francis began playing piano at the young age of four and became an in-demand sideman while still a teenager, touring with revered blues artists and beloved instrumental band The Heard before embarking on his solo career. Over the years, he’s sold out headline shows all across the globe, supported the likes of Wilco, Black Pumas, and My Morning Jacket, appeared at major festivals such as Bonnaroo, Fuji Rock,  and Lollapalooza, and even performed at historic venues like Carnegie Hall.

Like all of his studio work so far (including his 2022 EP Sentimental Garbage), Return To Zero finds Francis co-producing alongside his frequent collaborator Sergio Rios and recording live with members of his touring band (drummer Collin O’Brien, bassist Mike Starr, guitarist Kellen Boersma), elegantly showcasing his prodigious talent and dazzling originality as a keyboard player. Mainly created at Rios’ L.A. studio, the album’s grandiose yet warmly inviting sound also took shape from his close collaboration with composer/conductor Dom Frigo (who aided Francis by transcribing the LP’s symphonic string sections), Say She She (a Brooklyn-based psychedelic-soul trio who adorn a number of songs with their beguiling backing vocals), and a stacked lineup of co-writers that includes Queens of the Stone Age bassist Michael Shuman and Wild Belle co-founder Elliot Bergman.

In the making of his most ambitious work to date, Francis faced countless moments of creative frustration—a factor that eventually gave the album its title. “I was cutting a lot of the vocals at home, using a hybrid process where I’d bounce the tracks from my computer to a tape machine and then record the vocals to tape,” he explains. “I’d be in my vocal booth in the closet with all our winter coats, and every time I needed to start over I’d press this button that says ‘RTZ,’ which stands for ‘Return To Zero.’ I was doing take after take and pressing that button over and over—it was a huge pain, but it also linked up with what I’ve learned in my meditation practice: no matter how frustrated you get, just remain calm and take inventory, and then begin again.”

Although executing Return To Zero’s highly elaborate arrangements often involved a very time-intensive trial-and-error approach, the album-opening “Need You Again” surfaced from an immediate burst of inspiration after Francis attended a DJ set by Derrick Carter (a Chicago house legend who created a 12-inch remix of “BNYLV” from In Plain Sight). “My girlfriend and I went out to a queer dance party called Queen! and stayed till about four in the morning, and Derrick played a track that was a big rock riff over a funk beat,” he recalls. “The next day I went into the studio on very little sleep and started working on the demo for ‘Need You Again,’ and after I finished I couldn’t stop listening to it.” Featuring a guest spot from Grammy-winning guitarist Eric Krasno (Soulive, Lettuce), the result is a glorious entry point into the album’s groove-heavy soundscape, unfolding in sinewy riffs and larger-than-life rhythms as Francis narrates a tale of ruinous infatuation. “It’s a song about a love affair, and the experience of projecting magical qualities onto another person and feeling almost addicted or beholden to them,” he reveals. 

Another charmed moment in the album’s creation, “Broken Glass” was sparked from a session featuring Francis on bass and Shuman on drums, with the two soon conjuring the hypnotically potent riff that propels the track forward. With its viscerally charged depiction of lust and self-denial, the darkly majestic epic reaches a stratospheric crescendo at the bridge, when pounding drums meet with Say She She’s near-operatic harmonies. “Once we had that riff I started filling in some freeform poetry from my notebook, which had to do with the idea of taking direction in an intimate liaison,” says Francis. “It all came together so naturally because of how Michael was playing drums, bringing that Queens of the Stone Age heavy-rock thing I love so much.”

One of the most dance-ready tracks on Return To Zero, “Back It Up” glides along on glossy synth lines and a playfully swaggering riff, imbuing a carefree spirit into Francis’ deliberately over-the-top confession of romantic desperation. “That song went through a few different phases before we got to the final iteration,” he says. “It took me a while to accept that it’s okay to have fun with the lyrics, instead of making everything so serious all the time.” Meanwhile, on “What’s Left Of Me,” Francis presents a gorgeously sprawling power-pop anthem built on his resplendent piano work. Co-written with Nashville-based songwriter Chris Gelbuda, the track arose from a piano-and-vocal demo captured at Chicago’s Fine Arts Building, soon evolving into a piercingly candid reflection on life on the road. “Chris and I are good friends and we got to talking about the challenges of being in a committed relationship while you’re on tour,” says Francis. “A lot of these songs were influenced by Electric Light Orchestra and the way Jeff Lynne synthesizes classical music and pop songwriting, and ‘What’s Left Of Me’ was definitely one where I was going for an ELO vibe.”

Partly inspired by the funk and dance records he typically spins during his sets as an all-vinyl DJ, Return To Zero also encompasses everything from the spaced-out drama of “Dance Through Life” to the string-laced reverie of “Can’t Get Enough” (a collaboration with Durand Jones & The Indications’ Blake Rhein that is a sublimely mellowed-out homage to acid-jazz pioneer Roy Ayers). In creating such a complex body of work, Francis found his sense of perseverance repeatedly tested. “Most of these songs were pretty hard-won,” he says. “There was a feeling of pulling out all the stops to achieve what I was going for, and in the middle of that I was dealing with some depression and exhaustion. I ended up learning a lot about myself, and now I feel like I’m in a completely different place in terms of my priorities with mental health.” Despite its more daunting aspects, the writing and recording of Return To Zero also brought plenty of moments of pleasure, including composing with strings for the very first time and tracking songs with his longtime bandmates. “All those guys are like my brothers, and there was a feeling of us working together with an almost athletic desire to get better every time we did a new take,” Francis says. “Those were really long days at the studio, but they were also so much fun.”

Looking back on the making of Return To Zero, Francis points to certain crucial lessons absorbed while creating his most extravagantly realized work so far. “One of the main things I’ve learned is that every album is going to be its own journey; I can’t really take the arsenal of things I’ve learned in the past and expect them to save me from any kind of frustration with whatever I make next,” he says. “Creating art is always going to be a challenge, which maybe goes back to why AI-created music is never going to be all that compelling—it’s just too fucking easy. The best I can do is use what’s at my disposal and try not to freak out or despair when it gets difficult, and hopefully end up making something that gives people joy.”

Show 8pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE PURPLE ONES - INSATIABLE TRIBUTE TO PRINCE 

with DJ DEPOPE OF FUNK

Show 8pm // 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

ZIGGY ALBERTS

with STEPH STRINGS

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 // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

TOO MANY ZOOZ

with EVAN HATFIELD

Self-described "Brass House" trio Too Many Zooz make manically kinetic instrumental music that combines avant-garde jazz, EDM, punk rock, and sundry other traditions into their own distinctive brand of high-energy dance music. A viral sensation since they first emerged as New York subway buskers in 2013, Too Many Zooz have evolved into a globally recognized phenomenon who tour often and produce YouTube videos that have garnered millions of views. 

Formed in 2013 in New York City, Too Many Zooz features the talents of baritone saxophonist Leo "Leo P" Pellegrino, trumpeter Matt "Doe" Muirhead, and drummer David "King of Sludge" Parks. Pellegrino and Muirhead initially met while students at the Manhattan School of Music where they studied jazz. They eventually joined forces with percussionist Parks, whom Pellegrino had played with in a separate busking outfit. They began playing live at various New York subway stations and quickly attracted crowds with their aggressive instrumental sound and Pellegrino's ability to dance and hype the audience like a DJ while playing. In 2014, a video of the band went viral and helped set the stage for the group’s meteoric rise. 

