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3.22.2026Palermo, ArgentinaPalermo Groove
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3.22.2026Palermo, ArgentinaWe Are One Tour
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3.22.2026Brisbane, AustraliaRiverstage Brisbane
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3.22.2026Birmingham, ALSaturn
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3.22.2026Sacramento, CAAce Of Spades
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Nascar Aloe
Nascar Aloe’s HEY ASSHOLE! EP is brash and in-your-face, just as the name suggests—and it’s also exactly what music needs right now. The Los Angeles-based musician has spent the last several years building a devoted fanbase for his audacious and genre-bending musical approach, embracing a gleefully caustic and immediately appealing perspective to the many lanes of overlap when it comes to rap and punk. With HEY ASSHOLE!, Nascar Aloe brings his most impactful and immediate music to date, combining his abrasive hip-hop style with new, rock-situated elements that continue to push his music forward. Defining himself as “a little fucking twerp that came out of my dad’s nutsack,” the North Carolina-born artist formally known as Colby Suoy was invested in music from an early age, as being exposed to his father’s jazz and R&B-leaning taste led to regular viewings of 106 and Park and exploring the expansive sounds of rock, pop, and country. “In North Carolina, the radio bounces all over the place,” he explains, and after acquiring some basic recording equipment he was following suit with his own self-produced music. “I self-taught myself how to record and produce,” Nascar recalls. “I was trying to figure out ways to make serious music.”
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Joyce Manor
Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album, produced by Brett Gurewitz (of Bad Religion and Epitaph Records CEO) finds the group continuing to find rich new veins to tap in their short-and-sweet songcraft without losing an ounce of bite that gained them such repute in the first place. A bustle of activity that followed the release of 2022’s excellent 40 Oz. to Fresno and included an instantly memorable appearance on John Mulaney’s Everybody’s in L.A. and a retrospective assessment of the group’s seminal 2011 self-titled debut as part of Pitchfork’s esteemed Sunday Review series. The band’s had a whirlwind touring schedule over the last few years, which has included an outing with Weezer and multiple sold-out shows at the legendary California venues Hollywood Palladium (including a guest performance by Mark Hoppus for the fan favorite “Heart Tattoo”) and Long Beach Arena. This new record retains the band’s penchant for punchy hooks while sounding fuller, more in-your-face, and all-around bigger than ever, with an all-star crew of collaborators along for this wild ride. Along with mixing pro Tony Hoffer (M83, Beck), behind-the-boards legend Tom Lord-Alge lent his Enema of the State engineer magic to several I Used To Go To This Bar cuts, including the first single “All My Friends Are So Depressed.” The album also features a rotating cast of drummers, including touring drummer Jared Shavelson, Social Distortion’s David Hildago, Jr., and Joey Waronker—the latter of whom is currently hitting the skins for Oasis’ reunion tour.