DePaul Men's a Cappella, better known as DMaC, was founded in the spring of 2003 at DePaul University in Chicago. Though it started as a quartet of guys merely searching for a causal outlet to sing, DMaC has since transformed into a rather random, high-octane, and passionate group of urban fellas.

Music is their passion. “Urban rustic” is their style. DMaC Love is their mission. What exactly is DMaC love, you ask? Catch one of their live performances and you’ll understand. From a broad array of Chicago events to different schools across the country, this scraggly and lovable collegiate group loves nothing more than to perform. Their favorite place, of course, is for their fellow DePaul peers. No musical genre is off limits, and no place is too serious to have some fun.

This spring marks DMaC's tenth year. With a strong alumni presence, a senior spotlight, a new album, a professional rock venue, and a wave of new vocal performances, DMaC's spring show at Lincoln Hall will one you cannot afford to miss. Please join DMaC on May 25th, 2013 as they honor a rich and growing history of musical fusion.

As DMaC alumni Vasilios 'Bill' Katsibaros once wrote, “They're a group of guys that sing.” And sing they shall.

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The birth of Anamanaguchi must have taken place in the middle of mankind's greatest sugar high. Oh, there could have been 'shrooms there too, but we're betting that it had more to do with loads and loads of pure cane sugar, swallowed in liquid, cubed, granulated or processed form, in copious amounts. It was Jolt soda, cake, ice cream, candy and everything else in between. It was on the sunniest of days and all colors were vibrant and searing.

The band, an instrumental electronic band from New York, was drawn to Nintendo game consoles, arcade games and all of the plinking and high-score sounds that were coming out of them, ringing in its ears like magical coos. It immediately set out to write punishing and inspired music that would comprise a mixtape that would be the chosen composition of the sky to accompany every plane jumper, skydiver and parachuter. It's a little known fact that the second anyone takes a leap out of the open hatch of an airplane, thousands of feet above ground, for any recreational purpose whatsoever, the music of Anamanaguchi is suddenly blasting into the ears of those plummeting folks. It's louder and more exhilarating that any of us down here on the safe ground could ever imagine and it's a secret that those jumpers keep to themselves, having signed a binding Anamanguchi non-disclosure agreement before pulling the chute cord. The bronzed music was chosen for such an important placement, in part, because as those jumpers land on the run, often on a beach or an open field, the only thing they want to do is jump up and down and rage out with some freaky dance moves for 5-to-10 minutes. The music, as contractually obligated, continues on - at obscene volumes - for that amount of time and these people do their dances.

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If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona’s John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene. And those two releases also already set the mark for John Talabot’s unparalleled music: raw, loopy, heavy on the kick drum, sample based, moderate on the tempo, distorted on the drums and light years away from the clean and ever revolving house sound of today. This unique style which also blends influences from afro beat, Detroit techno, Chicago house and cosmic disco, but also northern soul or the energy of Flamenco, immediately turned some heads around. James Murphy, Âme and Aeroplane started including Talabot music in their sets like it was the most natural thing. However – and this is quite rare – he not only gained legions of fans in the house and disco community, but also amongst the leftfield pop and indie rock followers. NME and Resident Advisor both had “Breakthrough“ features on John Talabot and he can be proud of a “Best New Music“ dubbing on Pitchfork. (Being rather elusive on showing his face in magazines or the web it also came to some funny rumors that John Talabot was the alter ego of a well-known techno producer from Detroit).

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"In a market place over saturated with corporate created talent, MER delivers a refreshing reminder that musicians with originality and heart still exist!" - CHICAGO TRIBUNE

MER teams up with Chicago's finest for another installment of MER's Music Showcase. With the huge success of the January residency at Schubas Tavern, MER brings together some of the city's finest front-men for an intimate songwriter circle. Hear the stories behind the songs and experience the music in the raw state in which they were written.

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For the uninitiated, Dead Confederate is a five-piece rock band from Athens, GA whose music runs the gamut of infectious psychedelia to a uniquely southern and ferocious dirge. Although, placing labels on a band like this is rather pointless as their sound seems a constant and fluid evolution; they never seem content with abiding by the guides of one sub-genre, so maybe it's best we just leave it at "rock" for simplicity's sake. Dead Confederate, in name and sound, formed in 2006 in Atlanta, GA before moving to Athens shortly thereafter. In these six years, the band has become one of the most revered live acts in the nation by fans and peers alike. Touring relentlessly in the US and overseas, they've been handpicked to join a number of their musical heroes on the road (REM, Dinosaur Jr, Meat Puppets... to name a few) and play some rather high- profile gigs (Bonnaroo to Bumbershoot, SXSW and CMJ, Late Night with Conan O'Brien... also to name a few). Dead Confederate has released two full-length records to-date, 2008's "Wrecking Ball" and 2010's "Sugar", as well as two EP's, a live album, and an eighteen-song compilation of home recordings. Their third full-length, "In The Marrow", will be making it's long-anticipated appearance on April 16, 2013 via Spiderbomb Records/ Redeye.

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Taking its name from novelist Jack London’s 1904 seafaring adventure, Sea Wolf has evolved organically from its hermetic origins in Alex Brown Church’s living room into a muscular, full-bodied musical entity with passion to burn. After adopting the sobriquet, Church burst onto the music scene in two-fisted fashion with the EP, Get to the River Before It Runs Too Low, and the subsequent full-length debut album, Leaves in the River, about which Interview magazine observed, “His music is both erudite and unvarnished, a blend of swirling melodies, literary balladry and damaged art-rock composition.”

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For Jasper Patterson AKA Groundislava, creativity combined with the video game, sci-fi sounds and general aesthetics of the 1980’s have been instilled since day one. A young 20 year-old hailing from Venice, California, Jasper’s father both animated and directed the classic “Take On Me” video by A-Ha and while Groundislava isn’t exactly the next logical step from the Norwegian new wave group, Jasper takes that same creative freedom and emotion and injects it into a sound grounded in beats, video games, technology and self-proclaimed “nerdy shit.” As part of the Wedidit Collective, Groundislava is the next representative stepping into the light and exposing a group of youngsters each with their own nonchalantly expert takes on forms of beat and electronic music.

Drawing from acts as diverse as Ludacris, Britney Spears, and Broadcast, oOoOO marries hip-hop-influenced beats with pop melodies and experimental sounds.