In 2016, the trio released their debut full-length album, Subway Gawdz, which featured guest spots from Kreayshawn, Armani White, members of Galactic, and Beats Antique. That same year they were featured on Beyonce’s Lemonade album, and performed with Beyonce and The Dixie Chicks at the CMA’s. 

Over the course of the next several years, Too Many Zooz continued to release EP’s and singles – including ZombiEP (2019), a concept album about a fictional band playing a music festival during a zombie outbreak, plus collaborations and remixes with The Floozies, Beats Antique, Spencer Ludwig, Moon Hooch, Dot 

Cromwell, Nitty Scott, Lester London, and RoRo. 

All of that set the stage for the band’s 2024 sophomore album Retail Therapy – a 13-song chronicle of auditory subway cinema that features appearances from Moon Hooch, Thumpasaurus, Lucky Chops, and Too Many T’s.

Show 8pm

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.

Show 8pm // 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

SIERRA HULL

with STEPHANIE LAMBRING

Sierra Hull is widely regarded to be a as a master of her instrument; A two-time Grammy Nominated artist and songwriter, recognized for both her most recent projects, 25 Trips (2020) and Weighted Mind (2016), she is also the 4x recipient of IBMA’s Mandolin Player of the Year, the first woman to ever receive this distinction. A pioneer for acoustic music throughout her already impressive multi-decade career, she has graced the country's most iconic stages, including Carnegie Hall, the Grand Ole Opry, and the White House. Her virtuosic abilities have garnered respect from genre-defining trailblazers, friends, and collaborators such as Alison Krauss, Sturgill Simpson, Garth Brooks, Dolly Parton, Bela Fleck, Bobby McFerrin, and Brandi Carlile. Originally hailing from Byrdstown, Tennessee, her unique sound is rooted in bluegrass, and she is widely considered one of acoustic music’s most inventive artists.

Show 7pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

SHADOWNLANDS (feat. S. Carey (of Bon Iver) and John Raymond)

John Raymond and S. Carey have been playing music together for close to twenty years since their time studying music at the University of Wisconsin-Eau Claire. While they both received training in jazz and classical music, their careers would soon head in very different directions. Carey would become the right-hand man to Justin Vernon (aka Bon Iver); collaborate as a multi-instrumentalist, songwriter, and producer with the likes of Sufjan Stevens, Low, and Bruce Hornsby among others; and release four albums of his own to critical acclaim from Pitchfork, NPR, and more. Raymond, on the other hand, would become a Grammy-nominated trumpeter and composer “steering jazz in the right direction” (Downbeat); release eight albums garnering praise from the New York Times, Stereogum, and others; and teach on faculty at the Jacobs School of Music at Indiana University, one of the most prestigious music conservatories in the world.

In 2019, the two reunited and began experimenting on what their artistic voices would sound like together. Raymond brought in a host of musical ideas, while Carey contributed lyrics and helped shape the ideas into songs. Producer Sun Chung (formerly with ECM Records) came on board shortly after, and together they enlisted a cast of A-list musicians to help flesh out the music including pianist Aaron Parks (Terri Lyne Carrington, Terence Blanchard), bassist Chris Morrissey (Norah Jones, Mark Guiliana), and guitarist Dave Devine (Brian Blade and the Fellowship Band).

The result is their new album, Shadowlands (Libellule Editions), a stunning, genre-bending collection of songs that combines the warmth and beauty of Carey’s aesthetic with the improvisational, spontaneous nature of Raymond’s. The music ranges from intimate and meditative to soaring and anthemic, with electric moments of musical interplay throughout. It’s the kind of collaboration that feels as if it were years in the making.

Show 8pm // Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

Show 8pm 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

BOB SCHNEIDER

Austin, Texas-based singer-songwriter and former frontman of The Ugly Americans and The Scabs, Bob Schneider is one of the most-celebrated musicians in the live music capital. Combining diverse styles, Schneider’s music spans genres, blending elements of folk, rock, rap, funk, bluegrass, reggae and country with the more traditional singer/songwriter aesthetic. In short, FRUNK.

Schneider has won more than 59 Austin Music Awards including Best Album, Best Songwriter, Best Musician, and Best Male Vocals making him the most decorated artist in Austin’s storied music history.

Schneider’s fan base reaches far beyond the city limits of Austin. He started gaining national recognition with his major-label debut for Universal Records, Lonelyland. A fiercely-independent artist, Schneider opted to start his own label, Shockorama Records, which has afforded him the freedom to make the music his fans love, on his own terms.

Schneider’s live performances, both solo and with the band, are legendary. A two-time performer on his hometown’s famed Austin City Limits television show, he is also in the 20th year of his residency at The Saxon Pub. All told, he plays over a hundred shows a year and he doesn’t plan on slowing down anytime soon.

Show 8pm // Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE SUN KINGS - A Beatles Tribute as Nature Intended

The Sun Kings A Beatles Tribute band unlike any other…  

Celebrating their 25th year and considered one of the premier Beatles Tribute acts in the  country, The Sun Kings play the hits and great album cuts from the entire Beatles  catalogue with an uncanny attention to musical detail, vocal harmonies, and onstage  energy.  

Experience The Sun Kings in concert and you will hear the concert The Beatles never  gave!  

“The Sun Kings are superb! ...as close to the Beatles live and in studio as possible!  -Ben Fong-Torres | Former Editor Rolling Stone Magazine  

“The Sun Kings are the best Beatles band I’ve ever heard, and that includes the  original Beatlemania cast, circa 1977.”  

-Scott Lettieri | KGO Radio San Francisco 

“The only band that could come that close to doing Beatles music would be The  Beatles!”  

-Richard Freedman | Vacaville Media News  

“...with their sets loaded with peak moments, their dazzling harmonies leading each  ascent, the Sun Kings only flaw is that they eventually have to stop the celebration...”  -Tom Stack | Lafayette Town Hall Theatre Board VP  

“Unbelievable!”  

-Dean Goss | KFRC Radio – San Francisco

Show 8pm // Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

DUSTED ANDGEL & DECREPIT BIRTH

Show 8pm // $15 General Admission

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.

Show 8pm // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

AMOGO THE DEVIL (SOLO)

with TELE NOVELLA and DAVID TALLEY

In the vast realm of modern folk and alternative rock, Amigo The Devil is an artist who channels a voice of unsettling beauty and raw truth. Nestled within the corners of his haunting melodies and daring experimentation is a tale as profound as the dirges he sings. Despite his growing notoriety, Amigo the Devil remains enigmatic. He isn't one to bask in the limelight, choosing once again to let the music speak for itself.

Show 8pm // Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

SOOHAN

with DRMWVR and RËIA

Show 8pm // 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE HEAVY HEAVY

With the arrival of their debut EP Life and Life Only, The Heavy Heavy immediately filled a longtime void in the musical landscape, delivering a soulful breed of rock & roll untouched by modern artifice. As audiences across the globe grew enchanted with their era-bending sound, the UK-based band began selling out headline shows in major cities like New York and Chicago, opening for the likes of Black Pumas and Band of Horses, and earning critical comparisons to Jefferson Airplane, The Band, The Mamas & The Papas, and more—all with only a handful of songs to their name, including the AAA radio top five singles “Miles and Miles” and “Go Down River.” After spending the past two years on the road and in the studio, The Heavy Heavy now draw listeners even deeper into their dreamworld with their long-awaited debut album One Of A Kind.

