Of Monsters and Men

Our album is out now!

https://OMAM.lnk.to/AllIsLoveAndPainInTheMouseParade

The Mouse Parade Tour:

https://laylo.com/ofmonstersandmen/mouseparadetour

Alabama Shakes

www.folkbitchtrio.com
www.instagram.com/fbtband

Angus & Julia Stone

Angus & Julia Stone are an Australian brother-sister folk-blues group that formed in 2006 by Angus Stone and Julia Stone.

Third Eye Blind

Alice Cooper

In 1975, Alice Cooper joined forces with longtime collaborator and producer Bob Ezrin to record his first solo album Welcome to My Nightmare, a theatrical concept album about the nightmares of a young boy named Steven. Now, he’s followed Steven into adulthood and presents Welcome 2 My Nightmare, a new but familiar concept album about the fear, anxiety and disgust that haunt Alice Cooper’s dreams in an era of Facebook, Lady Gaga, Sketchers and Angry Birds.

“Alice hates technology, disco is still a nightmare for him and working in a cubicle from nine-to-five would give him cold sweats,” Cooper says. “At the same time, this is a nightmare so all these normal life things are thrown into this crazy world that’s only logical when you’re in the nightmare. You could have an elephant in your garage, and you’re on the lawn in a pink tutu cooking hot dogs. And at the time it’s fine. But when you wake up you go, ‘How insane is that? Where did that come from?’ So we realized that having Alice in a modern-world nightmare is a great place to come from theatrically because we can go anywhere we want and make it as insane as possible.”

A wild, surreal odyssey, Welcome 2 My Nightmare provided Cooper and Ezrin the opportunity to work with numerous musicians and experiment with various musical styles. The three surviving members of the original band, guitarist Michael Bruce, bassist Dennis Dunaway and drummer Neal Smith, co-wrote three songs and they all played on “When Hell Comes Home,” a gritty ‘70s-style rock track about the nightmare of domestic abuse. “I wanted the song to feel like it was off of Love it to Death or Killer, Cooper says. “But we never had to talk about playing the song ‘70s-style, they just did it. It was great and there was nothing we could do to make it any more ‘70s ‘cause that’s just the way these guys play.”

The collaborations with his fellow original band members stemmed from their 2010 induction into the Rock and Roll Hall of Fame, for which they reunited to play four songs. “I was always looking for a logical reason to work with them again,” Cooper says. “When we broke up there was no bad blood. Most bands break up and they start suing each other. We never broke up on that level. We broke up on a very friendly level. ‘You go do what you’re gonna do, I’m gonna do what I’m gonna do. Let’s see what happens.’ When we got in the Hall of Fame I called them up and I said, ‘We have to do four songs. Let’s get together and rehearse.’ And they sounded great. They played great. We did a few projects after that. We played a couple times together. And I said, ‘Let’s keep it going. Let’s get these guys on the album.’ And Bob said, ‘That’s a great idea. Let’s write with these guys.’ It just worked.”

The first single from Welcome 2 My Nightmare, “I’ll Bite Your Face Off,” is about a gorgeous but deadly female who takes Alice by the hand and guides him through the various scenes of his nightmare. The song was co-written by Neal Smith and features a swaggering ‘60s British rock rhythm, brash, bluesy guitars and sneering, seductive vocals. “We tried to make this sound as much like early Rolling Stones as possible and we really did capture that,” Cooper says. “We’ve been doing it onstage and the audience sings along without knowing the song.”

On “Disco Bloodbath Boogie Fever,” Cooper combines a tongue-in-cheek disco beat and rhythm with near-rap vocals and lyrics about taking a machine gun to zombie disco dancers who refuse to die. Then there’s the zany surf rock of “Ghoul’s Gone Wild,” the derelict down-on-his-luck slur of “The Last Man on Earth,” and the Beatles meet Gary Glitter show tune “The Congregation,” which stars Rob Zombie as a narrator describing such modern-day nightmares as telemarketers, lawyers, pimps, mariachi bands and mimes.

