Fur Trade: “It blew my mind how effective song writing can be if the music and everything works together.”
In our latest Cover Story, indie pop duo Fur Trade discuss the addiction, heartbreak, and creativity inspiring new album ‘Dark Celebration.’
Mixing indie, sleaze and glam-rock with a dash of 80s city pop, pop genre-smashers Fur Trade, aka Steve Bays and Parker Bossley of Hot Hot Heat, released their new album, Dark Celebration, early this year.
In our latest Cover Story, V13 sat down with the pair for a chat originally about their music and what makes their partnership works. Along that journey, we uncovered tales of addiction, writer’s block, and finding your creative flow in the early hours of the morning…
Thanks for your time, how’s life going at the moment?
Parker: “Life’s been crazy, man. I was just about to get everything ready for this release because the due date for our baby was actually on the 19th then he came two weeks early and it’s been pretty crazy dude. I’m pretty tired, to be honest. It’s as difficult as everyone says it is. I was hoping somehow it wouldn’t be but it is.”
Congratulations though. It will be good fun as well…
Parker: “Thanks, man. It is. One aspect of it that I didn’t realise or think about was just like the feelings of love where you really do love the little guy that changed your life. So yeah, it’s already changing. We’ve got a good support system though. My partner Olivia works in birth working so there is already a little bit of a foundation of knowledge. I’m clueless, man. I’m learning.”
It’s the best way to go into it…
At this point, Steve joins us enquiring about Parker’s take on parenthood…
Parker: “It’s been pretty insane. It’s way more work than I thought it was gonna be. Every time you think that you’ve got your thumb on it, or have this shit figured out or that shit’s gonna get easier, some new random thing comes up. The latest thing was how he hasn’t gained as much weight as he should so now we have to switch to formula and we have to do a little bit of that and a little bit of this. Now he has to learn to like formula and he fucking hates it because it’s not a boob. Just bullshit like that.”
But how much does he sleep in a day?
Parker: “Hardly at all. It’s like, every hour and a half he’s freaking out because he’s hungry dude. So it’s like maybe we get two hours asleep in a 24-hour period.”
I’m concerned you’re gonna fall asleep midway through this interview…
Parker: “Oh, well, you’re okay that won’t happen. I got a coffee…
The room that I’m in right now, I’m converting it to my recording studio. We just moved into a new place also, like right before this all happened so we haven’t had a chance to set up my studio. It’s just bare walls but Steve makes up for it in coolness because his place looks dope as fuck…”
“I just fell out of love with the process of releasing music, in general so Parker and I would just sort of get together and just try out all these ideas and it was just super fun.”
Steve: “Yeah, it’s pretty fun. Although, we might be moving sooner than later too because we got a baby on the way too so we’re thinking about that stuff, you know?”
Parker: “Excellent. That’s gonna be a crazy move. Steve has a lot of stuff.”
Steve: “I found a garbage bin that isn’t locked so I’ve just been doing all these trips to this one garbage bin just getting rid of a tonne of stuff because normally it’s like a half an hour drive to the dump. It costs like 40 bucks each time you go. It’s expensive to get rid of stuff.”
I fucking love going to the dump. It’s like my favourite thing to do…
Steve: “I love it too. It’s so weird. I have this one photo that I find hilarious. When Hot Hot Heat hadn’t been active for quite some time, I was just paying for the storage where we had all our flight cases for years. I probably spent tens of thousands on just storage for no reason. Do we even want these flight cases? You can’t give those things away because now you can’t fly with heavy stuff so everyone’s using lightweight Pelican cases. The big steel and wood ones people don’t want and I couldn’t sell them.
The biggest one was this Ampeg eight by 10 – the classic bass amp that is like six feet. The fridge they call it. So we had a flight case for that and I couldn’t get rid of it. I did the math for how much it was costing me then me and my buddy took it to the dump and I have this photo of this huge mountain of garbage and on the top of it is this massive, huge Ampeg eight by ten case and it just says Hot Hot Heat.”
That’s almost that’s an album cover straightaway…
Steve: “Yeah, when the reunion happens. Or at least the back cover.”
Before that though, you’ve got the new record… I have to admit it’s not my usual thing, being a massive metalhead, but I enjoyed it…
Steve: “Oh, wicked. I played in metal bands for years and years and years. I was just like hardcore and metal. Do you know the band Two Inches of Blood? Or was it Three Inches of Blood? So, the singer of that band, I actually helped in getting him in that band. I was like, you’ve got to sing for this band. You got to sing. I just took their CD and got him to sing over it and recorded it in my apartment and gave it to them and he was in.