Written entirely by co-founders Georgie Fuller and William Turner and mostly recorded at Turner’s studio in Brighton, One Of A Kind maintains the self-contained approach of Life and Life Only—a seven-song project acclaimed by outlets like NME (who named them an essential emerging artist for 2023) and The Guardian (who noted that The Heavy Heavy “write and play music with that lick of madness that makes early Fleetwood Mac and peak Stones so thrilling”). To that end, Turner produced, engineered, and mixed every track and handled most of the LP’s lavish instrumentation (including guitar, bass, piano, organ, Mellotron, and more), with The Heavy Heavy’s live band lending their explosive energy to the album. But in a departure from the EP, One Of A Kind leans away from Laurel Canyon-esque folk-rock and fully embraces their British roots, finding a particularly crucial inspiration in the gritty and groove-heavy hedonism of the Rolling Stones’ Goats Head Soup. “A lot of our EP was very bright and pretty, so we wanted to smash the door down like we do in the live show,” says Turner. “Because we were creating an entire album, there was so much more space to explore and expand,” Fuller adds. “It’s still undoubtedly that Heavy Heavy sound, but now we have all these other rooms to play around in.”

For One Of A Kind’s lead single, The Heavy Heavy chose a sun-drenched and sing-along-ready number that serves as an auspicious bridge to the band’s new era. The last song written for the album, “Happiness” bends toward the lush psych-pop of Life and Life Only while introducing a new level of visceral intensity. “We felt we needed a song that had that summery, flowery feel of the EP, and somehow at the last minute we were able to pull magic out of thin air,” Fuller recalls. A fast fan favorite at their live shows, “Happiness” channels a bold determination to break free from loneliness and stagnation, ultimately providing an automatic mood lift thanks to The Heavy Heavy’s resplendent melodies and signature multi-part harmonies.

Kicking off with a majestic bang, One Of A Kind opens on the rolling drumbeats and walloping riffs of its title track—a feverishly chanted anthem whose lyrics transform the listener into the protagonist of their own impossibly glamorous movie (e.g., “You’re getting down/You’re keeping on/You look the best/You’re all night howling”). Graced with a breathtaking vocal performance from Fuller (a classically trained singer), “One Of A Kind” quickly set the tone for the album’s larger-than-life vitality. “Something about the primal nature of that song inspired us to keep making songs that feel quite big and powerful,” says Turner. Later, on “Because You’re Mine,” The Heavy Heavy sustain that feel-good spirit and share a carefree love song lit up in slinky grooves and hallucinatory lyrics depicting what Fuller refers to as “the psychedelic daydream of a wandering nomad type—someone who goes wherever the wind takes them.” 

As One Of A Kind floats along, The Heavy Heavy endlessly push into previously uncharted sonic terrain, tapping into such unexpected influences as mid-’90s big beat on the bass-driven and gorgeously hazy “Miracle Sun.” “It’s a song with a lot of attitude to it—sort of our way of telling the world, ‘We’re living the way we want to live, and it doesn’t matter if you don’t understand,’” says Turner. Meanwhile, on “Feel,” the band merges the mesmerizing grooves of Madchester-era Britpop with a bit of idiosyncratic poetry (“I am a freeloader love junkie/A real heavy cannonball and I’m hungry…I stand between the sun, between the stone/I feel it in my fingers, feel it in my bones”). And on “Wild Emotion,” One Of A Kind offers up a country-infused serenade laced with galloping rhythms and twangy guitar tones partly inspired by the work of Dire Straits frontman Mark Knopfler. “That’s probably the most emotional song on the album,” Turner points out. “It’s meant to have a reassuring message, but at its center is the story of a woman who’s gone through a heartbreak and can’t find her way out of feeling hopeless and distraught.” 

After journeying through a whirlwind of sounds and textures—the hypnotic Mellotron of “Lemonade,” the frenetic psych-rock organ and skyscraping vocals of “Dirt,” the earthy acoustic guitar and sweetly playful harmonies of “Lovestruck”—One Of A Kind lands at the reverb-soaked splendor of its closing track, “Salina.” Named for a sparsely populated volcanic island off the coast of Sicily (an otherworldly spot Fuller and Turner visited on vacation), the slow-building epic unfolds in so many exquisitely strange sonic details: moody cello lines, thundering percussion, a spellbinding pedal-steel part simultaneously played by two separate guest musicians. “‘Salina’ was one of those moments where we let ourselves get experimental with the production and create a whole ocean of sound,” says Fuller. “We knew we had to put it at the end and let the reverb ring out in those final seconds—almost as if we’re leaving the album hanging in the air.”

Formed in 2019, The Heavy Heavy emerged from a potent alchemy of their eclectic sensibilities. Hailing from the small town of Malvern (a stretch of the English countryside he describes as “a beautiful place full of hippies and longhaired people”), Turner took up guitar in his early teens and later played in a series of psychedelic/surf-rock bands, while Fuller’s extensive background includes performing at Montreux Jazz Festival as a teenager and acting in the London theater. As they moved forward with a mission of “making music that sounds like our favorite records ever” (including everything from Peter Green-era Fleetwood Mac to folk-blues act Delaney & Bonnie to Fleet Foxes), the duo dreamed up a batch of songs in a London flat and self-released an early version of Life and Life Only in late 2020, eventually catching the attention of ATO Records and signing with the U.S.-based label in 2022. Fueled in part by the breakout success of “Miles and Miles” (their ATO debut single), The Heavy Heavy’s five-piece live band soon began playing bigger and bigger venues and taking the stage at leading festivals like Bonnaroo, Boston Calling, and Newport Folk Festival, in addition to performing on “Jimmy Kimmel Live!,” “The Late Show With Stephen Colbert,” and “CBS Saturday Morning” and scoring major syncs with the likes of Nissan and Netflix’s “Outer Banks.”

Because of the rapturous response to their debut EP, The Heavy Heavy found themselves in an unfamiliar headspace when it came to the creation of One Of A Kind. “With the EP we were making songs as a way to soundtrack our own lives, but now it’s a different beast—it’s no longer theoretical, which gives everything more weight,” says Turner. But in the end, the band discovered an essential touchstone in the connection they’ve forged with their fans over the last two years. “Not too long ago, a woman came up to us at a show and told us she was getting a tattoo of one of our lyrics to remind herself to keep pushing on and keep chasing her dreams,” Fuller says. “Moments like that always remind us that as long as we keep making what feels good, chances are it’s going to make other people feel good too. I hope this album feels like a great big party to everyone, and I hope it inspires them to live their lives however they want.” 

Show 8pm // Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

PACIFIC ROOTS

Show 8pm / Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE ENGLISH BEAT

The English Beat is a band with an energetic mix of musical styles and a sound like no other. The band's  unique sound has allowed it to endure for nearly four decades and appeal to fans, young and old, all  over the world.  

When The English Beat (known as The Beat in their native England) rushed on to the music scene in  1979, it was a time of massive social and political unrest and economic and musical upheaval. This set  the stage for a period of unbridled musical creativity, and thanks in large part to the Punk movement  and it's DIY approach to making music, artists like The Beat were able to speak out and speak their mind  on the news of the day, as in “Stand Down Margaret”, things that mattered to them and the youth  culture, as in “Get A Job”, and universal matters of the heart and soul, as in their classic hits “I Confess”  and “Save It For Later”.  