One of the highlights for Cooper is the throbbing, modern rocker “What Baby Wants,” which stars Ke$ha as the devil. “Some people thought I was crazy to have Ke$ha on the record, but I never saw her as one of these Britney Spears diva girls. I saw her more as a rock singer. So I said, ‘Let’s present you not as a diva, but as a rock singer on this.’ We wrote the song together and in the end the darker lyrics were hers.”

Like The original Welcome To My Nightmare, which was highlighted by “Only Women Bleed,” Welcome 2 My Nightmare also features a lovelorn ballad, “Something to Remember Me By,” which was written with Dick Wagner back when they released “I Never Cry” in 1976. “We never used it on an album before because I never felt I was good enough to sing that song,” Cooper reflects. “It was never in my key, I could never get it right. Finally, we got it where my voice is in the right place so we included it and it may be the prettiest ballad we ever wrote. Steve Hunter played guitar on it and we really got a nice Beatles-y sound out of it. So when you’re listening to it you hear this really pretty romantic song and then you realize that in the Nightmare Alice is singing to a pile of bones that used to be a girl.”

Fans of the first Welcome To My Nightmare will recognize melodic references to the original woven throughout the new record. For example, in the cinematic minor-key song “The Nightmare Returns,” Ezrin plays the theme from “Steven” when Cooper sings, “I think we’ve heard that song before.”

“I really like the idea of having some of the musical identity of the first album showing up in the second album,” Cooper says. “It really connects the two and if you’re a real Alice fan and you hear those themes it makes you feel comfortable.”

Welcome To My Nightmare, which came out in 1975, was a landmark album for Cooper. It was his first solo release, following a historic string of anthems written and recorded by the original band between 1971 and 1974, including “School’s Out,” “No More Mr. Nice Guy,” “Elected,” and “I’m Eighteen.” A multimedia smash long before the dawn of music television, Welcome To My Nightmare proved that Cooper could remain popular musically and could take theatricality to an entirely new level of dream by exposing audiences to the crippling fears of a seven-year-old child with an active imagination.

Welcome To My Nightmare spawned two major singles, the ominous, anthemic title track and the beautiful, melancholy acoustic ballad “Only Women Bleed,” and featured narration by horror movie icon Vincent Price. In addition to touring the live “Welcome To My Nightmare” show, Cooper created the prime time special The Nightmare, which was essentially the first long form music video. The program debuted in April 1975. In September he shot the concert film “Welcome To My Nightmare” at London’s Wembley Arena.

“A seven-year-old kid is pretty sure there’s something living in the closet and thinks that something is waiting for him under his bed,” Cooper says. “His toys are probably coming to life and trying to kill him. And I thought, ‘Well, that’s a good general approach for the album because we’ve all been kids and we’ve all had those nightmares.’”

From his first solo album, 1975's Welcome to My Nightmare through releases such as 1994's The Last Temptation and 2000's Brutal Planet, concept albums have been a specialty of Alice's, and this time he spins the story of a serial killer who imagines himself as the most predatory of all insects, trapping his prey, killing them, then enveloping his eight victims in silk, taking a leg from each of them. A web of intrigue, wrapped around some serious hard rock.

Co-produced by Alice with the team of Danny Saber [Black Grape, Rolling Stones, Ozzy Osbourne, David Bowie] and Greg Hampton [Bootsy Collins, Buckethead], songs like the opening "I Know Where You Live" and "Vengeance Is Mine," featuring a snaking metal guitar solo from Slash himself, evoke such classic Alice anthems as "Is it My Body," and "Under My Wheels" along with landmark albums like Love It To Death, Killer and School's Out. There's also a patented rock ballad in the tradition of "Only Women Bleed" and "I Never Cry" with "Killed by Love." Along Came a Spider features Cooper's touring band of drummer Eric Singer, bassist Chuck Garric and guitarists Keri Kelli and Jason Hook. Songwriting was handled by Alice with Saber, Hampton, Garric, Kelli and a few friends including former band member Damon Johnson and Warrant's Jani Lane.