He’s the only semi-original member now – the entire line-up has changed over the years, but anyway, him and me were in metal bands for years then I started to get into poppier stuff. He was proper bummed ‘cos he’s got all these like satanic tattoos and I went totally puss as he calls it. But my origin story is like punk, hardcore, metal for sure.”
That’s awesome, I enjoyed the record, it was a lot of fun. I know you’ve obviously worked together during that 10 years on a lot of other stuff but what brought Fur Trade back together?
Steve: “I just fell out of love with the process of releasing music in general so Parker and I would just sort of get together and just try out all these ideas and it was just super fun. Usually, we’d be up all night – almost every song was written when the sun was coming up. In the meantime, I was doing other stuff with him in another band called Mounties that Parker is also in on bass and then another band called Left Field Messiah and then I was wrapping up a lot of Hot Hot Heat stuff.
Fur Trade was more just an excuse to experiment with production and songwriting ideas and just stuff that would have been fun but wouldn’t have the baggage associated with striving for radio and blah, blah, blah…”
“One thing in particular being like a massively dark breakup and that really started to inform a lot of our songwriting. Even if it was in subtle ways, you know, you just can’t help but be informed by the things that are in your life at the time.”
From fun, when did this new record start to form and did you have a vision for the record?
Parker: “The first half of the record started out just like how Steve was saying. It was very much him and I getting together, making whatever music we wanted to make, experimenting with production and songwriting and hanging out because we have each other so like, that was great fun. Then, once the label thing came into place, we started to really think about the tracklist where we’re at, and how the songs work together.
It just so happened that, in the second half of the writing record, both Steve and I were going through some pretty crazy changes, like big life changes. One thing in particular was a massively dark breakup and that really started to inform a lot of our songwriting. Even if it was in subtle ways, you know, you just can’t help but be informed by the things that are in your life at the time. So we came up with this dark celebration thing, and it was like this suite of songs. The third, fourth, fifth and sixth songs became this like through line of the record. I just really loved the concept of a dark celebration and of this idea of being able to play with both positive and negative things, and the contradictions that make up life.”
You’ve talked about the record being peaks and valleys, happiness and heartbreak. Ten years is a long time, people go through a lot of personal changes, and a lot of personal experiences. Did that inform the other themes on the record?
Steve: “I would say yes on my journey to me landing in a good space with a good person. There were a lot of weird decisions and choices and getting screwed over time. I got screwed over so many times and had to go through so much self-assessment and therapy and mental health issues. It was a really weird, twisted, period the last 10 years. Somewhere in there, the one consistent thing was, that I had my studio, and I just made music 24/7. And I don’t think I’m gonna stop.
I also branched out into video and photography, artwork, and all that stuff. So basically, creativity is the one thing I can rely on. I’m with somebody now I think I can rely on but, until recently, there were a lot of life ups and downs where I didn’t think I was going to come out of it alive.”
One of the songs I wanted to ask about “Make It To The Morning” indicates that this was quite a cathartic record to write lyrically?
Steve: “With “Make it to the Morning,” literally we wrote that song when a friend of ours was up in the house detoxing, and it went really bad for him. He had to be hospitalised, an ambulance had to come, and someone was trying to take care of them and help them detox. We were just in the studio writing while this crazy thing was happening. It is also informed by my own addiction issues that I’ve dealt with, or that I’m permanently trying to deal with. How can you not write about this thing that’s happening to you, when it’s right in front of you?
I don’t know, part of me thinks maybe it’s because we’re in the arts so we’re around people that are drawn to the arts often for self-soothing reasons. There is a connection between addiction and art but I think, in general, I subscribe to the theory that everyone has an addict mindset. How you navigate that, comes down to your relationship with dopamine response. We’re in Vancouver and there’s a lot of addiction around us here. It’s a hub for things people get sucked into and I’ve seen people I know accidentally die and stuff which is just so crazy. I’d say that 2023 is a very addiction-in-your-face-centric time period and I don’t know if that’s gonna go away.
I think that that definitely informed that song while we were writing it. I mean what also influenced that song was Yellow Magic Orchestra’s Ryuichi Sakamoto, who just passed away. We were trying to fuse that with the weirdest synth sounds possible. That also comes back to the dark celebration thing where the record no way is a downer. Even when we’re dealing with heavy topics, it’s like this bright, lush, vibrant soundscape which was so fun to do with Steve.