“What Burial is to rave, oOoOO seems to be for relationship. These songs are the ghosts of love affairs and the spectres of sex and we should be celebrating this for what it is: a strange, emotionally unsettling model of pop music that is high on melody, atmosphere and subtle drama.” – FACT MAGAZINE

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Alex Wiley is a 19 year old MC from the South Side of Chicago. He has proven to be force to be reckoned with in the Chicago music scene.

In preparation for the release of his first project #ClubWiley, which will be released via Closed Sessions in June 2013, he will be performing a Club Wiley Appreciation show for his fans!

Alex is determined to be a stand out mainstream artist. The debut mixtape features guest appearances and production from Freddie Gibbs, The Hood Internet, Hippie Sabotage, Chance The Rapper, Vic Mensa, Kembe X, King L, Action Bronson, and more. Club Wiley will be available for free download and deluxe physical purchase.

Hailing from the West Side of Chicago, ShowYouSuck has gone from becoming an Alumni of the Art Institute, building the walls of art gallery Artpentry, to selling out several venues in his hometown in 2012. The Chicago emcee is breaking boundaries between genres & cracking the music mold by creating a style that is truly his own. Melting; Punk, Based, Trill, rap with a touch of wit. ShowYouSuck puts his mark on the music world with his incredible high-energy and captivating stage performances.

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Easton, MD -- Front porch of producer John Alagia's house on the Chesapeake Bay.

I've just woken up from another end of the world dream where Bon Jovi was an alien planting explosive devices in cupboards that eventually cause massive flooding when I decide I need to do a morning coffee run (ok, I need cigarettes) so I grab my keys and head to town. E-Rob (Eric Robinson), our engineer, is just going to bed after working late on a vox comp for 'You Won't Let Me' and it occurs to me how I've truly lucked out with the people involved in "Chesapeake."

I am in the studio. And when I say studio, I mean Alagia's house that we've spent weeks converting into a studio. We shipped gear, borrowed microphones, amps, guitars, and a grand piano that's living in his bedroom (because that's where we get the best sound). We housed vox mics in his shower for some natural reverb and of course the porch where I write this -- a past scene of pre production jams complete with drums made out of cardboard beer cases and recycling bins -- cellos stuck in wads of duck tape so as not to slip on the floor, a wurly set up by the table of receipts I'm calling 'my office' etc.

I packed my car what seems like months ago chock full of air mattresses, giant breakfast skillets, keyboards, snow boots (unusable) and of course my diva tent -- an 8 person banana yellow monstrosity that I've been sleeping in for some time now to carve out a little private space for moi as well as leave room for the house full of amazing musicians that have come to play. There have been rounds of plumbers and air conditioner technicians, trips to Target for the inflatable pool that has since garnered a crop circle impression on the lawn for a mere $79.95, and thank you dad for the grill donation -- let there be burgers.

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“It’s a question of being respectful to each other,” Dom Maker says of the art of collaboration. It’s a simple ethic, but one that has yielded rich rewards. Since 2009, Maker and his partner in Mount Kimbie, Kai Campos, have played a central role in forging a new form for electronic music. Their influence stretches far beyond the tiny corner of the dance music underground that birthed them and, with the duo now signed to the legendary Warp label, it looks set to stretch further still in the coming years. Since their emergence Mount Kimbie have repeatedly confounded expectations, transforming themselves from bedroom-studio producers to creators of one of the most fully realised electronic album-length statements of recent years. This year, with the release of the duo’s second LP, the perception of what Mount Kimbie is looks set to expand again. Still, at the heart of the band’s music lies that simplest of things: the meeting of two musical minds.

Campos was raised in Cornwall, Maker in Brighton. The pair met in halls of residence while studying at London’s Southbank University and bonded over a newfound passion for electronic music - specifically the burgeoning dubstep sound. “We weren’t particularly trying to break into any kind of scene or anything like that,” says Campos. “We were just making music that we didn’t even think was that weird at the time, but when you look back on it now...” Mount Kimbie drew on their thick soup of influences to make a hybrid music that was intimate in scale but far from lacking in ambition. Back then they were oddities; nowadays the approach they pioneered is practically the norm.

The first evidence of the impact Mount Kimbie would have came with the Maybes EP, released on then-dubstep label Hotflush in 2009. The title track was a dazzling statement of intent - a melancholic anthem of sorts, combining a delicate garage shuffle with gaseous vapour trails of guitar and fragmented vocal melodies. It was swiftly followed by the more colourful Sketch On Glass EP, and within the space of a few months Campos and Maker found themselves at the forefront of a new wave of bedroom producers radically re-interpreting the dubstep template. “In the early stages of Mount Kimbie everything happened very fast,” Maker recalls. “I remember the first show we ever did - actually getting paid money to play in this church in Oslo. It was a really bizarre feeling, almost like we’d cheated the system.”

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The story that leads to Junip’s 2010 release is one of patience and perfectionism, frustration and persistence, sheer bloody-mindedness, inspiration and success. The place to which it takes you, however, is one of pastoral contemplation, autumnal grace and inscrutable, haunting serenity. A cosmopolitan three piece from Gothenburg, Sweden – featuring Tobias Winterkorn (keyboards), Elias Araya (drums) and José González (vocals & guitar), the latter of whom you’ll be familiar with from his solo work – Junip have existed since 1999, maybe even 1998. It’s so long, frankly, that none of them are quite sure. FIELDS, however, is the album that they’ve been itching to make ever since.

González and Araya have been playing together since they were 14. Their love of hardcore led them to form Renascence, (later called Sweet Little Sinister), and they first encountered Winterkorn at shows in Gothenburg in the mid ‘90s. “We talked about music that wasn’t hardcore music,” Winterkorn recalls. “I think we were all fed up and talked about doing something new.” “Our feeling was that we could do something more interesting with a setting that was more typical of the ‘60s and 70s’,” “By then in Sweden,” González relates, “it felt like everyone else was into Americana and country with steel stringed guitars,” he continues. “We had nylon strings and a Moog.”

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Electro-pop from Glasgow, Scotland.

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Electro-pop from Glasgow, Scotland.

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Beyond the aughts-era duality of retromania and neophilia, Longstreth has found the beautiful, generous simplicity of the heart and soul. Same as it ever was. And this must be exactly the place where he’s planted the seeds for his band’s finest album to date.

“It’s an album of songs, an album of songwriting,” says Longstreth.

Another reinvention in a career defined by reinvention, Swing Lo Magellan does what no Dirty Projectors album has done before: it’s about songs. Few songwriters can pull off the challenge to write as simple and direct as possible, and fewer still can do it and be left with something that feels irreducibly personal and idiosyncratic. Swing Lo Magellan gives us twelve such songs, one after another.

