The xx

RA: Resident Advisor

Mitski

‘All My People' LP out March 1st 2019 https://mariasomerville.bandcamp.com/ | Monthly NTS residency https://www.nts.live/shows/maria-somerville bookings: daisy@qujunktions.com |

Massive Attack

Massive Attack are a British trip hop group. Their name comes from an '80s warehouse party they were fond of going to. Founded in approximately 1988 by DJ's Grantley Marshall, Andrew Vowles and MC Robert Del Naja in Bristol, England, UK, they signed to Circa records in 1990, an imprint of Virgin records that would be later bought by EMI, to release 6 studio albums and a "Best Of". The trio were together prior to the formation of this band, as part of The Wild Bunch. With the release of their debut album Blue Lines in 1991, Massive Attack were critically acclaimed for their fusion of jazz, hip hop, rock, and soul elements into a style that journalists in the mid-nineties dubbed trip hop. Grantley Marshall has expressed intense dislike of the term 'trip-hop' and it is perhaps not as favoured and respected a term in the United Kingdom as it is in other parts of the world. With the release of later studio albums Protection in 1994, Mezzanine in 1998, and Robert Del Naja's effectively solo 100th Window in 2003, Massive's sound had a greater degree of post-punk guitar texture and soundtrack-like electronica integrated into it. Andrew Vowles reluctantly left Massive Attack in 1999. To all intents and purposes, Grantley Marshall temporarily left, in a studio capacity, between 2001-2004. The group also started a record label, Melankolic, in 1995, as an imprint of Virgin [EMI], that folded in 2001. Over the decades, the Bristol collective have collaborated with Madonna, David Bowie, Neneh Cherry, [1] Mos Def and [2] Sinéad O'Connor among many others. Horace Andy has featured on every one of their studio albums.

Khruangbin

Khruangbin is a three-piece band from Texas, formed of Laura Lee on bass, Mark Speer on guitar, and Donald Johnson on drums. Taking influence from 1960's Thai funk - their name literally translates to "Engine Fly" in Thai - Khruangbin is steeped in the..

Basement Jaxx

Basement Jaxx are an electronica duo hailing from Brixton, London, England who formed in 1994. The band have released seven studio albums and have enjoyed massive success in their home country and all across the globe.

Mogwai

Mogwai is a post-rock band founded in Glasglow, UK in 1995. Their namesake comes from the creatures in the film “Gremlins.”

Badbadnotgood

BadBadNotGood (formed in 2010) is a Canadian interpretive jazz and hip hop group hailing from Toronto, Canada, known for their collaborations with Tyler, The Creator and Frank Ocean.

Arlo Parks

London based 18 year old artist, songwriter and poet.

Turnstile

"NEVER ENOUGH"

Trueno

American Football

American Football is a band hailing from Champaign-Urbana, Illinois, United States who formed in 1997. They are renowned for being one of the most influential emo bands of the 1990’s, despite only releasing one studio album and one E.P.

Snail Mail

On ‘Ricochet,’ the third album from Snail Mail coming March 27th 2026, Lindsey

Jordan returns to assert herself as a generational songwriter, clear-eyed and

honest as ever. Time has passed, but she remains a sensitive soul, and here her

incisive introspection is tethered to newly expansive and hypnotic melodies and

ornate string arrangements. While writing ‘Ricochet,’ Jordan found herself

fixating on concerns she’d previously pushed out of her mind, namely death and

what happens after.

Jordan’s early music largely dealt with matters of the heart, a territory that she

tried to step beyond on ‘Ricochet.’ “Misery feels safe to write about because I am

good at it,” she says, “but I’m not bathing in my own agony anymore.” To feel the

pain of everything and then nothing is a lonesome contradiction. ‘Ricochet’ is a

record about being caught in this whirlpool, but Jordan’s music has never been

so transcendent. The luminous opener, “Tractor Beam,” is driven by jangly

guitars, but is ultimately about dissociation and “feeling othered while

acknowledging that you’re spending a lot of your time and energy figuring out

how to float away.”

When it came time to record the songs bouncing around in her head, Jordan

turned to a friend, Aron Kobayashi Ritch, the bassist and producer of the fuzzy

indie rock band Momma. Jordan describes the process as refreshing, trusting,

and comfortable. “I felt like an equal voice,” she says. “He was as interested in

my decisions as I was in his.”

These 11 songs are colored by the anxiety of watching life slip through your

fingers, as well as the vulnerability of loving deeply rather than frenetically.

