Glass Cannon Live!

Accessible accommodations should purchase a General Admission ticket and will be taken care of at the venue day of event. There is a delivery delay 72 hours prior to show.

Princess Goes to the Butterfly Museum

Princess Goes to the Butterfly Museum with Miss Guy, Hennessey

Princess Goes to the Butterfly Museum

Princess Goes To The Butterfly Museum is a trio comprised of vocalist, lyricist, musician and Golden Globe and Screen Actors Guild Award-winning and Emmy-nominated actor Michael C. Hall (Dexter, Six Feet Under, Hedwig and the Angry Inch), keyboardist Matt Katz-Bohen (Blondie), and drummer Peter Yanowitz (The Wallflowers, Morningwood). A theatrical sensibility is part of the trio’s DNA, especially in live shows, having met several years ago on Broadway during the production of Hedwig and the Angry Inch.

Princess Goes to the Butterfly Museum eschews traditional rock instrumentation in favor of a stripped-down synthesizer-and-drum attack, heard on their debut full-length album THANKS FOR COMING (released earlier this year), which follows their 2020 self-titled EP. Both have drawn praise from Paper, Alternative Press, Associated Press, Consequence of Sound, People, American Songwriter, Magnet, FLOOD, Forbes, Huffington Post, NME, Line of Best Fit, The Independent, Entertainment Tonight and more. A wealth of disparate influences flow into Princess Goes to the Butterfly Museum’s songs – the glam, experimental, ambient music of David Bowie, Giorgio Moroder’s ‘70s disco productions for Donna Summer, ‘80s new wave dance music, contemporary electronic dance acts like Justice, and the roster of France’s Ed Banger label.

Miss Guy

Guy Furrow (a.k.a. Miss Guy) is best known as the lead singer of Toilet Boys, as “a pioneer in the DJ world” (Marc Spitz/Spin) having been one of the first Open Format DJs, and as a cutting-edge songwriter and solo artist. His musical sensibility and style were nurtured in the rock scene of New York City with mentors including Deborah Harry and Boy George.

With the Toilet Boys, Guy toured the US, Europe, and Asia with Blondie, The Ramones, Rancid, The Damned, Joan Jett, Motorhead, The Donnas, and The Red Hot Chili Peppers.

As a DJ, he took New York by storm at the legendary party, SqueezeBox! He has spun in booths all over the world from Tokyo to Milan to London including events for Bon Appetit Magazine, MAC Cosmetics and MAC Pro, Marc Jacobs, Bideawee, Bailey House, and the Baltimore Museum of Art. He continues to rock the house on the weekends throughout NYC.

Guy can be heard singing along with Debbie Harry on the song Rave as part of Blondie 4(0) Ever album. He also co-wrote the hit single Charm Alarm with Deborah Harry, which was certified gold. He co-produced the Blondie hit In the Flesh with Super Buddha and co-wrote Stay Away from Pretty Boys with Boy George. His song Dumb Blonde was featured in the film Concussion, an Official Selection 2013 Sundance Film Festival.

Guy’s photography shows off his incredible eye and style in amazing portraits of celebrities, music icons, and New York City’s most beautiful creatures of the night. His work has been seen in the New York Post, Parade, Salon, Renowned for Sound, Medium, and in a Lincoln Center event program for Valentino. His fine art photography has sold extensively in both group and solo shows with his Bubble Bath series receiving

Hennessey

Hennessey is the creation of singer-songwriter Leah Hennessey and multidisciplinary electronic artist E.J. O’Hara.

While still a relatively new band, Hennessey has built up a devoted following from their explosive and theatrical live shows (which have continued and evolved in the virtual sphere).

Monster Energy Outbreak Tour Presents: City Morgue

Accessible accommodations should purchase a General Admission ticket and will be taken care of at the venue day of event. Mobile delivery delayed until 72 hours prior to event.

Mannequin Pussy

Mannequin Pussy with Angel Du$t, Pinkshift

Mannequin Pussy

At the start of 2020, everything was looking up for Mannequin Pussy. The Philadelphia punk band had released their third album, Patience, to abundant critical acclaim, and was touring steadily behind it. After nearly a decade of playing, the band finally had gotten the chance to turn music into a full-time occupation. And then, just as their career was lifting off, the world around them collapsed. COVID-19 reached the United States, rescinding life as many people knew it. Live music shut down. Mannequin Pussy had just played a final show in Chicago when the group had to cancel the remainder of their tour and travel back to their home city. For a while, it seemed like maybe the lull would be temporary, a brief pause before things could resume as they were. And then the numbers ballooned, and the months stretched on, and memories of rooms packed with strangers started to feel alien, dangerous even in imagination.