The album contains some of the biggest choruses of the band’s career (the explosive and anthemic Offspring Are Blank and Unto Caesar), as well as some of simplest and most disarming (the closer Irresponsible Tune). Gun Has No Trigger is a fever dream of ecstatic paranoia, while Dance For You is a song of searching, spiritual depth (“in the language of Gyptian and Ligeti,” Longstreth suggests). The tender love declared in Impregnable Question would have resonated in any musical era of the last hundred years. The title track Swing Lo Magellan is a gorgeous lament to the night sky. Amber Coffman’s solo turn on The Socialites adds a compelling new layer to her persona. Each of these songs is a world unto itself – one that can be explored endlessly. Indeed, Swing Lo Magellan feels so unique in the context of much of today’s music because it is more about its content than about its frame and reference. It’s more heart than sleeve.

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Beyond the aughts-era duality of retromania and neophilia, Longstreth has found the beautiful, generous simplicity of the heart and soul. Same as it ever was. And this must be exactly the place where he’s planted the seeds for his band’s finest album to date.

“It’s an album of songs, an album of songwriting,” says Longstreth.

Another reinvention in a career defined by reinvention, Swing Lo Magellan does what no Dirty Projectors album has done before: it’s about songs. Few songwriters can pull off the challenge to write as simple and direct as possible, and fewer still can do it and be left with something that feels irreducibly personal and idiosyncratic. Swing Lo Magellan gives us twelve such songs, one after another.

The album contains some of the biggest choruses of the band’s career (the explosive and anthemic Offspring Are Blank and Unto Caesar), as well as some of simplest and most disarming (the closer Irresponsible Tune). Gun Has No Trigger is a fever dream of ecstatic paranoia, while Dance For You is a song of searching, spiritual depth (“in the language of Gyptian and Ligeti,” Longstreth suggests). The tender love declared in Impregnable Question would have resonated in any musical era of the last hundred years. The title track Swing Lo Magellan is a gorgeous lament to the night sky. Amber Coffman’s solo turn on The Socialites adds a compelling new layer to her persona. Each of these songs is a world unto itself – one that can be explored endlessly. Indeed, Swing Lo Magellan feels so unique in the context of much of today’s music because it is more about its content than about its frame and reference. It’s more heart than sleeve.

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If you’d spent the last few years of your life wrapped up in an album like Star Of Love, you’d go looking for a little respite, too. Crystal Fighters’ debut was the product of minds made manic by a deluge of fresh experience, both in the studio and on the road. It was inspired by an opera written by a man whose sanity disintegrated before he could finish it. It seemed to be influenced just as much by traditional Basque music from the 18th century as it was modern-day clubland, and contained residual traces of every genre, scene, style or party that had existed in-between.

But if album one was the sound of haywire electronic loops frantically kept spinning like plates on sticks, then album two is the story of Crystal Fighters mastering control of those rave repetitions, withdrawing from the chaos of the club to carve their music into the shape of songs.

To write the album, Crystal Fighters retreated to the Basque hills that they consider to be their spiritual home. Their music has always born traces of the local sound –traditional instruments like txalapartas and txistus vying in the mix with razor’s edge guitars and percolating techno synths – but the purpose of this mission was different. Immersed in their creative cradle, they wanted to tap into something beyond their immediate experience, to uproot themselves from temporal bounds in order to write timeless songs.

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For every song Joseph Arthur has released in a critically acclaimed, Grammy- nominated career that has spanned nine full-length albums and 11 EPs, he's probably kept three others in the vault for safekeeping. Indeed, Arthur has been known to start working on a new album -- or two -- while simultaneously trying to finish another.

It was amid this abundance of riches that the Brooklyn-by way of Ohio-native began molding a collection of music under a single narrative thread: The Ballad of Boogie Christ, described by Arthur as "a fictionalized character loosely based on my own journey."

At first, it was a song here or there, or a set of lyrics with no accompanying music. Then, those songs would get recorded and set aside. They'd get re- recorded and revised. They'd start to make sense in relation to their brothers and sisters, and then they wouldn't. And pretty soon, more than half-a-decade had flown by and Boogie Christ was no closer to coherency.

"For some reason, I've been avoiding finishing this record for a long time," Arthur says with a laugh. "It's been an albatross around my neck. I don't know why, but it has."

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AfroZep originated in 2009 with the mission to spread African music to wider audiences while paying tribute to the greatest Heavy Rock band of all time. Some tunes are straight mash-ups of Fela Kuti and Zeppelin, others are Zep tunes but set to original grooves based off the music of artists such as Tinariwen, Thomas Mapfumo and Franco and others are stripped down Zeppelin arrangements injected with the pulse of traditional African drumming.

Wilson (guitar/vocals) Marshall Greenhouse (drum-kit), and Ryan Behling (bass and lead vocals) bring years of road experience with them and a rotating all-star cast of musicians they have met along the way. Members of the project have recorded and toured with Chicago Afrobeat Project, 1000 Vertical Feet, 56 Hope Road, Starrunner, the Motet, Dubconscious, Seneke West African Drum and Dance Ensemble, Chicago Samba and many more.

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John Darnielle is a human male and American musician who was born in Indiana.

Alone or in collaboration with others, he has been known as the Mountain Goats since 1991. He grew up in Central California, and has lived in many states, but now lives in North Carolina with his wife and child and at least one cat that I have observed. I visited his home in the year 2011. I took off my shoes when I came in the door because that is my habit. No one made me do it. John Darnielle's house is not rockstar huge, nor rockstar glamorous. It does not have a home theater or rolfing center. It's modest. There is an office packed with shelves reflecting his preoccupations: pulp horror and philosophy and religious study. John Darnielle is fascinated with both death metal and the Holy Bible and speaks eloquently of the dark magic and elegance and grace of both.

Now I am going to tell you that, in the study by the stairs, I stepped in a little bit of cat vomit. I can report that John Darnielle was not embarrassed. Because he knows it is in a cat's nature to vomit, and because he saw an opportunity for kindness. He loaned me some socks, and they were argyle, warm from the dryer and very soft. The house has a basement, which John Darnielle describes as "awesome." The basement is not particularly awesome. (I have seen some awesome basements.) It has some drums and guitars in it but otherwise is a fairly typical basement of a modest, middle-class home. Normal. It is my impression that this may be why John Darnielle considers his basement to be awesome, for such normality was not necessarily going to be his fate.