We usually write the bulk of a song in one night. We might tweak it and massage it and try all these different experiments with it after the fact but, usually, we’ll write a song in one night and it’s usually after we’ve been talking about something crazy that happened the night before or that week so emotions are usually running high and it feels like the most important topic in the world at that moment.”
Is it specific themes that have inspired this record or is it just triggered by random things that have happened throughout your life?
Steve: “I’d say most often it comes down to relationships with friends, or love life, or just struggles with trying to survive economically and keep creativity a priority.
One of my favourite songs on the record is “Dark Celebration”, With that song, that’s the first time that I think we’ve ever experimented and perfectly recorded something that had happened which is so hard to do. It’s almost like you’re writing a novel to just get exactly what happened because this crazy thing happened. It just turned out that it blew my mind how effective songwriting can be if the music and everything work together.”
You talked about writing between sunset and sunrise. What is it about that period that makes you most creative?
Steve: “I think it’s partially there’s just less noise. I find I’m getting notifications and phone calls and emails constantly and the older I get, the more I become horrible at replying to them because I just associate notifications with anxiety now. There’s something so freeing about knowing you don’t have any responsibilities after most people are asleep. Then the period where people are frustrated that you’re not messaging them back is like you’re sleeping through it.”
“I’d say most often it comes down to relationships with friends, or love life, or just struggles with trying to survive economically and keep creativity a priority.”
I can totally agree with you on that. The opening line on the record talks about writer’s block. Again, was that inspired by your own experience?
Steve: “Writer’s block sounds nicer, and it rolls off the tongue but I’ve never really suffered from writer’s block, but I do constantly battle with it. In my head, there’s always this voice asking if this even matters. Does anything even matter? I use creativity to battle depression and anxiety. I use it to not grow up because I just don’t want to grow up. This voice of logic comes in and tries to shut down the party, and that’s, that’s the block.”
You say that your head says it doesn’t matter and things like that and it’s an issue but you also say the band’s not about mainstream sales or record sales or anything like that. Fur Trade seems like more of another creative outlet for you. Is that the case with this? Do you worry about things like record sales?
“For me, the reward is the process. It’s not the success because I would see people that make success their top priority and I see what they do and they do such a better job at self-promoting. For me, I just love the process.
A cool thing that’s happened is all of our successes have been very organic. Even with our first record, we just put out that music video, I shot it with my partner at the time and it went super, like super viral, we shot it for like $2 in one take. Suddenly we had a fan base. Even with this record, “LOL Trash” getting a bunch of radio play, getting like a weird, Grand Theft Auto hoax online, which was so bizarre, it took us forever to figure it out. All these little things, the organic successes the things that I think we’ve been most lucky about and they just surprise us and it’s great.
I feel like every day someone tells me about an artist and I check, them out. They have like, 3 billion monthly listeners and 8 trillion plays, if you try and compare yourself to numbers, then it’s like, why even bother? Whereas I feel like, if I walked down the street in my head, I’m thinking that that new song or that new video is so sick and it doesn’t matter if anybody in the world acknowledges it. I don’t know how many records I’ve put out at this point but I’ve been a part of a tonne of records and I feel like the success for me is a consistent, unique curiosity that is just embedded in everything.
I feel like there’s a flavour to what I do. Sometimes it’s been successful and, other times, it was never even given a chance to get off the driveway because of the wrong label wrong manager, wrong timing or the band breaks up or nobody is on top of social media which is usually the case. To be successful it’s not just about the music, or the art.
So, if you’re disproportionately excited by the music and the art more than the self-promotion, then you’re relying on lady luck coming by spotting you. Throwing you in her Lamborghini and taking you for a ride. Whereas I don’t put a lot of weight behind it, my hope is that lady luck makes me wildly successful. I do go through phases where I’m excited to promote something because it’s still fresh then I’m telling everyone to check out what I did.”
I want to talk about the creative processes behind all the video stuff and all the photography and artwork. It feels like every DIY?
