Doors 5:00 PM / Show 6:00 PM (event ends at 10:00 PM)
Cage The Elephant
Although chart success in England was an unlikely first step to fame for a band from Bowling Green, Kentucky, mainstream rock band Cage the Elephant achieved just that. Formed by Matt Shultz, Brad Shultz, Jared Champion,Lincoln Parish, and Daniel Tichenor, the group earned a contract with the Relentless label and released the “Free Love” single late in 2007. A support slot for the Pigeon Detectives beckoned in early 2008, and follow-up single “Ain’t No Rest for the Wicked” reached the Top 40 in June. The group’s self-titled debut followed soon after, becoming a respectable commercial and critical success. Two years later they returned with the single “Shake Me Down,” while early 2011 saw the release of their second album,Thank You Happy Birthday. In early 2012, the band released the live CD and DVD Live from the Vic in Chicago, which captured performances from their sold-out two-night run at the famous Chicago venue. Returning to the studio, the band recorded its third album, Melophobia. Released in October 2013, the album saw the group collaborating with Alison Mosshart (the Kills, the Dead Weather) and featured the modern rock radio hit “Come a Little Closer.” During the Melophobia era, the band parted ways with their founding guitarist, Lincoln Parish, who went on to focus on producing for other artists in Nashville. In late 2015, the band released their fourth album, Tell Me I’m Pretty, which was produced by Dan Auerbach of one-time tourmates the Black Keys.
Portugal. The Man
There has to be some credit given for this band’s name alone — co-founder John Gourley once explained it as an attempt to create a demi-mythic entity bigger than the individual members. Formed in Wasilla, Alaska, Portugal. The Man (yes, there’s a period in the middle of their name) grew out of the ashes of Anatomy of a Ghost, a post-hardcore band whose vocalist and guitarist — Gourley and Zach Carothers, respectively — opted to continue working together. Rounding out the new band’s lineup was keyboardist/singer Wes Hubbard, himself a veteran of other Alaskan groups, and the trio eventually relocated from Alaska to Portland, Oregon. Their initial existence in the Pacific Northwest was the typical hardscrabble life of a band with few resources, but drummer Jason Sechrist (formerly of Konmai Defense System) joined to form a more stable lineup. The band’s profile received a boost from the Internet (the musicians made heavy use of MySpace and PureVolume for promotional purposes), and Portugal. The Man released an initial EP in 2005 before issuing their debut album, Waiter: You Vultures!, in early 2006. The next year, the group (whose lineup had once again reverted to three members, as Hubbard had left and was replaced by touring keyboardist Ryan Neighbors), issued Church Mouth, whose aggressive sound bore traces of Led Zeppelin and Jane’s Addiction. The bandmates then opted to finance their third record themselves, drawing upon a wealth of guest musicians — including trombonists, trumpeters, and violinists — to create the eclectic Censored Colors. In 2009 the group released The Satanic Satanist, then quickly followed up the next year with the mellower and more electronic American Ghetto. Later that year, the band signed with Atlantic Records. Guitarist Noah Gersh joined the band for their 2011 summer tour. The group recorded their major label debut album, In the Mountain in the Cloud in late 2011; it was produced by John Hill, mixed by Andy Wallace, and released in July of 2012. A month earlier, Sleep Forever, a 13-minute short directed by Michael Ragen, and shot entirely in Gourley’s hometown, premiered on the Independent Film Channel. This was the last recording for members Sechrist and Neighbors, who were replaced by drummer Kane Richotte and keyboardist Kyle O’Quin. Portugal. The Man enlisted Danger Mouse (Brian Burton) as producer for 2013’s Evil Friends; the album was released in June of 2013.
Just Enough Hip To Be Woman is a bold step forward for BRONCHO. Though it certainly bears the hallmarks of their previous work — fuzzy, guitar-driven rock – the production and energy of the record moves into decidedly sleeker and decidedly more new wave directions (think Cheap Trick meets the Drive soundtrack meets every great song from Fast Times at Ridgemont High meets the greatest after-hours party you've never been to). Tracks like "Stay Loose," "NC-17" and "What" are the kind of pop-rock that could have easily been beamed in from the same universe that gave rise to The Cars (or a looser version of The Strokes), while the album's first single, "Class Historian" — with its unstoppable "do do do do" vocal refrain is the kind of song that seems scientifically engineered to stick in your brain forever and is arguably best played loudly over a car stereo with the windows down and your long hair blowing in the breeze. Clocking in at just more than 30 minutes, the eleven tracks on the new record are a potent statement of intent: an effortless sounding rock record that dips its toe into a variety of different styles without ever succumbing to any of them.