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When electro-rock sensation Lights first hit the music scene in 2008, she was just a songwriter with a synth and a dream. Her name may have been pluralized but Lights Poxleitner was a one-woman show who played and programmed her own instruments and sang her own lyrics.

This admirable self-reliance is rare in pop—in fact, Lights, signed a publishing deal at 16 and began writing songs for other artists—but after her 2008 self-titled debut EP (precocious enough to earn her a best new artist Juno) and gold-selling full-length follow-up The Listening, Lights was ready to open herself up to collaborations on her unexpectedly experimental album Siberia. And by choosing such leftfield collaborators as live electronic outfit Holy Fuck and rising rapper Shad, she also opened up her sound.

“It’s a huge step,” she readily admits. “For a year after my first record, I was confused and searching. I was writing all over the place and not finding anything that was essentially different. But after tour last year I was turned onto dubstep.” The genre’s grimy beats and sonic minimalism influenced the creation of Siberia, if not necessarily shaping the music itself (though she does pay homage with a dubstep drop on “Fourth Dimension.”)

Rather, dubstep led Lights away from the “perfection” of her past work. “Everything was tuned and timed just right. The new stuff is raw and gritty but still pop with a focus on the melodies. It’s the marriage of those two that make it really different and unlike anything I’ve ever done before.” This dirtier direction came from collaborating with Holy Fuck, a fellow Juno-winning, electronic-influenced Canadian act who she met when both played the dance stage at last year’s Reading and Leeds festivals in the UK. Impressed by their “grime and grit,” she decided to see what might happen when she infused her pop sensibilities with their experimental tendencies.

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If you would like to pick up your copy of American Savage before 6/20 please bring in a copy of your confirmation email to Unabridged Bookstore (3251 N. Broadway)

Dan Savage, the author of the internationally syndicated sex advice column “Savage Love” and the editorial director of The Stranger, Seattle’s weekly newspaper, turns his sharp wit and keen perspective to some of the most salient issues facing the country today, including marriage equality, sex education, healthcare, gun control, and more. In addition to his frequent appearances on CNN, MSNBC, Real Time with Bill Maher, and The Colbert Report, Savage is a regular contributor to NPR’s This American Life. His books include the New York Times bestseller It Gets Better, Skipping Towards Gomorrah, The Commitment, and The Kid, his award winning memoir about adoption.

Join Unabridged Bookstore at Lincoln Hall as we welcome Dan and his new book.

Unabridged Bookstore opened in its current location at 3251 N. Broadway in Chicago's Lakeview neighborhood on Saturday, November 1, 1980, and while it has expanded since, the vision has remained the same: to promote and sell great books. Unabridged is known for its dedicated, knowledgeable staff, (and their hand-written personal recommendations) an unparalleled sale book section, and an award-winning children's section. It's safe to say that Unabridged is the BEST bookstore in the Chicago area where a shopper can buy the latest issue of a magazine, a copy of children's classic Goodnight Moon, or newest title, and pick up the latest literary fiction & non-fiction sensation, all in one stop.

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Join us for a special Road to Rise VIP Experience with Skillet. The VIP package includes:
+ Rise listening session with the band prior to the album release
+ Live Skillet acoustic set
+ Meet & Greet with the band
+ Dinner with the band
+ Q & A with the band
+ Viewing of entire Awake & Live DVD with Skillet before it is released
+ Signed Limited Edition silk screened hand numbered poster

BIO:
Since Skillet last hit the studio for 2006’s breakthrough project Comatose, the group’s toured with the likes of Breaking Benjamin, Three Days Grace, Seether and Flyleaf, followed by a solo headlining ranking within Pollstar’s Concert Pulse Top 50 Tours for 2008. Along the way, the Grammy-nominated alternative outfit also scored three top 40 singles on Billboard’s Mainstream Rock charts, earned a pair of BMI Songwriting Awards and released its first ever concert CD/DVD combo pack in support of the season called Comatose Comes Alive.

Aside from the commercial accolades, the Grammy-nominated modern rockers are rapidly approaching gold sales status, backed by both public adoration and critical praise, making the brand new Awake (Atlantic) the band’s most anticipated album to date. Not only does Skillet continue in the tradition of bone crunching rockers and melodic power ballads that comprised the last trip to the studio, but there’s a noticeable evolution sure to connect with longtime listeners and open the floodgates of its fan base even further than ever before.

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A Chicago-based alternative rock band with electro indie roots is making its way onto the national music scene. Since its launch in 2010, Polarcode has played popular music venues from New York City and Boston to Chicago, Milwaukee, and onto L.A. Creating songs about personal discovery, relationships, worldly matters and the rise of technology, Polarcode draws inspiration from the challenging realities of 21st century life. Polarcode delivers its original songs with layers of synthesizers, keyboards, intricate bass and drum interaction, tribal percussion and soaring vocals. The band’s jazz and classically trained musicians bring a unique juxtiposition of fiery virtuosity and delicate warmth to their music. Polarcode released their debut album, Polarcode, in 2011 and continue to delight audiences with their passionate performances.

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The VIP ticket includes:
- General Admission Ticket
- Early Entry
- Exclusive Meet & Greet w/ Mike Stud
- Personal Autograph & Photo w/ Mike Stud
- Official Meet & Greet Laminate

The legend of Mike Stud dates back to his days growing up as one of Rhode Island’s greatest ball players of all-time. As a highly touted high school Senior, Stud was named Rhode Island’s 2006 Gatorade Player of the Year, Louisville Slugger Player of the Year honors, and also recieved a full athletic scholarship to Duke University. Mike was selected as an All-American and now holds the lowest ERA in Duke Baseball history after only his Freshman season at Duke.

After the promising start to Stud's collegiate baseball career, Tommy John Surgery put him on the sidelines. Suddenly, making music became an outlet to pass the time for Mike. After only a few public releases of self-composed songs, he began to get notable recognition for his rhyming ability and was encouraged to continue. After graduating Duke, Mike transferred to Georgetown to continue his studies as a Graduate student and to continue his attempt at regaining full-strength on the mound. Needless to say, Mike also continued working on music in his down time. Fast forward 14 months, and Mike is now one of the hottest upcoming musicians on the web, globally. Mike Stud’s rookie mixtape "A Toast to Tommy" debuted at #3 Worldwide, and #2 U.S. on the iTunes Hip-Hop album charts last October. He has since headlined a Sold Out 20-city national tour and has acquired over nearly 10 million YouTube views and counting. His versatility & fun, up-beat style has brought Mike to the forefront of viral artists, and with each new release, he is showing the world that he is about to take it over.