Along Came a Spider has elements of serial killers such as Hannibal Lecter, Son of Sam, Ted Bundy, Jack the Ripper, Sweeney Todd and Psycho's Norman Bates with Alice himself taking the central part, acting out the murderer's diary -- challenging reality by Alice Cooper inhabiting the identity of a serial killer who imagines himself a spider. As he has in the past, Alice chronicles a classic battle between good and evil, with inevitable results.

"Evil should get punished," says Alice. "It should never win. And that, to me, is what's most satisfying. I may love Darth Vader when I watch Star Wars, but I feel relief when he finally gets what's coming to him."

...Read Alice's full biography @ AliceCooper.com

Switchfoot

After 10 albums, multiple hit singles, millions of records sold, a GRAMMY Award and 20 years of touring, in late 2017, SWITCHFOOT put the brakes on. The successful release and tour for their most recent album, WHERE THE LIGHT SHINES THROUGH had concluded, and the San Diego-based quintet decided to take a long deserved, much needed hiatus. Their goals? To think on difficult, important questions about the band and themselves personally, including: “Why are we doing this?” The answers weren’t long in coming and are musically evident in the 14 remarkable songs that make up NATIVE TONGUE, a creative juggernaut spawned by singer Jon Foreman’s realization that the answer to “why?” was to “pursue joy.”

Joy became the paramount goal in his life and music. “Joy is an incredible motivator,” says Jon: “It’s only to be found in the moment, not in the past or future. That’s what music is to us: The ever-present joy of the ever-present now.”

During the hiatus, Jon’s positive immediacy inspired songs that he had to get out. Creative openness without a goal resulted in an electric, wide-ranging collection. “There was no ‘should’ or ‘ought.’ It was a beautiful freedom. Songs we wrote didn’t have to turn into anything, as long as we were pursuing joy. That’s where this record was born.”

The results of that pursuit include the infectious, title track; the get-your-lighters out, sway-along “ALL I NEED”; and the edgy excellence of “VOICES.” Then there’s a trippily wonderful departure in the Beatles-esque “DIG NEW STREAMS,” a tune drummer Chad Butler calls an “odyssey. It breaks so many rules: Structure, tempo, arrangement, style. I love that.”

Lyrically, NATIVE TONGUE doesn’t dwell on the world’s fraught social and political situations, rather, it’s an answer that offers an antidote to them. SWITCHFOOT observe that “we’re living in a time where it feels like hatred, fear, war, pain, anger is the native tongue of our species, that these dark words are our language. For me,” says Jon, “Holding my infant son in the middle of the night reminds me of how helpless we all start off. All of us, everywhere, were comforted, held, given a bottle; we were not hated into the world, we were loved into the world. Love is our native tongue, our common bond. And when fear and hatred are put in their proper place joy is available to us. That aligns well with joy, which is only available when fear, hatred, all those things are put in their proper place, cast aside by love.”

The time off for reflection “started a beautiful season for me, of falling in love with music and songwriting all over again,” says Tim, who co-founded SWITCHFOOT when he was just 17. “I’d sneak into the band studio and write and play. But then I noticed some scribbled lyrics left by my brother.

He’d been doing the same thing.” Chad, too, admits to dropping by the studio. “I ran into Jon there. He played me a couple new songs, including ‘LET IT HAPPEN,’ which is poignant lyrically, coming from the space of not having a plan or agenda.”

Jon believes that where the songs arise from is crucial; “ulterior motives can ruin even the best of intentions.” The idea of “let it happen,” along with “pursuing joy,” gave a shape to the lyrical ideas and music and spirit that went into NATIVE TONGUE. As SWITCHFOOT enjoyed the time off and, the avid surfers—reveled in the inspirational immensity of the Pacific Ocean—music flowed easily, merely for the joy of it. The band’s ‘time off’ turned out to be particularly creative and their prolific nature clicked in, writing nearly 100 songs for the project. The question arose: “Are we making an album?” The answer was clearly yes, and songs were culled to a manageable number to be produced by the band, along with OneRepublic bassist and multi-instrumentalist Brent Kutzle.