Mannequin Pussy’s new Perfect EP bursts forth from those sprawling months of social isolation and internet-fueled anxiety. After spending most of the year apart from each other and everyone else in 2020, the members of the band — Missy on lead vocals and guitar, Colins “Bear” Regisford on bass, and Kaleen Reading on drums — decided to book studio time and work together in person again. They brought two pre-written songs into the session, but opted to write new material together on the fly from the excitement of reunion. “We just figured if we forced ourselves into this situation where someone could hit ‘record,’ something might come out,” Missy says. “We’d never written that way before.”

What came out of that compressed session time were some of Mannequin Pussy’s most furious, incandescent songs yet. The self-imposed restraint and careful habituation of the past year cracked open. On the EP’s title track, Missy sings about the practice of condensing your daily life into a manicured stream of images for social media, an urge that only intensified after daily life grew barren. What happens to the social impulse when everyone you love or even like is leveled into a set of pixels — when you’re compelled repeatedly to funnel your own life into that algorithmic slurry, and wait to see how it’s received? “It was a really weird psychological experience, being bombarded by images of other people constantly when you are not around a lot of other people,” Missy says. “I’m still understanding the way we use the internet to make our lives feel and look perfect. Our lives aren’t supposed to look good right now.”

Even the songs written before the pandemic take on a new valence after a year of its frustrations. “I’m in control / That’s what I tell myself when all the walls around me close in,” Missy sings in the prescient opening lines of “Control.” Tuneful and brash, with a white-hot molten core, the songs on Perfect thrash against the learned helplessness that has settled in on the cellular level under lockdown. Social media algorithms apply pressure to perform even from the depths of that powerlessness, to construct the image of a bountiful life in times of extreme scarcity. From the smolder of “Pigs is Pigs” to the melancholic, contemplative “Darling,” Perfect digs into the cracks of that compulsory veneer, and let loose everything simmering beneath it. The anger, frustration, loneliness, and resentment of a year spent locked away all come sputtering forth. And once they’ve rushed out, once the air clears from their tumult, there’s suddenly a little more space to seek out calm, to find solace. There’s an opening forward into whatever comes next in the rush and the mess of living.

Angel Du$t

Justice Tripp, vocalist / guitarist for Baltimore, Maryland’s Angel Du$t, has never been one for making rock albums, at least not in the traditional sense. For Tripp, an album is not a singular, rigidly defined work, but rather an ever-evolving experience, a grab bag of creative tricks and treats that’s enjoyable whether its contents are savored individually or all at once. “People get really married to the idea of making a record that sounds like the same band,” Tripp explains. “If one song to the next doesn’t sound like it’s coming from the same band, I’m ok with that.” This spirit of creative restlessness, reinforced through a staunch work ethic and a revered live show, has fueled Angel Du$t’s steady ascent over the past eight years. The way Tripp sees it, Angel Du$t are neither hardcore nor a supergroup: just a revolving lineup of like-minded peers and ride- or-die friends, making guitar music, rocking the fuck on forever. YAK: A Collection of Truck Songs, Angel Du$t’s latest full-length and the follow-up to 2019’s Pretty Buff, sees the group channeling an anything-goes philosophy into their tightest, most forward- thinking material yet. Produced by Rob Schnapf and recorded over a two-month period in Los Angeles in 2020, it’s a rotating smorgasbord of percussion, guitar tones, effects, genres, and influences, fashioned in the spirit of a playlist as opposed to a capital-R “Record.” Like every great playlist—and Tripp makes a lot of playlists—it’s a carefully- engineered project that still manages to sound effortless, with brisk pacing and constant switch-ups that keep the spirit of discovery at the forefront.

Pinkshift

The Red Party presents…ALL HALLOWS EVE CELEBRATION

The Red Party presents… ALL HALLOWS EVE CELEBRATION with Altar De Fey

Princess Goes to the Butterfly Museum

Princess Goes to the Butterfly Museum

Princess Goes To The Butterfly Museum is a trio comprised of vocalist, lyricist, musician and Golden Globe and Screen Actors Guild Award-winning and Emmy-nominated actor Michael C. Hall (Dexter, Six Feet Under, Hedwig and the Angry Inch), keyboardist Matt Katz-Bohen (Blondie), and drummer Peter Yanowitz (The Wallflowers, Morningwood). A theatrical sensibility is part of the trio’s DNA, especially in live shows, having met several years ago on Broadway during the production of Hedwig and the Angry Inch.