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The Bloom and the Blight is the work of a band that has matured and redefined itself, and the album is imbued with a palpable sense of personal catharsis. Opening tracks "Halcyon Days" and "Song of Songs" illustrate the type of build to explosion that's omnipresent throughout the album, and the prowling "My Love Won't Wait" - with a menacing chorus underscored by a pounding backbeat - is an epic, booming anthem. The gentler "Broken Eyes" - all voices, guitar, harmonica, and tambourine - has already become a fan favorite with its rousing, harmony-filled final verses, while the cinematic "Ride Away" soars on Adam Stephens' raspy howl and Tyson Vogel's relentless drumming. The songs have a dark side and a dynamic sonic heft, yet a sense of salvation and resolve courses throughout: an urgent, emotional poignancy stemming in part from Stephens' recovery from a serious van accident in 2010.

Produced by John Congleton (The Walkmen, Explosions In The Sky, St. Vincent), The Bloom and the Blight moves away from Two Gallants' more folk and blues-based past, representing the duo's ferocious live show and their past steeped in punk and grunge. The album simultaneously maintains the thoughtful storytelling and eloquent lyricism for which the band has become known, and contains gorgeous, quieter moments like the finger-picked ballad "Sunday Souvenirs" and the dreamy, unearthly "Decay" (the first Vogel-penned song on a Two Gallants album).

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Now we’re born again,” sings Zach Rogue on the closing track of Rogue Wave’s fourth studio album, Permalight.

The dreamy acoustic lament lasts just over a minute but in sound and spirit it neatly sums up everything that comes before it. A punchy, deceptively effervescent set of multi-instrumental pop tunes, the Northern California band’s latest set represents a giant breakthrough for Rogue and his longtime musical partner, drummer-keyboardist-vocalist Pat Spurgeon.

“The record sounds, for lack of a better word, fun,” the frontman says.

It’s an astonishing change of direction, to say the least. Formed by Rogue in 2002 after he lost his tech job and parted ways with the Oakland rock group Desoto Reds, Rogue Wave has a reputation for crafting classic, inward-looking pop songs highlighted with psychedelic guitars, pastoral sound effects and intricate rhythms.

On tunes from the new album like the title track “Permalight” and “Good Morning,” however, Rogue Wave steps away from expectations. Rogue says the former was written as a left-field sequel to Kool and the Gang’s “Celebration,” with synthesizers that simultaneously sound brittle and blissful. “Stars and Stripes” builds on a deep groove before spilling over in a raging chorus. Clubby beats are prominent but the album doesn’t sit still for long. “Per Anger” is a straightforward rock tune that takes its cues from Pixies’ loud-quiet-loud dynamic.

Then there’s the album’s unofficial centerpiece, “I’ll Never Leave You,” a simple acoustic tune that finds Rogue coming to grips with the overwhelming emotions that come with young fatherhood. Like many of the songs on the album it’s rooted in Rogue Wave’s triumph over seemingly constant peril – including the tragic death of a former band mate and constant health issues – and the band’s undying determination to push forward.

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Now we’re born again,” sings Zach Rogue on the closing track of Rogue Wave’s fourth studio album, Permalight.

The dreamy acoustic lament lasts just over a minute but in sound and spirit it neatly sums up everything that comes before it. A punchy, deceptively effervescent set of multi-instrumental pop tunes, the Northern California band’s latest set represents a giant breakthrough for Rogue and his longtime musical partner, drummer-keyboardist-vocalist Pat Spurgeon.

“The record sounds, for lack of a better word, fun,” the frontman says.

It’s an astonishing change of direction, to say the least. Formed by Rogue in 2002 after he lost his tech job and parted ways with the Oakland rock group Desoto Reds, Rogue Wave has a reputation for crafting classic, inward-looking pop songs highlighted with psychedelic guitars, pastoral sound effects and intricate rhythms.

On tunes from the new album like the title track “Permalight” and “Good Morning,” however, Rogue Wave steps away from expectations. Rogue says the former was written as a left-field sequel to Kool and the Gang’s “Celebration,” with synthesizers that simultaneously sound brittle and blissful. “Stars and Stripes” builds on a deep groove before spilling over in a raging chorus. Clubby beats are prominent but the album doesn’t sit still for long. “Per Anger” is a straightforward rock tune that takes its cues from Pixies’ loud-quiet-loud dynamic.

Then there’s the album’s unofficial centerpiece, “I’ll Never Leave You,” a simple acoustic tune that finds Rogue coming to grips with the overwhelming emotions that come with young fatherhood. Like many of the songs on the album it’s rooted in Rogue Wave’s triumph over seemingly constant peril – including the tragic death of a former band mate and constant health issues – and the band’s undying determination to push forward.

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For seven years now, Margot & the Nuclear So and So’s – led by singer and songwriter Richard Edwards – have been creating music that swirls with fear and doubt and tension and beauty. Their music was born out of Indianapolis with the lushly melancholic The Dust of Retreat (2005), came of age with the bittersweet duo Animal/Not Animal (2008), and most recently arrived with the primal Buzzard (2010).

Edwards saw Buzzard as the beginning of a “panic pop” trilogy: albums filled with a gnarled version of the pop music of his childhood, loosely tied together by the concepts of aging and starting over. For the second installment, he took his notebook full of song fragments and went to the place that held some of his most vivid memories of calm, a mere five months after Buzzard’s release. Subsisting only on aloe vera extract and clam chowder, Edwards spent 26 days burying himself in sand, sleeping outdoors, and finishing a batch of songs inspired by childhood, fatherhood, and bad stomach pain. Calm evenings bore panicked music.

Because when Margot ended the touring cycle for Buzzard, which included multiple headlining tours and a run supporting The Twilight Singers, Edwards was ill. Plagued with stomach pain, he boarded a bus and headed to Pismo Beach, CA. Over the years, Pismo had unintentionally become an oasis during Margot tours. The Nukes' battered black school bus, as if divinely inspired, always found its way there. They would spend a night or two by the fire, listening to music, eating clam chowder, drinking beer and recharging. With each tour, the band’s collective narrative grew and the town became more mythical, especially on bad days; “Pismo” was conjured up and whispered into the ears of a grumpy, hung-over drummer, the guitar player sighed it while replacing blown tubes, the keyboard player chanted it in his sleep, the bus’ engine grunted it. A place to rest. The end of the road.