The tunes coalesced quickly. “THE HARDEST ART” got a beautiful boost thanks to vocals added by Kaela Sinclair, of the French electronic outfit M83. For his part, Tim got rid of equipment and bought “old basses, new to me,” to change up and challenge his sound and approach. Jon wrote lyrics that are an oft-philosophical combination and of the personal and universal. For example, “VOICES” was inspired by a homeless man who lived at the beach. “He was a nice guy,” says Jon, “who always wore aluminum foil on his head to block out the signals and voices he heard… Looking back I think he was bipolar. But I realized there’s always voices in our heads, all of us, an inner dialogue or diatribe.”

NATIVE TONGUE marks the 11th record since 1997’s debut, THE LEGEND OF CHIN, which started SWITCHFOOT on a path of critical and fan acclaim for albums including 2003’s multi-platinum breakthrough THE BEAUTIFUL LETDOWN, the GRAMMY award-winning HELLO HURRICANE (2009), and FADING WEST, which was also the name of a documentary on the band.

For an album that “snuck up on” SWITCHFOOT, there’s a remarkable cohesion among the songs. Of course, 20 years together can do that to a band. A band that moves easily among the world of modern rock but mystifies those who try to pigeonhole them. “Since the beginning, SWITCHFOOT never fit into a musical genre,” notes Chad. “We all come from different musical upbringings, and we believe any good playlist has diversity.”

Approaching the music on NATIVE TONGUE with kid-like enthusiasm combined with the years spent honing their craft makes NATIVE TONGUE a rare gem. “We channeled Queen, ELO, the Kinks; our favorite albums from the past. Albums with guitar solos,” laughs Jon, who says, “I’d play solos over and over just because they were fun! But we didn’t want to make a throwback album, and Brent was great at marrying the sensibility of our roots with the present and beyond. We took fun risks.”

Those risks paid off in songs that the listener can interact with on multiple levels. If NATIVE TONGUE’s tunes are approachable and memorable, the album also has a heady goal. NATIVE TONGUE is, Jon says, ‘An attempt to be a loving embrace of all the human souls who have been weighed down by the times. It’s a chance for all of us to be reminded of what brings us together, not what tears us apart.

My hope, for this record,” Jon concludes, “is that it would be a reminder that there are new streams available for us to travel down, and that hatred is not our language, love is our native tongue."

Sex Pistols

The White Buffalo

Year of the Dark Horse Premiere Event (9/29): https://thewhitebuffalo.veeps.com/

Cameron Whitcomb

🇨🇦Canadian songwriter/ motorcycle enthusiast

DEBUT ALBUM 'THE HARD WAY' OUT NOW!

https://cameronwhitcomb.lnk.to/albumFA

Bad Nerves

Gluecifer was a key band in the scandinavian rock-wave that swept across Europe 20 years ago. If you weren't there, or if you've been dying to experience this one more time, now is your chance.

2018 saw Gluecifer return to the stage for the first time since 2005. 13 years after they broke up, the band found back together to play some exclusive shows. The reception was overwhelming. In their hometown Oslo, they sold out four shows in no time. The comeback-shows got rave reviews, some said the band sounded better than ever.

Gluecifer started out as a punkrock band in Oslo in 1994. A string of underground releases led to a record deal with the swedish White Jazz label, home of bands like The Hellacopters etc. This led to touring all across Europe, and eventually some tours in the US. From 1997 to 2005 Gluecifer released 5 albums, a string of other releases, and played hundreds of shows.

In 2004 they released their last record "Automatic Thrill" on Sony Music and SPV. The album became the best-selling record of their career, and was also recognized as an artistic peak. The year after, the band broke up, with a promise never to return to the stage.
Fortunately Gluecifer couldn't keep that promise, and found back together to play rock once again. In June 2018 at the Azkena-festival in Spain, they played their first show in 13 years. This was followed by some exclusive festival appearances, and a string of sold-out shows in their hometown Oslo.