The Beat first came to prominence as founding members of the British Two Tone Ska movement, with  their classic first album “Just Can't Stop It” fitting squarely in that genre. Along with their  contemporaries The Specials, The Selecter, and Madness, the band became an overnight sensation and  one of the most popular and influential bands of that movement.  

However, band leader Dave Wakeling never felt constrained by the movement. The band crossed over  fluidly between soul, reggae, pop and punk, and from these disparate pieces they created an infectious  dance rhythm. The band's sound continued to evolve over their three studio albums, through the  General Public era (a band formed by Dave with The Beat’s toaster, Ranking Roger), and it has continued  its evolution with the forthcoming English Beat album “Here We Go Love”, a PledgeMusic crowd-funded  album set for a 2016 release, the band's first new album since 1982's “Special Beat Service”.  

Consummate showman that he is, Dave Wakeling continues to keep The Beat alive and strong, touring  the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat,  General Public, and songs from his new album “Here We Go Love”.  

You just can’t stop The English Beat!  

Louis “sirlou” Kahn 

Show 8pm / Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE ENGLISH BEAT

The English Beat is a band with an energetic mix of musical styles and a sound like no other. The band's  unique sound has allowed it to endure for nearly four decades and appeal to fans, young and old, all  over the world.  

When The English Beat (known as The Beat in their native England) rushed on to the music scene in  1979, it was a time of massive social and political unrest and economic and musical upheaval. This set  the stage for a period of unbridled musical creativity, and thanks in large part to the Punk movement  and it's DIY approach to making music, artists like The Beat were able to speak out and speak their mind  on the news of the day, as in “Stand Down Margaret”, things that mattered to them and the youth  culture, as in “Get A Job”, and universal matters of the heart and soul, as in their classic hits “I Confess”  and “Save It For Later”.  

The Beat first came to prominence as founding members of the British Two Tone Ska movement, with  their classic first album “Just Can't Stop It” fitting squarely in that genre. Along with their  contemporaries The Specials, The Selecter, and Madness, the band became an overnight sensation and  one of the most popular and influential bands of that movement.  

However, band leader Dave Wakeling never felt constrained by the movement. The band crossed over  fluidly between soul, reggae, pop and punk, and from these disparate pieces they created an infectious  dance rhythm. The band's sound continued to evolve over their three studio albums, through the  General Public era (a band formed by Dave with The Beat’s toaster, Ranking Roger), and it has continued  its evolution with the forthcoming English Beat album “Here We Go Love”, a PledgeMusic crowd-funded  album set for a 2016 release, the band's first new album since 1982's “Special Beat Service”.  

Consummate showman that he is, Dave Wakeling continues to keep The Beat alive and strong, touring  the world as The English Beat with an amazing all-star ska backing band playing all the hits of The Beat,  General Public, and songs from his new album “Here We Go Love”.  

You just can’t stop The English Beat!  

Louis “sirlou” Kahn 

Show 8pm // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

FRUITION

with FERGUSON

Three songwriters. Five bandmates. More than 15 years together, building a grassroots audience with a combination of stacked vocal harmonies and collaborative, song-driven Americana. Fruition is proof that there's strength in numbers.

How To Make Mistakes, the band's first studio album in four years, showcases a reinvigorated group at the peak of its powers. This is American roots music at its broadest and boldest — a melting pot of rock, soul, folk, and pop. What began as a busking string band has evolved into something more eclectic, rooted not only in the unique delivery of three different singers, but also the cohesion of five friends who prefer their music to be homegrown and honest… mistakes and all.

"This is the first studio album that we've recorded entirely live," says Jay Cobb Anderson, who shares frontperson duties with fellow multi-instrumentalists Mimi Naja and Kellen Asebroek. "We recorded 17 songs in 7 days, with everybody playing together in real time, and we didn't overdub anything. The songs sound honest and real. They sound like us."

Co-produced by the bandmates themselves, How To Make Mistakes restores the momentum that Fruition nearly lost in 2020, back when Covid-19 forced them off the road and into quarantine. At the time, they'd been playing some of the biggest shows of their lives, crisscrossing the country in support of their most recent release, Broken At The Break Of Day. The album's lead single, "Dawn," had even become a hit on Americana radio. Years of relentless work had taken a toll on Fruition's mental health, though, and cracks were starting to show in the band's foundation. "We were so deep into the tour hustle that a lot of our cohesive vision might've gotten lost," Naja admits. "Like anybody in any work force, we'd all learned to put our heads down and keep moving forward, even if that wasn't the best thing for us."

When they reunited one year later for a long-overdue band practice, they took stock of everything that had changed during those 12 months apart. Some members had started families. Others had gotten sober. All of them had made the conscious decision to return to music. Fruition funneled that growth and maturity back into their new songs, which doubled as rallying cries for a band eager to chase down success once again. "We all had the time to ask ourselves some big questions like 'Do we want to keep doing this?'" Naja adds. "The fact that we reunited in such a reinforced way after all that time apart… I think it says a lot about who this band truly is."

And who, exactly, is Fruition? On songs like "Lonely Work," they're a folk-rock band powered by pedal steel and lovely, loping tempos. On "Scars," they're a group caught halfway between the earthy textures of Americana and the spacey sweep of something far more ethereal. On "Get Lost," they're a group of adventure seekers looking to leave the big city behind, stacking their electric guitars into harmonized solos along the way. Fruition's acoustic roots are evident throughout How To Make Mistakes, too, from "Can You Tell Me" — a rough 'n' rowdy folk song laced with resonator guitar, mandolin, and upright bass — to the campfire ballad "Never Change." How To Make Mistakes embraces the full spread of the band's past and present, mixing unplugged instruments with electrified arrangements, creating a sound suitable for arenas one minute and front-porch picking parties the next. It's the widest net Fruition has ever cast, and it's also the truest representation of the band's wide, all-encompassing sound.

"When I think about this record, the word that comes to mind is 'trust,'" says Asebroek. "We trust each other. We trust the strength of our songs. We've come to really know ourselves as individuals and as partners, and instead of trying to prove something to the outside world, we're trying to show the world that we are who we are, and we love ourselves."

When Fruition formed in Portland in 2008, the band's three songwriters earned their first fans by busking together on Oregon's street corners. Those informal gigs were raw and real, filled with all the honest imperfections of a live performance. Hundreds of shows later, How To Make Mistakes revisits that flaws-and-all approach, using it as the foundation for the most definitive album of the band's career. Tracked live at eTown Hall's recording studio in Colorado and engineered/mixed by the band's own drummer, Tyler Thompson, it's an album that embraces not only the in-the-moment immediacy of a live band, but also the love, longing, loss, and sheer life lived during the band's 15+ years together.

"If you listen closely," Anderson points out, "you can hear tempos fluctuate. Maybe you'll have somebody finger-picking slightly out of time. But that's part of the whole idea of learning to embrace your true identity. We're a band that would rather lean into a mistake than use studio tricks to erase it. With How To Make Mistakes, we wanted to say, 'This is us, with all of our flaws and all of our strengths.'"

All of their strengths, indeed. Collaborative, consistent, and musically cohesive, How To Make Mistakes is the sound of a band rededicating itself to the long haul.

Show 8:00pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE SOUL REBELS

Brass sensation The Soul Rebels started with an idea - to expand upon the pop music  they loved on the radio and the New Orleans brass tradition they grew up on. They took  that tradition and blended funk and soul with elements of hip hop, jazz and rock all  within the style of a modernized and contemporary brass band.  