Princess Goes to the Butterfly Museum eschews traditional rock instrumentation in favor of a stripped-down synthesizer-and-drum attack, heard on their debut full-length album THANKS FOR COMING (released earlier this year), which follows their 2020 self-titled EP. Both have drawn praise from Paper, Alternative Press, Associated Press, Consequence of Sound, People, American Songwriter, Magnet, FLOOD, Forbes, Huffington Post, NME, Line of Best Fit, The Independent, Entertainment Tonight and more. A wealth of disparate influences flow into Princess Goes to the Butterfly Museum’s songs – the glam, experimental, ambient music of David Bowie, Giorgio Moroder’s ‘70s disco productions for Donna Summer, ‘80s new wave dance music, contemporary electronic dance acts like Justice, and the roster of France’s Ed Banger label.

GWAR

Accessible accommodations should purchase a General Admission ticket and will be taken care of at the venue day of event.

TOPS

TOPS with Tiberius B

TOPS
“Last spring when all our tours got cancelled most of us ended up in Montreal and we spent the summer writing and recording some new songs. The song we’re sharing today – “Party Again” – seemed too appropriate to not use it to announce our rescheduled dates. The song is about missing someone that you only see when you go out”, says TOPS about their latest single.

TOPS were formed in Montreal when song-writing duo David Carriere and Jane Penny decided to join forces with drummer Riley Fleck. Since then they have become one of the most influential underground bands of the past decade, creating a space for sophisticated pop music in the indie world.

Their tendency to opt towards making straight-forward, stripped down and honest recordings lets their pop songwriting shine out in the open. With a heart firmly attached to their sleeves, their songcraft delves into the emotional intricacy of personal relationships, asking questions about power and desire. Riley Fleck’s measured drumming and David Carriere’s trademark guitar licks mesh with Marta Cikojevic’s lush keyboards. All these elements work in tandem and in service of Jane Penny’s unmistakable, wistful voice.

The result of this mixture is a collection of four self-produced records and a handful of singles that cover a range of moods and a complex emotional realm while maintaining a groove and musicality. Soft rock infused pop hits flow easily, surrounded by their signature moody ballads.

 

Tiberius B

Original, unfiltered and radiating tenacity, Tiberius b is a singer and producer adept at both emboldening audiences and offering them catharsis through diaristic songwriting.

Raised in the woods on a remote island in Western Canada, Tiberius’ take on pop music is as raw and electrifying as these early surroundings. After relocating to their birthplace of London, England in 2017, they traded the synths for a borrowed B.C. Rich Warlock guitar and swaggering downtempo beats, calling on influences from their parent’s CD collection like Portishead, Massive Attack and Blur for debut EP Stains.

In early 2020, while society spiraled out thanks to the newly-proclaimed global pandemic, Tiberius got a call from their uncle asking them to take care of their elderly grandmother in the remote Welsh countryside. Eventually, when she was moved to hospital, they found themselves alone in her house for six long weeks, during which the EP came to be.

Lacking their usual set-up, a local villager lent the electric guitar, and they went about relearning old synth songs on it, accompanied by logic preset beats. Pent up feelings and power chords combined, drawing Tiberius towards a new sound animated by the throws of isolation-cultivated adolescent angst.

Grounded by Tiberius’ years of songwriting experience, Stains effortlessly guides listeners through breakups, sexual awakenings, gender euphoria, isolation, psychedelic divinations and moments of complete exasperation.

“Big Deal” shakes off the debris of past heartbreaks, charging towards new loves with a sanguine stomp. Effusing the same unfuckwithable boldness as Tiberius’ lyrics, punch-drunk drums strut through an achingly sentimental guitar melody, solidifying the song’s joyful defiance.

The EP’s title track “Stains” on the other hand doesn’t sugarcoat their anger. Coming to a slow boil, the former reckons with the soft torture of watching an ex float through the world while you’re stuck languishing in their mess, complete with a shouty atonal breakdown reminiscent of Fiona Apple.

Peppered with exasperated UGH!!!s “Steps” rolls its eyes at the past with shady quips and heavy fed-up strumming. “I dropped acid on my own / crawled up the river on all fours
/ laughing maniacally HAHA / no no I’m not going crazy,” they shout, catapulting themselves towards the wide world beyond grief with every forceful word.

“Tears Into The Sun” looks at the bigger picture, reckoning with the loss of friends and family

members, and wondering how their community can endure an increasingly inhospitable world. “If all of us who struggle to withstand the structure survive, then what will we live off of?” they sing, for all those trekking through life in the brambles outside of its government-advised trails.

A release rich with playful explorations of pop structures the EP jumps between moments of hopefulness and weltschmerz, offering fresh perspectives on the peaks and valleys of coming into oneself.

Please Note:

All patrons must show proof of completed Covid-19 vaccination. Original documents, clear paper copies, Excelsior Pass, or clear digital images of these records and matching ID will be accepted.