Steve: “I will say that because my brain works like the process is the reward, I love to roll up my sleeves and have an excuse to make a music video. I’m working on four music videos at the moment. I love artwork and I love photography. I just got this crazy new lens and these crazy new lights and I’ve been I’m constantly messing with them. I’ve gone down a crazy rabbit hole just this week alone. It’s insane. Yeah, just I love collecting gear. I got this crazy, huge 135 lens then we’ve got our little virtual DJ setup going on here for this residency in November…
It’s all just toys and, to me, it’s the same as playing with Lego. It’s so much fun. Also, I hate telling people that I don’t like what they did so, if you hired someone to make a video for you or take a photo, I hate micromanaging. I just enjoy it when I look at something, or I hear something so consistent with the artist. They have slowly been learning how to understand them so it’s like every video, every photo just gives you a little bit more insight into the personality of the artists. Then, when I see a high-end music video, if it’s high-end, and it’s cutting-edge technology, then that doesn’t interest me. For the most part, a lot of music videos, they hire guys to make this video and they did a great job but it doesn’t necessarily give me insight about the artist.”
Parker, regarding the lyrics, and the peaks and flows and happiness and sadness, what do you hope somebody like myself would get out of listening to the record?
Parker: “In a perfect world, there’s, there’s a little bit of what Steve was just talking about, which is you get to the bottom of the authenticity between two best pals playing music that impresses each other. It’s like with Steely Dan, half of what they were doing was just trying to crack each other up and they happened to also be making brilliant music, that’s the cool side of it. I’m terrible at self-promotion. It’s also a hard question to answer because I don’t know you…
I will say that the goal is… I find there’s a lot of music that has cool elements and pushes boundaries in interesting ways, but it still doesn’t entertain me. It doesn’t necessarily give me free energy or positive vibes. I feel like we try to make music that does serve a bit of a purpose which is to make you feel good, and just give you a feeling and a mood that you wouldn’t have had otherwise.
Influence-wise, at the end of the day, we love pop music. We just love pop music that is a little bit left of centre. That’s also been a thing with our DJ sets realising how we digest music and seeing how literally in our playlisting, the things that Steve and I agree on and that we both love in the same way. At the end of the day, I guess loop back to that question is we’re trying to make really interesting music, that’s also fun just like each other.”
For more information on Fur Trade, head over to their social media here.
The V13 Fix #004 w/ Darkest Hour, Glitterer, LowLives and more
From pop to metalcore, experimental grindcore to indie, each week The V13 Fix will bring you a roundup of all the new music worth hearing…
Welcome to the latest The V13 Fix our weekly round-up of some of the best albums, singles and EPs to drop in our laps/inboxes this week. From pop to black metal to experimental pop to punk rock, there is something for everyone in this mix of new music. Check out and support all the bands and labels if you like what you hear and if there is a particular album you like, make sure you head over to Spotify and check out one of our specially curated playlists where there is more great new music added daily.
Alternatively, if you’re in a band or want one of your bands considered for inclusion get in touch. While we can’t guarantee every album or EP we receive will be included, there are still plenty of other ways we can support you.
So, without further ado, sit back, plug in your headphones and get this week’s V13 Fix of new music…
When Japanese genre-smashers Crossfaith exploded onto the scene with their brutal, electronic-laced metalcore, the world sat up and paid attention. Well, after twelve months regrouping, the band are back with this new single, a massive statement that they’re ready to pick up where they left off but with a new energy. This new slice of heaviness from the band is packed dangerously full of pulsating electronics and pummelling metalcore. Equally as explosive as it is anthemic, “Zero” heralds a new chapter from the band who, after hitting the reset button twelve months ago, have returned with a vengeance.
Pick up your copy of “Zero” from here.
‘Perpetual | Terminal’
It’s incredible when you realise that Perpetual | Termainal is the tenth album in the rollercoaster career of US metalcore/metallic hardcore mob Darkest Hour. Spirit and dogged determination has kept the band going to this point and it is a theme which provides the heartbeat of this savage collection. Guitarist Mike Schleibaum explains: “The record’s theme centers around the duality of survival while embracing rebirth,” and, hearing the band hurtle through each of the eleven tracks, Perpetual | Terminal certainly feels like the sound of a band who have been reborn. An uncompromising, unrelenting metal assault, Perpetual | Terminal highlights exactly why heavy music would be worse off without Darkest Hour in it.
Pick up your copy of Perpetual | Terminal from here.
Now, even though the new wave of modern death metal bands is doing a sterling job in keeping the flag flying high for the genre, sometimes it’s nice just to take a trip back into some of the old-school bands. Having formed in Milwaukee in 1990, Morta Skuld are still battering away with their latest offering from the death metal stalwarts indicating no sign of slowing down. For fans of the likes of Obituary, Morbid Angel and Deicide, the band expertly combine groovy moshy sections, blastbeats with swamp born vocals. Creation Undone isn’t metalcore, it’s not deathcore, there are no symphonies, this is just straight between the eyes brutality.