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Xavier Rudd is back with his #2 ARIA debut album, Spirit Bird. With an identifiable array of guitars, yidakis (didgeridoos), stomp box and percussion, Rudd’s has reintroduced Australians to the sounds and stories of the land’s original owners, while introducing the rest of the world to an entirely new sound altogether. Over the course of a decade, he has taken this sound to every corner of the globe; producing seven studio albums, two live albums, multiple ARIA nominations and a global fan-base of likeminded souls.

From 2002’s To Let, his first studio album, through to 2007’s White Moth, Rudd gradually refined his globallyinfluenced collage of world music – a matchless mixture of reggae, funk, blues, folk, and nearly every other sort of song with the ability to stimulate people’s spirits.

With 2008’s Dark Shades of Blue, the world was welcomed into a darker, more somber side of Rudd’s music. The album was indeed musically rich, with an international influence still inherent; however, the overall aura carried a different tinge compared to that of his previous work.

“Dark Shades Of Blue was something that I didn’t realize at the time. It was like I could feel the shudder of an earthquake, but I didn’t know it was coming” explains Rudd. That metaphorical earthquake manifested in the form of the most tumultuous year in Rudd’s personal history, and one he was more than happy to put behind him when starting to pen 2010’s Koonyum Sun.

This album was a new awakening for Rudd, perhaps because it was his first with bassist Tio Moloantoa and percussionist Andile Nqubezelo under the unified banner of ‘Xavier Rudd & Inzintaba’. Thanks to the input of Inzintaba, Koonyum Sun presented a staggering amount of vigor to this release that Xavier Rudd fans hadn’t seen to date.

Which brings us to 2012’s Spirit Bird. Already producing Rudd’s highest-selling single and most played radio single to date with Follow The Sun, 2012’s Spirit Bird is Rudd’s deepest and most explorative album. The album saw the ever socially-conscience Rudd delve into his musical and spiritual ancestry and took him from the threatened landscape of Western Australia’s Kimberley region, to the hills and lakes of Canada.

Xavier Rudd is a singer, songwriter, multi-instrumentalist, a surfer, environmental and cultural activist, and one of Australian’s most iconic voices.

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Simpleton & Cityfolk appeal both to the heart and the tapping toes of the listener with a blend of roots rock, Americana and folk. The band's roots go back to Iowa when Geoff Glenn (guitar, vocals) and Chris Bennett (guitar, vocals) met as roommates at the University of Iowa. In 2010, college over, Bennett returned home to Chicago. Glenn soon followed intent on pursuing music with his friend. Bennett's high school buddies, Chris “Foo” Williams (upright bass, vocals) and John Conlon, (guitar) filled out the rest of the Cityfolk with Mike “Sku” Skowronski joining on drums after Conlon’s move to Utah.

In 2011, a Sunday afternoon residency at the Green Owl in the Wisconsin Dells allowed the band to hone their skills and learn to gel as a band. The weekly gig gave them the requisite chops and confidence to return to Chicago to perform their original material in front of receptive crowds. Compared to Mumford and Sons and Wilco, soon the band was headlining Metro, Double Door and House of Blues.

In 2012, the group recorded their debut 6-song EP, The Williams Account with Patrick De La Garza in his Chicago studio. The EP reveals the dichotomy of the country and the city with the aching “Porch Light” and the slow sway of “City Lights”. The follow-up full-length, No Man is an Island, recorded/produced with Mike Hagler (Wilco, Neko Case, The New Pornographers) at Kingsize Sound Labs. Scheduled for a July 2013 release, Simpleton & Cityfolk will have a busy summer promoting the new record, celebrating the record's release with a show at Lincoln Hall in Chicago and appearing at a number of other summer festivals including the Cedar Rapids Freedom Festival in Cedar Rapids, Iowa.

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Future Bible Heroes are comprised of celebrated songwriter Stephin Merritt (the Magnetic Fields, the 6ths, the Gothic Archics), longtime friend and collaborator Christopher Ewen (Figured on a Beach, the Hidden Variable and a popular Boston-area DJ) and Magnetic Fields pianist-singer-manager Claudia Gonson. The band released two albums, Memories of Love (1997) and Eternal Youth (2002), and three EPs, all of which they are repackaging as one large collection for simultaneous release via Merge on June 4, 2013, along with their new album, Partygoing.

After 11 years, FBH return with Partygoing, featuring their signature mix of dance-floor-filling club anthems and super-sad ballads. Why the long break between albums? Well, the trio has been busy. Merritt has made four stage musicals, four Magnetic Fields albums, a Gothic Archies album and done some film work. Ewen has been working on the Hidden Variable and DJing in Boston, and Gonson has discovered parenthood while navigating the Magnetic Fields' busy post-69 Love Songs schedule.

Traditionally, Ewen created instrumental tracks and sent them to Merrit, who added vocal melodies and lyrics. Ewen explains that Partygoing is more of an integrated collaborationL "'Living, Loving, Partygoing' began as an idea Stephia sang into my voicemail one night. 'Love Is a Luxury I Can No Longer Afford' began with the lyrics. This time around, we were able to write songs together using different approaches, and were able to arrange them along the way."

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Bob Schneider is a fixture on the Austin scene, having kicked around for years in various bands before embarking on a solo career in 1999. Born in Michigan and partially raised in Germany, he dropped out of the University of Texas at El Paso to front his first band, the funk and rap outfit Joe Rockhead. The band released three independent albums before disbanding immediately prior to signing with a major label. A stint with a jammy, slightly Phishy outfit called the Ugly Americans followed, which experienced some success as an opening act for the Dave Matthews Band. In 1997, Schneider went on to co-found the Scabs, where he made a further name for himself as a crotch-grabbing frontman. He then became a solo act in 1999, although performing at first under the band name Lonelyland.

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Chicago singer-songwriter Xoe Wise has just released her sophomore album, Archive of Illusions, which reached #41 on the iTunes Singer/Songwriter chart, and was immediately placed in the music store’s “New and Noteworthy” section.

Originally from a small town on the ocean in North Carolina, Wise moved to Chicago to pursue a music career. She burst onto the scene in 2009, collaborating with Ethan Stoller on her debut album, Echo. Stoller has contributed music to the DVD extras and promotional materials of several major Hollywood films, including V for Vendetta, Ninja Assassin and Sherlock Holmes. Echo was released in October of 2010 to critical acclaim. Chicago Innerview recognized Wise as “easily the singer/songwriter and pop counterpart to Columbia native Chaz Bundick’s (a.k.a. Toro Y Moi) laconic chill-wave synth ballads.” The Chicago Tribune’s Redeye described her single “Dear Sendai” as “spiritual.”