The Marcus King Band

Julia Stone

http://www.juliastonemusic.com

Pokey Lafarge

Pokey LaFarge was ready to move forward.

In March 2020, the veteran singer-songwriter packed up and left his Los Angeles abode behind, putting his belongings in storage in anticipation of spending extensive time on the road in support of his then-forthcoming album, Rock Bottom Rhapsody. He couldn’t wait to head down to Austin a few weeks later to showcase those songs and launch the album with his band at South-by-Southwest. Then the pandemic hit and all of LaFarge’s well-laid plans went into thin air.

Stuck in East Austin with nowhere to go, LaFarge did what he does best: he got to work. Throughout his career, nine albums to date including a stint on Jack White’s Third Man Records, the singer-songwriter has never been one to look back in anger or disappointment. LaFarge used the sudden change in plans to his advantage, having perhaps his greatest period of personal growth in the midst of this crippling pandemic.

It came as no surprise that the songs instantly started to flow out of him. LaFarge is an artist who refuses to rest on his laurels and compromise. He’s always motivated and ready to create — and when he’s at peace in isolation like he was here, the results can be magical. Looking in, inspired by the deep soul not just from these shores, but from distant geographical places like Africa or South America, LaFarge set out to create a body of work that paired emotional lyrics with a killer groove and grabby melodies.

Written by LaFarge and co-produced with Chris Seefried, the album is one of LaFarge’s strongest and most mature lyrical efforts to date. The album’s title, In the Blossom of Their Shade, is taken from a lyric in the stunning, yet dusty “Mi Ideal.” That song sonically draws influences from the Southwest, South America and Caribbean. The distant warmth of the music, especially rhythmically, adeptly coincides with the longing that's expressed in the lyrics.

Unlike its melancholy predecessor, In the Blossom of Their Shade showcases the positivity of coming out of the darkness and into the light. The record was nearly titled Siesta Love since it captures the thematic notion of being the perfect summer afternoon soundtrack...the type of music you want to listen to while having a cocktail with your significant other. It makes sense musically as well — LaFarge intentionally crafted songs that created space and have melodies that can glide throughout a composition that’s a far cry from the swing and blues-infused songs of his earlier work.

LaFarge’s rigorous work ethic powered him through this potentially challenging creative period. As days became a couple months, songs blossomed from embryonic ideas into full-formed ones and he was ready to move on, which typified his mindset as a working artist.

After he left Austin, he headed up north to Chicago for two-and-a-half months to record In the Blossom of Their Shade. At home in the city two hours north of where he grew up and became a die-hard Chicago Cubs fan, LaFarge rigorously and meticulously recorded the songs (half of which he wrote with his best friend Nick Africano over FaceTime) in the Windy City.

Thematically, LaFarge, in a way only he can, tackles a wide gamut of emotions. On “Rotterdam,” it’s easy to hear how the dreamy song encapsulates a notion of a Shangri-La even in the most unusual of places.

Look no further than album closer, the twangy “Goodnight, Goodbye (Hope Not Forever).” The song neatly ties the past year along with a universal longing that brighter days are on the horizon, even if it doesn’t seem so right now.

Pokey LaFarge never wanted to be an artist that had one gigantic record and was then lost to the annals of history. As for now? He’s back to where the whole odyssey began over a year ago: Los Angeles. Even with In The Blossom of Their Shade on the horizon, LaFarge hasn’t put down his pen. You can’t keep a great songwriter idle.

Dope Lemon

New album Golden Wolf will be released on May 9, 2025.

🍋 🍋 🍋

Amigo The Devil

www.amigothedevil.com

Booking:

ROpaleski.assistant@WMEAgency.com

General:

info@regimeinc.com

Thanks for all your support.