*Mouth and nose coverings will be worn by all attendees at all times except when eating or drinking. *

Pretty Sick

Pretty Sick with Harry Teardrop, Hello Mary

 

Pretty Sick

In the time since New York native Sabrina Fuentes released Pretty Sick’s debutself-titledEP in 2016, the now 20-year-old Fuentes graduated from high school, modeled for the likes of Opening Ceremony and Converse, and enrolled in a popular music program at Goldsmiths University in London. Fuentes started the band when she was just 13-years-old,and in the course of a relatively short, formative span of time in her life she’s become a vital presence in the youthful New York City scene where skaters, visual artists, rock’n’roll-obsessed teens, and jazz heads all rub shoulders in the wide avenues, shoebox apartments, and galleries of the Lower East Side. Fuentes weaves this creative community into her sometimes raucous, sometimes restrained, and always personal songwriting and visuals. Pretty Sick’s new video for the aptly titled “Allen Street” is acase in point for this community-oriented approach. Directed by frequent collaborator Manon Macasaet, Fuentes and her friends drive along Allen Street as Fuentes’ friends float by on skateboards, cheekily flipping off the camera, and fuzzy dice swing fromthe rearview mirror.Over the past half-decade, Pretty Sick have performed across New York City at now-defunct DIY venues like Shea Stadium and Silent Barn. This might seem like it would be prohibitively intimidating to someone so young, but Fuentes always felt singularly compelled towards making music. “It was just the only thing I ever wanted to do. I don’t have any other interests, honestly. I’m kind of obsessed,” she says. Songs that Fuentes wrote when she was 12-years-old coexist with ones that she wrote just more recently on Pretty Sick’s most recent EPDeep Divine, the band’s first release for British label Dirty Hit. Fuentes’s songwriting neatly fits within a long, storied lineage of New York City rock’n’roll, but given that she wrote them over a span of 8 years, these songs uniquely capture what it’s like to come of age in New York City. “I appreciate a good pop song and more than anything I want to know if I hit the nail on the head with them,” Fuentes says of the new music, which builds on the grunge-indebted sound of Pretty Sick’s earlier releases to encompass more mature themes and complex arrangements.Pretty Sick’s self-titled EP found Fuentes on bass and lead vocals with her friends Ella Moore and Eva Kaufman on guitar and drums, respectively, and the band now consists of Fuentes, drummer Austin Williamson of New York City experimental jazz group Onyx Collective, guitarist Wade Oates, formerly of The Virgins, and bassist Orazio Argentero. She met Argentero in her Goldsmiths program, where they quickly bonded over their mutual love of rock music. Oates and Fuentes met through filmmaker Richard Kern. They became fast friends and collaborators, making songs together on drum machines. Fuentes met Williamson through mutual friends Adam Zhu and Isaiah Barr after Pretty Sick opened for Onyx Collective, of which Barr is also a member, at a Halloween show that they both played at a few years ago. “I thought we really sucked, but [Williamson] said he wanted to play drums for us after our set,” Fuentes recalls.Given that Fuentes wrote the songs onDeep Divineover such a long span of time, she can’t quite relate to all of them anymore. Some chart the difficulties of communicating, while others are preoccupied with the feelings of being stuck in a cycle of complacency and self-destruction. The presence of New York City looms large in all of them, an energizing force that cuts through each song on the EP in different ways. “It’s just about experiences being a teenager in New York. New York is a big theme in all of my music for the most part,” Fuentes says. “It’s such a deeply human city, even if it’s at risk of being taken over by gentrifiers and developers. There’s nothing you can’t do in New York, and there’s nothing the city can’t handle. It inspires so much, and it inspires so many people. It’s given me everything I have.”Deep Divinereleased in October of 2020, and became the soundtrack for the experience of being young in New York City during an extremely tumultuous time. “Deep Divine’searworm hooksabout complacency, self-destruction, falling in love, and growing up in New York resonate with damn near anyone,” writesNYLON.Pigeons & Planesalso praised the EP, describing it as having a “Youthful and unpredictable edge, careening from grunge-y snarls to softer, slower ballads.”

Deep Divinecarries an untroubled youthful optimism and lust for life, but at the same time an ominous darkness is ever present. Now Pretty Sick is preparing to release the follow up to the EP, a dive into the creeping shadows present onDeep Divine. “Come Downis the 2nd of a two part body of work showing you the underbelly of theDeep Divineand the experiences that led us there,” says Fuentes. “Before you jump into someDeep Divinealways remember what comes up must come down.”

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Harry Teardrop

21 / NYC

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Hello Mary

Hello Mary is a three piece rock band from Brooklyn, NY comprised of guitarist/ vocalist Helena Straight, bassist Mikaela Oppenheimer and drummer/ vocalist Stella Wave. Melding together elements of indie rock, grunge, and shoegaze, Hello Mary delivers lovely vocal harmonies layered over crunchy guitar parts, melodic bass lines, and driving drums that pay homage to the alt. rock scene of the 90’s.

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