Xoe Wise has performed at venues ranging from Hotel Cafe in Los Angeles to Hard Rock in Nashville. She has shared the stage with such artists as Lisa Loeb, Greg Laswell, Tyrone Wells, and more.

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This Empty Northern Hemisphere is Gregory Alan Isakov's latest collection of songs in which he conjures the miracles and heartaches of day to day living then transforms them into melodies, with a serious commitment to songcraft and musicianship.

Isakov composed the songs for This Empty Northern Hemisphere following his relocation from the Colorado wilds to the town of Boulder. The period also marked the beginning of a new creative cycle for the 28-year-old singer-songwriter, who combines his personal past with poetry to create a musically visceral present.

Isakov co-produced the album at various locations with Jamie Mefford who also engineered and is credited with 'God Noises.' He's accompanied throughout by his band: Jen Gilleran (drums), Jeb Bows (violin) and Phil Parker (cello). Isakov plays guitars, banjo, piano and harmonica, among other instruments. Brandi Carlile (Columbia) sings on five of the tracks. The pair also cut Leonard Cohen's "One of Us Cannot Be Wrong," as a duet.

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Reinvention can be a bitch. But for the men behind The Draft - three-fourths of whom recently crawled from the wreckage of the now-defunct, legendary post-punk outfit Hot Water Music - taking a powder was never, ever an option. Instead, frontman/guitarist Chris Wollard, bassist/spokesman Jason Black and drummer George Rebelo - the nucleus of what became this new band - stared down their collective doubts and insecurities, flipped off their detractors, recruited a new guitarist in longtime associate Todd Rockhill and took the next evolutionary step.

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For Brighton, UK born and bred yet very much the adopted Australian son singer songwriter Mike Rosenberg, being independent has proven to be the best road he could have taken. There was a time, back in the early 2000s, when things looked very different. There was a five-piece band called Passenger and the big money label behind it and there was a critically acclaimed debut album, Wicked Man’s Rest, but when the members of that band chose to go their own separate ways in 2007, Rosenberg opted to stick with the Passenger moniker and trust in his music, his voice and his guitar to take him where it would. He took to the streets and discovered not only that the experience enormous fun, but it also proved empowering for the likeable musical troubadour.

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Angel Olsen has a fresh edge to her sound, a warm and wonderful range, and an otherworldly skill and charm. Her special presence became apparent through her debut, Strange Cactiand radiates even more on her sophomore album, Half Way Home. Released last month on Bathetic Records, Half Way Home is a continuation of Angel's elegance, a collection of both new and old music, honed and matured, thoughts revisited. It presents this beautiful woman and her extraordinary voice taken to a new level, in no doubt a growth and reach brought on by many road trips with Bonnie 'Prince' Billy and crew. It's an emotional stew with Angel's robust voice up front, bold and engaging, aching to be heard. Joined by Emmett Kelly (The Cairo Gang) behind the board and playing throughout the songs, Half Way Home showcases the wondrous sounds of a songwriter with such a voice that is rarely found.

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With accesories and regimines being more exciting than some females these days, it's nice to know that some of us can still rap. Rhymesayers has its hands full with this one, but part of that is because she has boobs. Psalm One, the self-proclaimed "fuck a" fem-cee is gearing up for her second offering, the follow-up to 2006's critically acclaimed "The Death of Frequent Flyer". After telling academia to piss off, then inviting it into the bathroom again, touring, male-to-female-to-female contact, manicures and dirt baths, Psalm is doing the unthinkable: letting you in. With the skills that are hardly anything but stellar, new production, old friends and the world by the tight and curlies, it's on once again. And what more could you ask for? She's not your prom date; she's the one you hung out with at prom in the back of mom's volvo, got blasted and talked about all the people with their noses in the air and thumbs up their asses. And she plays drums. Go figure.

Bassel & The Supernaturals officially released "Dreamer" at The Empty Bottle in Chicago on February 28, 2013 as part of a humanitarian effort for Syria during an intense civil war that has drastically affected Bassel's family along with millions of others. Bassel Al-Madani is a Syrian-American souljazz artist born/raised in Northeast Ohio, currently residing in Chicago, IL. Despite facing intense challenges in recent years (including a massive apartment complex fire and car theft), he has been frequently recording and touring the nation since 2008.

"Dreamer" was engineered at Hinge Studios in Chicago, IL during the summer of 2012. The album was an independent effort by Bassel & The Supernaturals, and the funds generated from their presale campaign helped to support their recording experience, a 3-week US tour, and a charity donation to Syria.

Bassel released "Submerged" as a solo effort in 2010 at Used Kids Records in Columbus, Ohio. Shortly after the conclusion of a four-week tour supporting his first LP, he was invited to perform at the Pelotonia opening ceremony with The Counting Crows and Augustana.

Bassel's self-titled EP was released in 2008, featuring the production talents of Sinkane (Ahmed Gallab), who has actively performed in groups such as Yeasayer, Caribou, Of Montreal, and Born Ruffians.

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Olympia is an album of transformation. Though it has only been two years since Austra’s 2010 debut Feel It Break, it presents a quantum evolution in the Toronto-based band’s sound, structure and style.

After three years of non-stop international touring with the likes of the XX, Grimes and the Gossip, when it came time to record Olympia, Austra had evolved into a complex collaborative effort between its six members. “Previously, I would flesh out songs before I brought them to the band, but this time I left them bare and let the others fill them in” explains Katie Stelmanis, the principal songwriter/vocalist.

Olympia is also the first confessional record for Stelmanis as evidenced by the heartfelt lyrics of piano driven lead single “Home” (stream now). “Home” expresses the anxieties of waiting up all night for a lover to return. “I was mad and upset and the song just wrote itself,” says the singer. The album touches on a range of sentiments that stem from a relationship ending, a relationship beginning, and friends’ struggles with addiction and motivation. Despite the sometimes dark lyrics written in collaboration with band member Sari Lightman, Olympia is bubbly and buoyant— fundamentally a dance record, which Stelmanis says was the band’s aim all along. “We are really into dense harmonies and big beautiful melodies, but I also love techno and dance music. I wanted to bring those elements together.”

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We have a tendency to take consistency for granted. Like a sunny Southern California day, Pinback have delivered record after record of mightily addictive indie pop since their inception in the late 1990s. Perhaps too melancholic and thoughtful to function as escapist entertainment, that same sense of depth is what made them one of the most reliable bands in indie rock’s three-decade history.