The Soul Rebels built a career around an eclectic live show that harnesses the power of  horns and drums in a party-like atmosphere. The eight-member collective frequently  appear on major record label releases with star artists including Sony Music artist G Eazy’s single ‘When You’re Gone” featuring Lil Wayne, Def Jam artist Dave East and Nas’  “Godfather 4”, Big Freedia and Icona Pop’s “Pipe That” and Warner Music Group artist  Phony Ppl’s new album. The Soul Rebels have scored original music for Walt Disney’s  2023 movie Haunted Mansion and appeared on the official soundtrack for Universal  Pictures' hit comedy Girls Trip.  

The Soul Rebels have impressed viewers with two appearances on The Late Show with  Stephen Colbert, featured on NPR's Tiny Desk series with Wu Tang Clan front man GZA,  and headlined the global TED Conference. 

The Soul Rebels are riding high in 2024 after receiving national attention following the  release of their new album, Poetry In Motion. 

The Soul Rebels continue to expand their international reach touring four continents  including Europe, Australia, China, South Korea and Japan. Their explosive stage  presence has led to live collaborations with the likes of Katy Perry, Nas, G-Eazy, DMX,  Robin Thicke, Macy Gray, Portugal. The Man, Robert Glasper, Pretty Lights, Macklemore  & Ryan Lewis, Matisyahu and most notably their new supergroup with the legendary  Wu Tang Clan. 

The Soul Rebels continue to chart new territory and are respected for their ability to  combine topnotch musicianship with songs that celebrate peace, love and soul.

Show 8pm // 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

TUNE-YARDS

Formed by Merrill Garbus in 2006, Tune-Yards has become a name synonymous with creativity and forward motion. Known for explosive performances, surprising song structures, and danceable rhythms, their music also highlights connections between song and social consciousness. The New York Times praised their debut album, BiRd-BrAiNs, as “a confident do-it-yourselfer’s opening salvo,” and relentless touring established Garbus as a commanding live performer.

Garbus stepped into the producer role with 2011’s w h o k i l l, a bold and sonically inventive album that earned critical acclaim, including the #1 spot on The Village Voice’s Pazz and Jop poll. By 2021’s sketchy., Garbus and bassist Nate Brenner had solidified their partnership, creating a fully collaborative work. The duo has announced their sixth studio record, Better Dreaming, to be released on May 14, 2025 on 4AD.

Tune-Yards has partnered with PLUS1 so that $1 per ticket goes to supporting Street Spirit and their work as an independent newspaper dedicated to covering homelessness and poverty from the perspective of those most impacted. The paper is sold on the streets of Berkeley and Oakland by unhoused people, who keep 100% of the donations they receive.

Show 8pm 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

SOULS OF MISCHIEF

Show 8pm // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

UNCLE LUCIUS

In September of 2024 Uncle Lucius released Live from Ear Studio. Recorded live to tape at Ear Studio in Austin, TX the record features select singles from their latest LP Like It’s The Last One Left plus three covers: “Bertha” by the Grateful Dead; “Shadow People”, a Tom Petty and the Heartbreakers staple and “Just To Satisfy You” made popular by Waylon Jennings & Willie Nelson. 

Uncle Lucius has long been known for their unique blend of roots rock & roll and country soul. Since adding heavyweights Doug Strahan (guitar) and Drew Scherger (bass) to the fold, the band has expanded its palette, exploring new musical landscapes and reveling in the power that comes from following sonic avenues, without prejudice, wherever they lead. The results onstage speak for themselves. 

During the years following the band’s farewell tour in 2018, their audience continued to organically grow, highlighted by the placement of their song “Keep the Wolves Away” in an episode of Yellowstone and its subsequent  RIAA gold and platinum certifications. After a few years on hiatus – with a fresh outlook and a deep well of new ideas – the band members began to shake off their collective rust and blueprint songs that mirrored their career and current status, hitting on themes of resolve and resilience. The band released their first album in 8 years Like It’s The Last One Left last December via Thirty Tigers / Boo Clap Records.  Since their comeback the band has toured consistently around the world and recently the 2nd single from Like It’s The Last One Left, “All The Angelenos”, hit #5 on the Texas Radio Charts.

Show 8pm // All Ages

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

Show 8pm // Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

Show 8pm // Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

MY DOG JACK, NAT LEF KOFF and DEAD NETTLE

Nat Lefkoff

Nat Lefkoff is a Northern California-based singer-songwriter whose honest lyrics and powerful vocals blend folk, rock, and Americana. He’s toured nationally, building a strong following with performances that are both intimate and energetic. His latest album, There You Are, released in September 2024, explores themes of love, change, and self-discovery. Whether solo or with a full band, Nat brings a grounded, emotional presence to the stage that connects with audiences across the country.

My Dog Jack

My Dog Jack is one of San Francisco's rising Americana/folk bands. After playing live for years as part of various folk, jazz, and bluegrass groups around the Bay Area, the fellas joined forces last year to return to their songwriting roots. Inspired by legends like John Prine, The Band, and Kate Wolf, as well as contemporary artists such as Hurray for the Riff Raff, The Wood Brothers, and The Devil Makes Three, My Dog Jack brings a cold coast-influenced take on western music.

Dead Nettle

Dead Nettle is the moniker for local artist Lindsey Wall, blending haunting folk melodies with vivid, lyrical storytelling. Hailing from Bonny Doon, California, Lindsey weaves delicate guitar work and emotive vocals into songs that feel both intimate and timeless. Dead Nettle’s music draws inspiration from nature, memory, and the in-between spaces of life, creating a sound that’s raw, resonant, and deeply human. Lindsey is currently touring across the country, sharing her captivating live performances.

Show 8pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

MASON JENNINGS

Minneapolis songwriter Mason Jennings shares his new video for the single, “Only Lovers Welcome” from his brand new album, Underneath The Roses out now via Loosegroove Records. Underneath The Roses is available on limited-edition colored vinyl and is available here.  Watch and share the video for “Only Lovers Welcome” here.  

Jennings writes that the songs from Underneath The Roses were, “Written in an unprecedented burst,” following the birth of his son, Western, in March 2022. Jennings explains, “I hadn’t written any songs in about a year. I had been dealing with the psychological after effects of the pandemic as well as the loss of my dad. So, when Western was born I didn’t expect to be writing much. But immediately he was responding to music in a very intense way. For this album, between May and November 2022, I wrote 48 songs! They certainly uplifted me and connected me with the creative spirit, and spirit in general, again. They cover all kinds of ground but, when I listen back, I think the central theme is overcoming fear with love.”

Jennings also released a video for, “No Ordinary Friend,” which he explains, “Depicts two of the most important decisions a person can make. One, whether or not they believe in a loving higher power and two, who they decide to choose as a life long romantic partner. This song is referring to both of those and the choices I’ve made.”

"Stone Gossard and Regan Hagar from Loosegroove Records helped me edit the 48 down to 11. I then enlisted the help of my Painted Shield bandmates to record the songs.” 

Jennings and Gossard are ongoing collaborators in the band Painted Shield, who released their 2021 debut album on Loosegroove, the influential indie label that Gossard founded back in 1994 issued records from acts such as Critters Buggin, Malfunkshun, Weapon of Choice and Devilhead, and was the launching point for Queens of the Stone Age’s debut album in 1998. 