Pick up your copy of Creation Undone from here.
M.U.T.T. are a trashy punk rock band straight from the gutters of the San Fransisco punk rock scene. There isn’t much you need to know about the kind of punk rock M.U.T.T. peddle except that it comes devoid of airs and graces. Taking a route one approach, M.U.T.T’s punk noise is covered in snot and packed with attitude. Formed from the ashes of Culture Abuse, the project has moved on from the more rock and roll stylings of their debut album, Bad To The Bone, into more trashy waters. Offerings like “Downtown Boy” come with a suitably unpleasant sneer plastered across their face and, while this EP might a fairly brief listen, M.U.T.T pack plenty of bite into those eighteen or so raucous minutes.
Pick up your copy of Dirty Deeds from here.
Gen & The Degenerates
Alt-punk collective Gen & The Degenerates tattoo their principals proudly onto their debut album. Written to a backdrop of disaster, tragedy and misfortune, ANTI-FUN Propaganda comes from a world of late nights and early mornings, sexuality, gender politics and mortality. It’s a punk rock album at its beating heart but, as vocalist Gen puts it, comes with a humourous approach and a love of dirty disco pop. Lyrically, tracks like “Famous” may come from a dark, bleak place but, as the video for “Big Hit Single” highlights, there is a wry smile and a sense of sarcasm nipping away at the subject matter to make sure we don’t lose sight of the fact that, while a quick look outside your window will show a world imploding on itself, it’s important to enjoy what time we have while we’re here.
Pick up your copy of ANTI-FUN Propaganda from here.
Following his previous band Title Fight ceased touring, lead singer and songwriter Ned Russin needed a creative outlet. The creative outlet soon manifested into what originally started out as solo project but, six years later, has blossomed into a fully-fledged band and the release of their fourth album, but debut as a full band, Rationale. An album with a sound deeply entrenched in the DC hardcore and indie rock scenes, Rationale is a rowdy listen packed with jarring indie guitars and slick pop melodies with the cohesiveness paying testament to the fact that Russin has found bandmates who share his creative vision.
Pick up your copy of Rationale from here.
Hands of Kalliach
Spawned from the minds of Edinburgh, Scotland husband and wife duo have blended together melodic death metal melded with Scottish folk music to create an album that is a work of art. The title of the album is inspired by enormous whirlpool, Corryvreckan, which lies between some of the western isles of Scotland. As harsh yet as beautiful as the inspiration behind it, Corryvreckan is a jaw-dropping piece of work. Soaring passages of melancholic Scottish folk music crash into brutal death metal, like two perfectly matched components. Through the folk music, the pair capture a drama and the emotion that can only come from being truly living and breathing it. When matched up with the extremities of the death metal scene, the end result is utterly majestic.
Pick up your copy of Corryvreckan from here.
Job For A Cowboy
For fans of iconic progressive death metal outfit Job For A Cowboy, it’s been almost a decade since new music was last heard from the band. Having teased for a number of years, the band are now back with their follow-up to 2014’s Sun Eater pretty much picking up where the 2014 album dropped off. Unsurprisingly, Moon Healer is the kind of album you really need to invest your time and effort into to really appreciate. Skim over it and you’ll find another incredible album in the Glendale’s musical armoury. Dig under the surface and you’ll find yourself immersed in a world which thematically picks up the story from Sun Eater while musically delivers it in a tightly woven package of complex, experimental, progressive death metal.
Pick up your copy of Moon Healer from here.
Austrian Death Machine
Ten years since their last outing, Austrian Death Machine are back with Quad Brutal, their first album for new home Napalm Records. Formed fifteen years ago by As I Lay Dying vocalist Tim Lambesis, the Arnie-inspired neck-wrecking death machine is back reinspired and reinvigorated. Joined by a bunch of friends from across the metalcore scene including members of Ov Sulfur and Wolves At The Gate, Lambesis is back with another full-throttle, adrenaline-fueled metal feast. With more muscle than your typical weights room, Quad Brutal is just pumped-to-fuck, beefed-up metal. There’s nothing fancy about this. No need to put your brain into gear, Quad Brutal is just here for when another couple of plates on the end of that bar just doesn’t seem enough.