Ultimately, ‘Ricochet’ is an album about realizing—and accepting—that the world

still turns no matter what is going on in your tiny life.

Donavon Frankenreiter

Being a professional surfer, playing in the band, Sunchild and being a long-time friend of Jack Johnson just wasn’t for Donovan Frankenreiter as he embarked on a solo career in 2004.

XG

XG Official Facebook 5th Single ‘WOKE UP’ 2024.05.21 TUE https://xg-wokeup.com/

Fujii Kaze

Tinariwen

https://youtu.be/qYSfKNDhBUc

Kokoroko

KOKOROKO are a young, London based Afrobeat 8-Piece band led by trumpeter

Sheila Maurice-Grey.

Gogo Penguin

GoGo Penguin, the Manchester trio who inspirationally blend jazz, classical and electronic influences, return with a powerful new album, Necessary Fictions, June 20, XXIM Records, which finds pianist, Chris Illingworth; bassist, Nick Blacka; and drummer, Jon Scott digging deep internally to reach “what we think are our integral, authentic qualities at this moment in time”. It’s a powerful driver for some of their boldest music to date, incorporating modular synths, Moog Grandmother, and electric bass into their sound more than ever before as they glide spectacularly from acoustic instrumentation into electronica with drums to the fore. Honest and powerful, Necessary Fictions is the band at their very best.

The Beths

The Beths know the futility of straight lines. This existential vertigo serves as the primary theme on the New Zealand indie heroes’ fourth album Straight Line Was A Lie (their first for new label ANTI-). The Beths posit that the only way round is through; That even after going through difficult, transformative experiences, you can still feel as though you've ended up in the same place. It's a bewildering thing, realising that life and personal growth are cyclical and continual. That a chapter doesn’t always end with peace and acceptance. That the approach is simply continuing to try, to show up. “Linear progression is an illusion,” lead singer and songwriter Elizabeth Stokes says of the album. “What life really is is maintenance. And finding meaning in the maintenance.”

The path from The Beths’ critically celebrated and year-end-list-topping 2022 LP Expert In A Dying Field to Straight Line Was A Lie, written in Los Angeles and recorded in the band’s hometown of Auckland, was also anything but straightforward. For the first time, Stokes was struggling to write new songs beyond fragments she’d recorded on her phone. She’d recently started taking an SSRI, which on one hand made her feel like she could “fix” everything broken in her life, from her mental and physical health to fraught family dynamics. At the same time, writing wasn’t coming as easily as it had before. “I was kind of dealing with a new brain, and I feel like I write very instinctually,” she says. “It was kind of like my instincts were just a little different, they weren't as panicky.”

Stokes and her longtime Beths bandmate, guitarist, and creative partner Jonathan Pearce responded by breaking down the typical Beths writing process. For inspiration, they read Stephen King’s On Writing, How Big Things Get Done by Bent Flyvbjerg and Dan Gardner, and Working by Robert A. Caro. Liz broke out a Remington typewriter (a birthday gift from Beths bassist Benjamin Sinclair) every morning for a month, writing 10 pages’ worth of material — mostly streams of consciousness. The resulting stack of paper was the primary fodder for an extended writing retreat to Los Angeles between tours, where Stokes and Pearce also leaned heavily into LA’s singular creative atmosphere, went to shows, watched Criterion classics from Kurosawa, and listened to Drive-By Truckers, The Go-Go’s, and Olivia Rodrigo. Opening themselves up to a wave of creative input, plus Stokes’ free-flowing writing routine, proved therapeutic. “Writing so much down forced me to look at stuff that I didn't want to look at,” Stokes says. “In the past, in my memories. Things I normally don't like to think about or I'm scared to revisit, I’m putting them down on paper and thinking about them, addressing them.”

Since Stokes, Pearce, and Sinclair started playing together (Tristan Deck joined in 2019), the four-piece have steadily risen through the indie-rock ranks, opening for household name acts like Pixies, The Breeders, The Postal Service, and Death Cab For Cutie; and they’ve garnered significant praise from pop and indie-adjacent heroes like Phoebe Bridgers, not to mention tastemaking outlets like Pitchfork and Rolling Stone. Over the last six years, The Beths have appeared at major international festivals, from Coachella to Primavera Sound to Newport Folk Festival and Bonnaroo, and Expert In A Dying Field has earned millions of global streams since its release in 2022.