Jenning’s previous album ‘Real Heart’ came out in January 2022 and received Triple/Non-comm radio across KCMP Minneapolis, WFPK Louisville, WPYA Birmingham, KRCL Salt Lake City, WMMM Madison, WQKL Ann Arbor, KCSN LA, KRVB Boise, WCLZ Portland, WDSE Duluth, WRLT Nashville, WXPN Philly, WXRV Boston, & WZEW Mobile.  

Press highlights include: American Songwriter, Relix, No Depression, Grateful Web, Take Effect 9/10 review, & Jam Bands  

Jennings adds “I called it Underneath The Roses because I feel like these songs are musical roses and when I look below them there are many thorns and so much dirt and soil. All of it was needed for them to come into existence and bloom. It’s been a long hard road of self-discovery and discernment for me the last few years and the roses wouldn’t be here without what lies underneath. Hope you enjoy the music!” 

Show 8:00pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

FRANKIE AND THE WITCH FINGERS

with IGUANA DEATH CULT

Los Angeles psych-punk shapeshifters Frankie and the Witch Fingers have spent the last decade mutating their sound into bold, electrifying new forms. Their latest release, Trash Classic (via Greenway Records and The Reverberation Appreciation Society), plunges into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite, it’s all delivered with a sly, playful wink. Fueled by relentless global touring and a fierce DIY ethos, the band has shared stages with OFF!, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, cementing their place as one of the most unforgettable live acts around. Frankie and the Witch Fingers continue to morph, dragging listeners into whatever warped direction their experimental journey takes next.

Iguana Death Cult -

After the pandemic hit, and the people of the world suddenly grew wary and suspicious of one another, Iguana Death Cult, one of Europe’s most exciting rock exports, became more than just a band to its members—it became therapy. “I think for the first ten times we went to jam,” says guitarist/vocalist Tobias Opschoor, speaking about the process of making the new album Echo Palace, “we just drank wine and talked about it, and just kept on talking for hours—and then were like, ‘OK, I have to go because I have to work tomorrow.’”

Taking place at frontman Jeroen Reek’s apartment in the Dutch city of Rotterdam, these gatherings slowly shifted from talking about this surreal chapter of their lives—the days of quiet streets and cramped buildings—to making music about it. “I was living in a really crappy, leaky, ready-for-demolition apartment,” explains Reek, “with just one heat source—like a really old-school, gas stove kind of thing.” Working on cold nights, they had to gather around that heater together—a cozy approach that ultimately got their creative flow going, fast. 

Armed with the talents of Justin Boer on bass and Arjen van Opstal on drums, and tapping the keys work Jimmy de Kok for the first time on album, the band took their trademark melodic garage-rock style and expanded it out to make it vibier and looser, with each member contributing ideas to develop the sound palette in full. “We all get into this sort of blender and then everybody gives a little bit of a flavor to it,” says Opschoor. 

The sounds they started to make tapped into the band’s acerbic bite established on their first two LPs, 2017’s The First Stirrings of Hideous Insect Life and 2019’s Nude Casino—albums that sometimes felt like Parquet Courts colliding with Super Furry Animals. (Paste described Nude Casino as evoking “the colorful mischief of nights out where even a humdrum accountant can feel like a Clint Eastwood desperado.”) Their explosive performances of these records turned them into a cult live act among psych fans, who have thrashed to the band everywhere from Amsterdam to Austin. (It was during a particularly bananas set at SXSW that the band won over Innovative Leisure.) But working on this new album, huddled together as the world split apart, everything began to flutter like Remain in Light. 

Echo Palace may be the Iguana Death Cult music that’s most overtly about the strange cause and effect of groupthink, but the theme has been lurking there since the very beginning, when the band was first formed by childhood friends Reek and Opschoor over ten years ago. The name of Iguana Death Cult is a partial nod to Reek’s fascination with cults in general—and the “Iguana” part is a nod to Iggy Pop, whose first band was the Iguanas.

Watching the pandemic paranoia and conspiracy theories steeping across their country, Reek wrote lyrics reflecting the scene in front of him: “Purple, veiny soccer mommies,” he sings in a deep, foreboding voice on the song “Echo Palace,” “Sharpening their guillotines.” It’s a cut so infectious that it betrays the density of its lyrics, which were adapted from a poem Reek wrote about the repercussions of “shutting yourself off from everyone outside of your own ideology.”

While each song on the record wrestles with these confusing times, Reek is keen not to point fingers. “These songs were written in such a polarizing time – we lost friends to conspiracy theories and ideologies. There are so many conflicting views and opinions. But I also don’t want to sound like I have all the answers,” he explains. “We should continue to talk to each other.”

Echo Palace sees the band push their psych roots further than ever before. With a wide-spanning interest in disco, dance music, New York No Wave and artists such as ESG, Talking Heads, Medium Medium, plus Squid, Pottery and Parquet Courts, the record is a melting pot of energy, groove, and playful experimentation, with only one rule – the audience isn’t going to be able to stand still.

When it came time to record the full set, the band headed to PAF Studio in Rotterdam, and then had the self-produced album subsequently mixed by Joo-Joo Ashworth (Sasami, Dummy) at Studio 22 in Los Angeles and mastered by Dave Cooley (Tame Impala, Yves Tumor). As the instruments swirl and trade solos on “I Just a Want House,” a funky millennial nihilist anthem, you can practically hear the growth of a group that’s been pushing itself further and further with every tour and every Belgian-stove fuelled jam session. The album is a big swing, stretching Iguana Death Cult beyond its garage rock origins and taking them to a new realm.

It’s the type of project that warranted having legendary Dutch jazz saxophonist Benjamin Herman stop by to add to the squall on tracks like “Oh No” and “Sensory Overload,”. “He is a hero of ours”, the band admit. “We’d go and hear him play with our parents when we were kids.” The added sax led these heady thrashers to morph into calculated freakouts, which warranted Reek and Opschoor to scream their guts out on tracks like “Pushermen,” and Boer and van Opstal knowing when to bring the rhythm section to a jazzy simmer on tracks like “Paper Straws.” 

The end result of Echo Palace is an appropriately worldly album from a group breaking past the confines of its home country. That’s not to say that Iguana Death Cult aren’t proudly Dutch; the group takes from the trademark hard work ethic of their Rotterdam base and applies it to their approach with music. But it’s 2022, and we’re less defined by our borders than ever before. “When we play in other countries, for me that gives the same amount of pleasure—or even more—than when we play in the Netherlands,” says Opschoor. 

“We’re not just little countries anymore, everything is global,” adds Reek, speaking about society at large—but he might as well be speaking about Iguana Death Cult itself. “We’re turning into a global thing.”

Show 8pm // Ages 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

Show 8pm // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE ARCADIAN WILD

The Arcadian Wild is an indie folk/pop group from Nashville, TN, led by songwriters Isaac Horn and Lincoln Mick and Bailey Warren on fiddle, The Arcadian Wild confidently inhabits and explores an intersection of genre, blending the traditional with the contemporary.  Combining elements of progressive bluegrass, folk, and formal vocal music, The Arcadian Wild offer up songs of invitation; calls to come and see, to find refuge and rest, to journey and wonder, to laugh and cry, to share joy and community and sing along.

The band’s 2023 album Welcome marks the start of a captivating new chapter for the genre-bending trio, who returned to the studio with renewed purpose and insight after devoting the last few years to a series of critically acclaimed singles and EPs. Like much of the band’s catalog, the album blurs the lines between chamber folk and progressive bluegrass, drawing on everything from country and classical to pop and choral music with lush harmonies and dazzling fretwork, but this time around there’s a rawness to the writing, an embrace of candor and simplicity that cuts straight to the heart of things like never before. The result is perhaps the most arresting collection yet from a band known for its ability to stop listeners dead in their tracks, an exquisitely beautiful celebration of community, connection, and the power of belonging that feels tailor-made for these challenging times.