Jensen McRae

Jensen McRae is a singer-songwriter based in Los Angeles. Her debut album Are You Happy Now? was released in March 2022 to critical acclaim. She has toured nationally and internationally in support of artists such as Noah Kahan, Amos Lee, MUNA, and Corinne Bailey Rae. Her work is anchored by profound, evocative explorations of gender, race, mental illness, heartbreak, and trauma. McRae describes herself as “one house down from the girl next door.”

Panic Shack

If there's one thing Panic Shack know, it's how to have a good time. Comprised of Sarah, Meg, Romi, Em and Nick, the band formed in 2018 as a middle-finger to the “members-only club” atmosphere of indie and punk scenes – not just because they’re male-dominated, but because they make playing music seem out of reach or, even worse, boring.

This carefree approach gives Panic Shack’s music the same effect as popping a bottle of Prosecco – explosive, intoxicating, and delightfully chaotic. With barely any music available online, they built a word-of-mouth following off the back of their live shows, which have been praised for fusing “thrashy early LA-style punk with choreography that owes something to the Go-Go’s and Iron Maiden all at once” (The Guardian).Released in 2022, their acclaimed Baby Shack EP bottled the lightning they have on stage, cementing their ability to blend killer hooks with a contagious sense of humour. Released in July 2025, Panic Shack’s self-titled debut album represents a serious level up. It finds the band expanding their gutsy punk sound into fuller territory, packed with vocal harmonies, synths and electronic experimentation.

Steph Strings

Hailing from Melbourne/Naarm, Steph Strings is a dynamic singer-songwriter and guitarist whose music merges fingerstyle brilliance with storytelling steeped in nature, emotion, and adventure. Blending blues, Celtic, folk and percussive flair, her sound reflects influences like John Butler, Kim Churchill and Ziggy Alberts—yet remains entirely her own.

After releasing her breakout EP LION in 2023, Steph hit the road for a string of sold-out headline shows across Australia, the UK, Europe, and Canada, while also opening for The Cat Empire, Vance Joy and Ziggy Alberts on major international tours. Her stage presence—both powerful and intimate—has captivated audiences from Rolling Stone Weekender (Germany) to Woodford Folk Festival (Australia), Hillside and Edmonton Folk Festivals (Canada), and Les Escales (France).

In 2024, she released her latest EP Cradle Mountain, a project shaped by introspection and time spent in nature. The release was followed by another global run of headline shows and festival slots, including Winnipeg Folk Festival and Ottawa Bluesfest. This year, Steph is writing new music while also heading on her first-ever North American tour, supporting Ziggy Alberts.

With a combined social media audience size of 1.1M and sold out shows across the world, Steph’s journey from sharing acoustic videos online to becoming a world-touring artist is a testament to both her talent and tenacity. She’s a true musician’s musician—guided by instinct, grounded in humility, and driven by a deep connection to her craft.

Ashley MacIsaac

Gwenifer Raymond

Guitar convincer. Banjo thumber. American Primitive musician.

EU/UK bookings: andrew@phantom-limb.co.uk

All other bookings: agents@thekurlandagency.com

Jobi Riccio

Born and raised in Morrison, Colorado - a tourist town in the foothills outside of Denver that’s home to Red Rocks Amphitheater - Jobi Riccio grew up surrounded by music and found inspiration in artists ranging from Sheryl Crow to Joni Mitchell. Sonically, Jobi’s music exists between worlds, melding the classic craftsmanship of her songwriting with modern indie-leaning production to forge a lush, expansive sound that feels traditional and experimental all at once. She has received acclaim for her songwriting, including winning the 2019 NewSong Music Competition, performing at the 2020 Sundance Film Festival, receiving the 2019 Lee Villiare Scholarship from her alma mater Berklee College of Music, and being named a finalist in the 2018 Rocky Mountain Folks Festival Songwriters Showcase. In 2023 Jobi was awarded the Newport Folk Festival John Prine Fellowship. Her debut album, "Whiplash" (out September 2023 on Yep Roc) introduces influences from a variety of genres, while still holding space for Riccio's love for all decades of country and americana music.

Sam Drysdale

Ken Presse

Frank Carter & the Sex Pistols