Already a celebrated lyricist, Stokes has long impressed fans and critics with wryly knowing song titles like “Future Me Hates Me” and “Expert In A Dying Field” — catchy, instant-classic turns of phrase that capture the personal and ladder up to the universal. But Stokes’ intentional deconstruction and rebuild of her relationship to writing has resulted in a total renewal. Her songwriting has achieved startling new depths of insight and vulnerability, making Straight Line Was A Lie the most sharply observant, truthful, and poetic Beths project to date.

It’s immediately clear how far inward Stokes looked on the stripped-down, intensely personal “Mother Pray For Me.” Over plaintive finger-picked guitar, Stokes’ voice is childlike in its wistful plea for connection. “I cried the whole time writing it,” Stokes says. “It's not really about her, it's about me — what I hope our relationship is, what I think it is, what it maybe actually is, and what I can or can't expect out of it.” Reckoning with the lives your parents have led, and their mortality as they shift from guardians to full human beings, is bracing. The song is so moving because few people can look this in the eyes until there is no choice. How do you see your parent as someone who did their best, when it might not have felt like enough?

Cementing the album’s aharmonic theme is a loopy analog clock design by Lily Paris West, who also provided the artwork for 2022’s Expert In A Dying Field. West’s “wonky clock” plays right into The Beths’ notion of nonlinear progression and the machine-like ways in which bodies work (or don’t, as in Stokes’ case, amidst physical and mental health struggles). “The clock is always back in the same place, it's kind of a broken machine as well,” Stokes says. “The body and brain are these complex, complicated machines, ever-changing. Even when functioning in a less-than-optimal state, they're still amazing. But I’m still prone to completely dismiss that and see only the worst.”

Meanwhile, fans who have followed The Beths’ since their 2018 debut Future Me Hates Me will fall in love at first listen with the band’s latest title track. A clear-eyed, hook-stacked mission statement for The Beths’ new chapter, “Straight Line Was A Lie” is a Flying Nun-shaped instant anthem with a punchy, Salad Boys-inspired sing-along chorus about non-linear progression: I thought I was getting better/ But I’m back to where I started/ And the straight line was a circle/ Yeah, the straight line was a lie. In many ways it is the album’s thesis, with each consecutive song building a case for the idea that life’s casual disappointments are something we might not overcome, but hopefully won’t succumb to either. Scars may not heal, and lives (or ecological sites like Oakley Creek from “Mosquitoes”) may not be fully rebuilt. In a world of absolutes, Stokes is interested in the particulars of life. “We were right in the middle of writing the album, and I was metabolizing everything," Stokes says of the album’s title track. "I had held onto this idea that I was making progress in my life and that I was going to be able to fix everything. Like, this is great. Things have been really dark, but I’m getting help and I can keep working and then I'll be in this good place. And it just felt like this rude awakening. It's not like everything went really terrible, but it just wasn't the reality.”

While Stokes felt a huge relief from taking an SSRI, she articulates the emotional trade offs on “No Joy,” which thunders in with Deck’s vigorous percussion and drops another classic Beths soundbite: This year’s gonna kill me/ Gonna kill me. Ironically, though, the stress Stokes sings about can’t touch her, thanks to her pharmaceutical regimen. "It's about anhedonia, which, paradoxically, was present both in the worst bouts of depression, and then also when I was feeling pretty numb after a year on my SSRI,” Stokes says. “It wasn't that I was sad, I was feeling pretty good. It was just that I didn't like the things that I liked. I wasn't getting joy from them. It's a pretty literal song.”

Stokes takes a more abstract approach to health and healing on the cheery “Metal,” where she grapples with dueling diagnoses of Grave’s and Thyroid Eye Disease and finds inspiration from Ed Yong’s book on animal senses, An Immense World. “Metal” finds The Beths at their peak, with its effortless meld of upbeat, sugar-rushing jangle-rock underpinning layers of pensive anxiety and optimism. “I was having all of these coexisting thoughts — feeling like my body's like a machine that's breaking down but feeling really incredulous that it exists at all,” she says. “I was like, the human body is amazing. Life is amazing, and yet...”

Altin Gün

THE GRAMMY® AWARD-NOMINATED TURKISH PSYCH-FOLK INNOVATOR

RETURNS WITH A GROUNDBREAKING NEW COLLECTION OF REINVENTED CLASSICS BY Neşet Ertaş

“This much raw virtuoso – without any sign of showing off – gets the audience going immediately”

Lettuce

Hailing from Boston, Massachusetts, US, Lettuce are an eight piece jam/funk band that blend an eclectic array of influences, from modern hip hop sensibilities to Herbie Hancock and Earth Wind and Fire’s disco funk, to create their energetic, grooving vibes.