Pick up your copy of Quad Brutal from here.
To date, Alberta, Canada three-piece Royal Tusk have gigged with a veritable Who’s Who of Rock from Slash to Halestorm while, during the pandemic, frontman Daniel sang on viral at-home collabs with Stone Sour, In Flames, and Mastodon. Listening to the hard rockers third album and you can probably pinpoint all of those inspirations seeping through the thumping anthems. Full of hard rock bangers like “Fire In Your Veins” and “The Death of Common Sense” to “Hated”, Altruistic has the perfect blend of melody, singalong choruses and power. Of the album, bassist Sandy MacKinnon says “I really hope you want to blast it in your car and headbang” and we can’t think of a better way to enjoy Altruistic than that.
Pick up your copy of Altruistic from here.
Honouring commitments delayed by the pandemic means that it has been almost five years since we have heard a new full-length album from Norwegian progressive folk/black metal band Borknagar. Reading into the whole process the band go through to write an album though, you do get the feeling Fall would have taken as long pandemic or not. An unrushed, flawlessly-crafted peice of work, Fall sounds like Borknagar frontman Øystein G. Brun has worked tirelessly to ensure that every moment of this album plays out like a story. Blast of grim, violent black metal weave through epic passages of progressive rock and folk to tell a tale of survival. Heading towards their third decade, Fall feels like the Norwegians are still riding at the top of their game.
Pick up your copy of Fall from here.
Warner Music / Parlophone
It’s fair to say that 2021’s album INSIDE catapulted Canadian indie rock troop Mother Mother to new heights. Piling up an incredible 300 million streams for said album Grief Chapter has some task ahead of it. The ninth album of their career finds the band at their most energized despite it focusing, lyrically at least, on themes of death and mourning. This is an album that transcends genres not only over the course of the twelve tracks but, as demonstrated on the brilliant opener “Nobody Escapes” or the stomping “Normalize”, many times within songs. An album which may come from a morbid place lyrically, by the end, will have you well and truly hooked.
Pick up your copy of Grief Chapter from here.
It’s the year 2000 and Wheatus earworm “Teenage Dirtbag” is rapidly becoming one of the biggest hits of the year. An anthem for misfits, outcasts and losers, it’s a song we hold close to our hearts even 24 years later. Now, West Coast alt-rockers have gone and written their own version. A wonderfully hopeful slice of slacker rock, “Loser” has an almost pleading air to the chorus while the melody is lifted straight from the grunge/alt-rock 2000s. The track is taken from the band’s upcoming debut album, Freaking Out, so don’t worry if you’re going through that misfit phase because Lowlives have got your back.
Pick up your copy of Freaking Out from here.
Day In Day Out Festival Reveals 2024 Lineup & Details
Daydream State has announced the whole lineup for the 2024 edition of their Day In Day Out festival at the Fisher Green Pavilion in Seattle.
Daydream State has announced the full lineup of performers for its fourth annual Day In Day Out (DIDO) festival scheduled for July 12th to 14th at the Fisher Green Pavilion at the Seattle Center. Headliners include Seattle indie folk powerhouse The Head and the Heart, American alt-rock band Bleachers, including frontman, Jack Antonoff, and beloved pop artist and three-time Juno award winner Carly Rae Jepsen.
Daydream State CEO and founder Jason Lajeunesse comments:
“We are delighted with the response from the local community as we developed DIDO over the last few years. With the overwhelming success of last year’s sold-out weekend, we decided to expand in 2024 by adding a third day. We’re thrilled to bring even more great talent to the heart of the city.”
Daydream State strives to showcase a diverse array of talent at its events. This year’s lineup will showcase genres ranging from retro-pop and electro to indie rock, including English actress, singer-songwriter sensation Suki Waterhouse, Canadian indie band Men I Trust, and violinist, singer, and songwriter Sudan Archives.
In addition to mainstage performers and local DJ sets, DIDO will feature an all-ages viewing lawn, a 21+ VIP lounge deck, a spacious indoor-outdoor beer garden, local food vendors, and more.
The public on-sale begins on Friday, February 23rd at 9 am PST.