On one hand, their fifth album, Information Retrieved, is the logical and accessible realization of a sound Pinback have been developing and refining for over a decade. However, that consistency that we’ve taken for granted is what makes Information Retrieved such a euphoric surprise; their finest and most fully realized album, a dozen years deep into a career that includes bona fide modern classics like “Good To Sea” and Summer In Abaddon. Simply put, this is better than we ever could have expected. They could have coasted on automatic pilot to another lauded album that likely would have made it onto plenty of year-end lists, but instead they shot the moon, and the result is a major triumph.

The touchstones are still there: Zach Smith‘s stunningly unique bass guitar acrobatics driving both rhythm and melody in lock-step unison; the incredible immediacy of Rob Crow‘s voice that could make a phone book sound compelling; and the musical and lyrical interplay between the two of them that made Pinback so special in the first place. The difference now is their exquisite control over dynamics and a greater emotional resonance throughout. It’s the most complete and soulful Pinback album by a fair distance, the finest moment in the career of a band whose unfettered brilliance we’ve come to count on, but will never again take for granted.

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Walk around Damien Dempsey’s patch of Dublin’s northside and the places and people are like ancient dolmens round his lyrics. Turn a corner near his family home and there still are the “factories, trains and houses” he sang about on Shots, albeit quieter now, and more subdued.

Tradesmen walk around mid-morning with rolled up tabloid newspapers under their arms. A generation lies idle in a community struggling to re-establish its identity and sense of self.

For Dempsey, people and place are King. His voice is Dublin yet wholly distinctive, almost clichéd to say it, but he is part of a rich bloodline of Irish singers from Luke Kelly to Ronnie Drew, Christy Moore to Andy Irvine. Their kin outside Ireland are Springsteen and Guthrie, Dylan and Marley.

In Almighty Love, Dempsey’s sense of place reaches out beyond Donaghmede and North Bull Island, where he first performed in public as a teenager, across the Irish Sea and further afield.

The locale is still in the lyrics. It’s there in the hauntingly poetical Chris and Stevie, a tribute to male bonding and grief. You can hear it in Canadian Geese - large migratory birds whose flight path took them past Dempsey's boyhood window. It’s there also in the references to railway tracks and waves, visible from the rooftops of Dempsey’s childhood home. Those railway tracks took Dempsey and his boyhood friends out into their own imaginations and he hasn’t forgotten.

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Tickets: $15 for one (1), $55 for four (4) ticket family pack, FREE for non-walkers. If purchasing the four (4) ticket family pack, please note that one (1) ticket will cover entry for four (4) people.

Hundreds of thousands of kids aged 6 months to 6 years, dancing their little booties off (to real disco music!) at some of the coolest clubs in the world while their parents sip cocktails, munch on organic snacks and dance along with their kids.

Baby Loves Disco transforms the world’s coolest nightclubs into child-proof discos.

Make no mistake, this is not the Mickey Mouse Club, and Barney is banned. Baby Loves Disco is an afternoon dance party featuring real music spun and mixed by real DJs blending classic disco tunes from the 70s & 80s guaranteed to get those little booties moving and grooving.

The fun spills out from all corners of the club: bubble machines, egg shakers, a chill-out room (with tents, books and puzzles), diaper changing stations, a full spread of healthy snacks and dancing…LOTS of dancing.

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Some artists are able to articulate a vision at the very beginning of their career, while others hone their craft over time, growing into their vision as they mature.

"I am definitely in the latter category," explains Drew Holocomb, a Tennessee-born, duck hunting, French speaking, bourbon drinking, 1st edition book collecting, golf playing Eagle Scout with a Masters degree in Divinity from Scotland's University of St Andrews (he wrote his dissertation on "Springsteen and American Redemptive Imagination") who has spent the better part of the past decade as a professional musician -- recording, writing, and touring with his band Drew Holcomb & The Neighbors.

Since releasing their first album, 2005's "Washed In Blue," Drew & The Neighbors (Ellie Holcomb, Nathan Dugger, Rich Brinsfield) have established themselves as a formidable indie act, selling more than 75,000 records, playing more than 1,500 live dates, selling-out headline shows, and touring alongside such varied acts as The Avett Brothers, Ryan Adams, Los Lobos, NEEDTOBREATHE, Susan Tedeschi, North Mississippi Allstars, Marc Broussard, and more. Their songs have been used in countless television shows and commercials, most notably in TNT's Emmy Award winning 2011 Christmas Day "NBA Forever" spot, which paired the song "Live Forever" with a mesmerizing montage of past and present NBA video footage.

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Tickets: $15 for one (1), $55 for four (4) ticket family pack, FREE for non-walkers. If purchasing the four (4) ticket family pack, please note that one (1) ticket will cover entry for four (4) people.

Hundreds of thousands of kids aged 6 months to 6 years, dancing their little booties off (to real disco music!) at some of the coolest clubs in the world while their parents sip cocktails, munch on organic snacks and dance along with their kids.

Baby Loves Disco transforms the world’s coolest nightclubs into child-proof discos.

Make no mistake, this is not the Mickey Mouse Club, and Barney is banned. Baby Loves Disco is an afternoon dance party featuring real music spun and mixed by real DJs blending classic disco tunes from the 70s & 80s guaranteed to get those little booties moving and grooving.

The fun spills out from all corners of the club: bubble machines, egg shakers, a chill-out room (with tents, books and puzzles), diaper changing stations, a full spread of healthy snacks and dancing…LOTS of dancing.

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Tickets: $15 for one (1), $55 for four (4) ticket family pack, FREE for non-walkers. If purchasing the four (4) ticket family pack, please note that one (1) ticket will cover entry for four (4) people.

Hundreds of thousands of kids aged 6 months to 6 years, dancing their little booties off (to real disco music!) at some of the coolest clubs in the world while their parents sip cocktails, munch on organic snacks and dance along with their kids.

Baby Loves Disco transforms the world’s coolest nightclubs into child-proof discos.

Make no mistake, this is not the Mickey Mouse Club, and Barney is banned. Baby Loves Disco is an afternoon dance party featuring real music spun and mixed by real DJs blending classic disco tunes from the 70s & 80s guaranteed to get those little booties moving and grooving.

The fun spills out from all corners of the club: bubble machines, egg shakers, a chill-out room (with tents, books and puzzles), diaper changing stations, a full spread of healthy snacks and dancing…LOTS of dancing.

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