Show 8pm // 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

M. WARD & THE UNDERTAKERS - performing Transfiguration of Vincent in full plus more!

WARD’S “SUPERNATURAL THING” DEFIES THE PASSING OF TIME

by James Cushing 

Several times, as I listened to M. Ward’s supernatural thing, I asked myself what year it was. Was it 1952, and was I listening to a track from the Harry Smith Anthology? Was it 1972, and was I eavesdropping on the recording session for After the Gold Rush? 

No, it’s 2023, and M. Ward is one of the special contemporary artists who invite such questions. Ward has clearly mastered the whole vocabulary of American popular music and made serious decisions about how to employ it for his own ends. What Ward shares with Harry Smith’s artists and Neil Young is a context of musical and human values: authenticity and intimacy. supernatural thing’s original songs sound freshly pulled from the ground, with a little earth sticking to them. Ward’s lyric delivery has that slight rawness the ear loves, and his voice has quiet dignity and great tenderness. Supernatural Thing is an open-hearted, inviting album.  

The album’s guest stars — First Aid Kit, Shovels & Rope, Scott McMicken, Neko Case, Jim James, others — enliven the album with surprises. On “Too Young to Die,” the women’s voices in First Aid Kit spread a light frosting over the melody, and their Beach Boys-like chorus on “Engine 5” makes the song sound like an instant hit. The whole program has a lovely open house feeling, reminiscent of pre-pandemic house parties. It was at such parties in San Luis Obispo in the mid-1990s where I first heard M. Ward’s music. He was still a college student, writing his first songs and learning the vocabulary he uses today with such calm assurance.

I asked him about the title track, in which Elvis Presley appears with a message: You can go anywhere you please. “Well, all my songs depend on dream-imagery to some extent,” he replied, “and this was an actual dream I had about Elvis, when he came to me and said that. I don’t know if it’s pandemic-related or not.” This is the song where Ward sings “you feel the line is growing thin / between beautiful and strange,” which I told him I thought sums up the emotional tone of the album. (He agreed.) 

“The title supernatural thing comes from an early thought as a kid that radio traveled the same airwaves as messages from supernatural things — and music, especially remembered music, is somehow tied up in this exchange,” he continued.  

“The sending and receiving of messages from memory and dreams seem to move along this same often broken-up wavelength. In this way and many others, I see this new record as an extension, 18 years later, of my Transistor Radio record, but this new record is better because its more concise and has more voices and more moods — the way my favorite radio was and still is.” 

I also asked about the guest artists, especially First Aid Kit, a new name to me. "First Aid Kit are twin sisters from Stockholm, and when they open their mouths, something amazing happens,” Ward explained. “It was a great thrill to go to Stockholm and record a few songs there.  The sound from blood-related harmony singers is impossible to get any other way – The Everly Brothers, The Delmores, The Louvins, The Carters, The Söderbergs - all have the same kind of feeling in their vocals."

Eight of the album’s ten songs are Ward originals. There’s an unusual Bowie choice, “I Can’t Give Everything Away” from Blackstar, and a live rendition of Daniel Johnston’s “Story of an Artist.” “Bowie and Johnston are constant sources of inspiration for me, have been for I don’t know how many years,” Ward offered. Hearing the Bowie instrumental, so different in feel from the original recording, I was reminded of an evening long ago in San Luis Obispo when Ward, playing solo acoustic in a coffee house, sang “Let’s Dance” as a very slow ballad, revealing the lonely yearning the extraverted original only hinted at. 

"When you can’t go out and see it for yourself, radio is still the best way for me to connect with the outside world. Whether it be music or talk or news or politics - FM or AM or satellite – I re-learned this while stranded indoors during the pandemic - It's constantly changing at the hands of someone far away who you don't know and there's a lot in that exchange to be inspired by when it comes to making records."

Show 8pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

MOUNTAIN GRASS UNIT

Mountain Grass Unit, from Birmingham, Alabama, is a young quartet redefining bluegrass with a fresh narrative. Comprised of Drury Anderson (mandolin, vocals), Luke Black (guitar, vocals), Josiah Nelson (fiddle, vocals), and Sam Wilson (bass, vocals), they blend tradition with bold exploration. Their journey began with a shared musical passion, forming a sound that merges bluegrass with country, jazz, funk, rock, and metal influences. Their debut EP, "Runnin’ From Trouble," released in 2024, showcases their original music and inventive covers, inspired by legends like Tony Rice and Billy Strings.

Recorded at Nashville’s Hartland Studios, and produced by Mike Harris (Old Crow Medicine Show), the EP captures their live energy. The leading single, “Hey Mama,” explores life's transitions with inquisitive lyrics, while “Cicada Song” and “Smugglin’” highlight their funk and traditional sides. 

2024 marked a turning point with performances at Renewal, DelFest and WinterWondergrass, broadening their audience and deepening their musical exploration. With plans for extensive touring, festival sets, and new music, Mountain Grass Unit is ready to share their luminous sound with the world, each performance a new chapter in their unfolding story.

Show 8pm

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.

Show 8pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THEE MARLOES

When you first hear Thee Marloes, their particular soul sound may seem familiar enough. There are the weighty drums, a crooning guitar, and a beautiful voice singing about unrequited love or the complications of relationships. But then there is something undeniably different about Thee Marloes and their music, something new and distinct. And while you may be acquainted with soul music, you've probably never heard it from Surabaya, Indonesia—the place Thee Marloes call home. 

With Natassya Sianturi singing and playing keys, Sinatrya ("Raka") Dharaka on guitar, and Tommy Satwick on drums, how Thee Marloes came to be is pretty straight forward, but the result is anything but. With early influences from American hip-hop, classic soul, rocksteady and lovers rock reggae. Raka found himself driven to write his own songs. Night after night, after getting off work Raka would play and pen his songs with no real idea what he'd do with them. While raw, these early drafts had potential—that much he knew. After crossing paths with Tommy, Raka now had a partner to start fleshing things out with. With similar musical influences and passion, the duo began getting gigs both sitting in with other bands and DJing parties around Indonesia and Southeast Asia. While they didn't know it then, this time spent cutting their teeth, playing shows, and seeing what was out there, would serve as a crucial foundation for their sound to come.

A significant step was taken in 2019. Raka and Tommy saw a woman perform at a local show that truly captivated them. Her name was Natassya, and her voice had such feeling and range that they knew they had to work with her. Natassya, surrounded by a musical family, grew up in church honing her vocals in the choir. Those chops coupled with the fact that she was inspired by a spectrum of absolute global legends, ranging from The Jackson 5 family to Erykah Badu made her a perfect fit. Raka and Tommy invited her to join a recording session, and it was clear right away that she added a meaningful and talented depth to the music. So now, almost suddenly, with Natassya's addition, they were a trio that found an authentic voice blending an Indonesian vibe with the universal appeal of soul, jazz, and pop.

The sound Thee Marloes are putting together and recording doesn’t have much of a local scene in Indonesia. "We didn't have any real bands like that, with that raw soul sound," Raka explains. "So it made us think we can learn from it and make a new flavor with our sound." Without much of a road to follow—Thee Marloes paved one for themselves 

and it began in their home studio. Acting as a kind of sanctuary, it was a place where creativity wasn't rushed allowing them to write, play, and jam freely, working out their different ideas and feeling out what works as a group. With little external pressure, their ideas flourished, ultimately giving way to an authentic sound. A sound that eventually caught the ear of Big Crown Records. 