Quadeca

Asian Kung Fu Generation

hyukoh

SOFIA ISELLA

Hate People Who Hate People.

Plini

Independent solo artist from Sydney, Australia.

Sorry

LA LOM

The Los Angeles League of Musicians, LA LOM, are an instrumental trio formed in Los Angeles in 2021. They blend the sounds of Cumbia Sonidera, 60’s soul ballads and classic romantic boleros that emanate from radios, backyard parties and dance clubs of Los Angeles with the twang of Peruvian Chicha and Bakersfield Country.

Io

Cero

Chappo

Friko

Friko, a trio that’s cemented itself as a stalwart in the Chicago music scene, is frontman Niko Kapetan, bassist Luke Stamos, and drummer Bailey Minzenberger. Praised by the Chicago Tribune as “perfect slices of indie-pop,” their music is complex and dynamic, flickering between explosive rock, chamber pop, and serene sonics. It becomes even more pronounced in their live performances, where a crowd frenzied by wailing guitars finds itself minutes later collectively holding its breath, enamored by hypnotic strings and Kapetan’s emotive vocals.

OGRE YOU ASSHOLE

Hi-Standard

The Cabs

Son Rompe Pera

Born and raised in the deep outskirts of Mexico City, the Gama brothers are keeping alive the rich legacy of marimba music running through their family with their band, Son Rompe Pera. While firmly rooted in the tradition of this historic instrument, their fresh take on this folk icon challenges its limits as never before, moving it into the garage/punk world of urban misfits and firmly planting it in the 21st century. Their live shows are a sweaty mess of dancing fans, and this garage-cumbia-marimba-punk band (the only band of its kind in the world) never disappoints on stage. Their authenticity shines through as they give their modern interpretation of Mexican, Peruvian, and Colombian classics, as well as their own original material and some surprise covers. The group just released their 2nd album, CHIMBORAZO. It showcases what their fans have come to know from their concerts, a mix of classic cumbias and face-melting punk, bringing the Mexican marimba into a moshpit of psychedelic chaos, a truly unique experience that actually delivers on all the hype. The album sounds great, the band hopes you listen to it. But seriously — come out to a show. You won’t regret it!

never young beach

Bohemian Betyars

Tempalay

Wata Igarashi

Wata Igarashi has developed a clear sound of his own. He brings together the euphoric and psychedelic, with his music standing out for its crystalline structures and shimmering intensity.

Kotori

Yuuf

Kroi

Kroi are: Leo Uchida – Vo, Gt Yuki Hasebe – Gt. Masanori Seki – Ba. Daiki Chiba – Key. Hidetomo Masuda – Drs. The band formed in Tokyo in February 2018. Their music is an ingenious blend of genres spanning across R&B, funk, soul, rock and hip-hop. They launched their album “LENS” in June 2021 with its lead song “Balmy Life” achieving heavy rotation on over 35 domestic FM/AM radio stations. Kroi has also performed at many music festivals across Japan including the infamous WHITE STAGE of FUJI ROCK Festival 2022. Their performance was live-streamed on YouTube and the footage became the number one trend on Twitter. Kroi is set to perform at SUMMER SONIC 2023. As well as being talented musicians, each band member is also thriving in other diverse professions from modeling to designing and music production – all making significant contributions to the cultural scenes.

My Hair is Bad

SIX LOUNGE

The Breaks

Grapevine

Bialystocks

Bialystocks (pronounced bee-AH-lih-stoks) was formed in 2019 following a special screening of a film
directed by vocalist Sora Hokimoto, which featured a live performance of its original soundtrack. The
project quickly evolved into a band, blending cinematic roots with a richly textured and stylistically
fluid sound.
In 2022, they were spotlighted on Spotify’s “RADAR: Early Noise 2022” playlist and released their
major debut album “Quicksand” via IRORI Records/PONY CANYON INC. Led by Hokimoto’s soulful,
emotionally rich vocals and driven by keyboardist Go Kikuchi’s jazz-infused, exploratory production,
Bialystocks creates music that strikes a rare balance between broad emotional appeal and artistic
innovation.

平井大

礼賛

Riddim Saunter

Tomora

浅井健一

奇妙礼太郎

んoon (JP)

Fuji Rock 2026 @ Naeba Ski Resort

Fuji Rock 2026 @ Naeba Ski Resort

Flytjendur