Daydream State owns and operates a number of Seattle’s last independent venues, bars, and restaurants while producing a myriad of year-round live events and festivals that celebrate the city’s vibrant music and arts culture. Known for attracting some of the greatest local and national performers to the Pacific Northwest, the Daydream State team is dedicated to the preservation and proliferation of music, entertainment, and hospitality to create one-of-a-kind experiences. Learn more at DaydreamState.com
Day In Day Out 2024 Artists & DJs:
The Head and the Heart • Bleachers • Carly Rae Jepsen • Men I Trust • Suki Waterhouse • Peach Pit • Hippo Campus • The Walkmen • Amyl and the Sniffers • Washed Out • Beach Fossils • Sir Chloe • Sudan Archives • Mannequin Pussy • Les Savy Fav • Blondshell • Illuminati Hotties • Miya Folick • Grace Ives • Mali Velasquez • Acapulco Lips • Acid Tongue + Sarah Savannah • Aleeens • Appaloosa • Avery Cochrane + IVEY • Biblioteka • Brenna Dart • Dark Chisme • DJ Phaedras • Hannah Duckworth • Jul!et • Juliette • King Youngblood • La Fonda • Lemon Boy • Maxwell Edison • Pink Boa • THEM • Waxwitch • Zookraught
Day In Day Out 2024 Sponsors & Partners:
KEXP • The Stranger • Do206 • KNDD • KPNW • BandsInTown • The Nudge • Bolster • Crewfare • White Claw • Pacifico • Coors Light • Schilling Cider • Athletic Brewing • Celsius • Altitude Beverages • Guayakí • Flintts Mints • Cookies Country Chicken
OSHEAGA Music and Arts Festival Returns with Powerhouse 2024 Lineup
OSHEAGA Music and Arts Festival dropped an unbelievably impressive lineup for their 2024 edition this week.
The OSHEAGA Music and Arts Festival dropped an unbelievably impressive lineup for their 2024 edition this week. The 17th edition of the festival will take place from August 2nd to 4th, at Parc Jean-Drapeau on Île Saint-Hélène, close to downtown Montréal. Headliners include SZA, Green Day, and Noah Kahan setting the tone for a diverse exhibition that is sure to appeal to the masses.
Representation is present for all genres at this year’s fest. Rock is covered by old-school legends Rancid, LA rockers The Linda Lindas, ’90s indie favourites Sleater-Kinney, and grunge icons The Smashing Pumpkins. R&B will be backed by hip-hop pioneer T-Pain, as well as Tyla, Ayra Starr, and Michaël Brun. Pop is represented by Mean Girls powerhouse Reneé Rapp, Euphoria star Dominic Fike, and alt-pop phenom Melanie Martinez. Indie will be covered by Irish musician Hozier and this generation’s Elvis, Stephen Sanchez. EDM will be showcased with sets by world-class producers like Martin Garrix and Labrinth.
If you’re someone who enjoys all types of music, this year’s OSHEAGA is a can’t-miss event. The lineup easily competes for the best of 2024. Tickets are on sale 2/21 for 3-day passes and 2/23 for single-day passes. Prices are as follows:
GENERAL ADMISSION TICKET / SINGLE-DAY: starting at $165 CAD
GENERAL ADMISSION TICKET / 3-DAY: starting at $395 CAD
CASINO DE MONTRÉAL GOLD TICKET / SINGLE-DAY: starting at $320 CAD
CASINO DE MONTRÉAL GOLD TICKET / 3 DAYS: starting at $745 CAD
PLATINUM TICKET / SINGLE-DAY: starting at $685 CAD
PLATINUM TICKET / 3 DAYS: starting at $1,620 CAD
Get your tickets while they last!
Dance/Electronic2 weeks ago
Cat Janice and Her Electrifying Final Act: “Dance You Outta My Head”
Hardcore/Punk2 days ago
The Menzingers Wrap Up Their UK Tour with a Punk Party at Manchester Academy [Photos]
Hardcore/Punk4 days ago
Malevolence Dish Out a Metallic Hardcore Beatdown at Liverpool’s O2 Academy [Photos]
Indie2 weeks ago
Marc Whitmore: “If someone wants to record in a big creepy church, we should really probably go record in a big creepy church…”
Alternative/Rock1 week ago
Enter Shikari Blow Minds and Senses at Leeds First Direct Arena [Photos]
Music7 days ago
Ricky Martin, Enrique Iglesias & Pitbull Own Oklahoma City’s Paycom Center [Photos]
Alternative/Rock6 days ago
Pearl Jam Announce ‘Dark Matter’ Album Details and World Tour
Festival News1 week ago
Cradle Of Filth, Fuming Mouth and More Confirmed for Damnation 2024