"I was, like, shaking when we heard from them," Natassya remembers of that first contact with Big Crown. "We couldn't believe it was happening." Of course, Thee Marloes knew of Big Crown—Lee Fields and El Michels Affair were heavily appreciated by them as they explored and developed their own sound. In hindsight, the connection was almost destined.

The world's introduction to Thee Marloes' debut album, titled Perak, started with their first 45 that showcased two distinctly different and unique sides of their sound. The A side “Midnight Hotline” is a punchy dancefloor number built on all funk-slapped drums, vibey piano, and jazzy guitar licks with lyrics that  instantly get a hold of you. Contrasting that energy in the classic plug and ballad pairing dynamic, the B side “Beri Cinta Waktu” has all the makings of a beloved B side soul ballad but the lyrics are in Indonesian. Regardless of any language barrier, the sentiment in their music is palpable, helping to make their songs relatable and heartfelt, whatever tongue is native to the listener. The rest of Perak fits perfectly in between those bookends of both energy and language, “I Know” is a mid tempo burner that talks about pulling the veil of lies of a love affair founded on falsehood. “Not Today” is right up there with the grooviest feel good songs you could ever play on a Sunday morning. “Mungkin Saja” brings the tempo back up and brings every to the floor while “True Love” finds Thee Marloes dipping into the soulful side of jazz with a beat ballad that could soundtrack a Tarantino dance scene.

Perak is a journey from the heart of Surabaya into the spirit of the soul sound. It's about creating a space where none existed, and doing it because you love it. You can tell that Thee Marloes enjoy making their music, from the process of writing and recording, to performing in front of crowds. "We want to share what we live," Natassya tells us. No

matter what language you speak or  culture you come from, Thee Marloes music and energy is so charming that we will all be keeping it close to the turntable for years to come.

Show 8pm

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.

Show 8pm // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE SUPERVILLAINS

with THE B FOUNDATION

Show 8pm 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

COLLIE BUDDZ

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 // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

FANTASTIC NEGRITO 

3x GRAMMY® Award-winner Fantastic Negrito releases his highly anticipated new album, Son of a Broken Man, on October 18 2024 via his own Storefront Records. The new album sees Fantastic Negrito encapsulating his inimitable style, from hard-hitting guitar riffs to expressive ballads, with the unexpected twists that have become his trademark. It stands as one of his most personal works to date, exploring family, deception, and the human desire to hide the true self as he dives deep into the struggle between father and son. 

Born Xavier Amin Dphrepaulezz, Fantastic Negrito's story is a testament to resilience and the transformative power of music. By now much has been made of Negrito’s unique story – growing up in an orthodox Muslim household, a doomed major label deal, the near-fatal car crash that permanently damaged his guitar playing hand—as well as the remarkable redemption arc that began in 2015, when he won the first-ever NPR Tiny Desk Contest. 

He has since earned three GRAMMY® Awards for “Best Contemporary Blues Album," and shared stages with everyone from Sturgill Simpson to Chris Cornell to Bruce Springsteen. He's collaborated in the studio with the likes of Sting, E-40, and Tank and The Bangas, performed on countless headline world tours and at festivals such as Lollapalooza, Glastonbury, Newport Folk, and WOMAD, and founded the Revolution Plantation, an urban farm aimed at youth education and empowerment.

Show 8pm // Ages 21+ 

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

BROOKS NIELSEN (of The Growlers)

Brooks Nielsen, celebrated frontman of The Growlers and now a critically acclaimed solo artist, has firmly established himself as one of the most distinctive voices in independent music. As the frontman and creative force behind The Growlers, Nielsen helped define and popularize the Beach Goth movement—a genre-blurring, countercultural wave that left an indelible mark on modern rock. Over more than a decade, The Growlers built a fiercely dedicated international following, performed at major festivals, and sold out venues around the world. Their celebrated discography and electrifying live shows cemented them as one of the most influential underground bands of the 21st century. 

In addition to their music, The Growlers also founded and curated the Beach Goth Festival, a groundbreaking event that brought together a wildly eclectic mix of artists—from Patti Smith and Bon Iver to Doja Cat and Mac DeMarco—making it a defining moment in the cultural landscape of the 2010s. 

Now, as a solo artist, Nielsen continues to push boundaries with the same fearless spirit. Since launching his solo career in 2022, he’s released four records—three of them in 2024 alone. His latest, A Ride I’m Waiting For, features the haunting duet “Without Eyes” with Sierra Ferrell and has been praised for its cinematic scope and emotional depth. 

On stage, Nielsen delivers an experience unlike anything else. Backed by a powerhouse band—Growlers drummer Richard Gowen, keyboardist Cole Riddle, and guitarists J.D. Carrera and Elyadeen Anbar—Brooks crafts a set each night that’s entirely its own. Drawing from his extensive solo catalog, deep cuts, Growlers classics, and unreleased material, his shows are long, loose, and alive. With no opening acts and performances stretching two and sometimes three hours, fans are invited into a world that feels as spontaneous as it does deeply curated. 

This Fall 2025 run is Brooks’s most ambitious solo tour to date, featuring first-ever solo plays in small towns, Aspen and Fort Collins, CO; Carrboro and Asheville, NC; Madison, WI; Ferndale, MI; New Haven, CT; St. Louis, MO; Boise, ID; Tulsa, OK; and Nashville, TN. There’s also a rare and intimate upstate New York show at the newly revived Bearsville Theatre in Woodstock—a venue rich with music history. In New York City, Nielsen will headline the legendary Webster Hall for the first time, marking his

biggest solo show in the city yet—and in Chicago, he’ll play the iconic Metro, a rite of passage for generations of boundary-pushing artists. 

The 28-date tour wraps with the now-iconic Helloween shows at the Hollywood Palladium in Los Angeles on October 30 and 31—two surreal, sweat-soaked nights that have instantly become a rite of passage for Nielsen’s most devoted fans. Every year, Beach Rats from across the country—and around the world—make the journey for this once-a-year celebration of the strange and the sacred. It’s more than just a show: it’s a Mecca for the hardcore fanbase, a chance to mix with fellow travelers, share stories from the past, and revel in a night of music, mystery, and magic. If you know, you go.

Show 8pm // 21+

***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The bar will be open at 6pm.

Felton Music Hall Presents:

THE POLISH AMBASSADOR

Musician. Producer. Beatsmith. Recording artist. Composer. Dance-floor general. Label-head. A mystery man of many hats, The Polish Ambassador rocks more than just a trademark jumpsuit, authoring sublime, intentional artistic works, animated safaris in technicolor sound.  At first breath, The Polish Ambassador was an experiment, David Sugalski’s sound-art passion project that came to life. An inventive, imaginary character bor Bold Keyboard shortcut Command+Bn of humble, humorous beginnings, he found his first audiences through the support of primitive digital radio stations. Today, TPA is among the premier EDM/live crossover artists in the country with millions of listeners around the world; he’s consistently in-demand at the live music-focused gatherings and boutique electronic festivals from coast to coast. Founder of independent label Jumpsuit Records, an environmentalist and early progenitor of the permaculture action movement, the world’s funkiest diplomat is here to party with a purpose.

Show 8pm

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.