Approaching the fifth ShoalsFest weekend, the weather gods were threatening. Many took to social media to hawk tickets, some even offering them for free as the forecast showed heavy rain and thunderstorms ahead. But as the event neared, it appeared Jason Isbell’s fest would be a mostly dry affair. And it was. Mild and breezy weather was on the menu for the entirety of the festival.

Attending my second ShoalsFest in as many years (check out what I heard from last year), I was surprised there wasn’t another big-time band headlining one of the nights. Last year, Jackson Browne headed up night one. This year, Isbell and his 400 Unit knocked out both Saturday and Sunday slots. But my surprise turned to excitement as both nights were tremendous, albeit possessing two different moods.

I continued my ShoalsFest tradition of keeping score of every concert shirt I spotted. Just a few surprises seeing bands represented who would never be involved in this fest. Check out myBand Shirts: Who Wore What list at the bottom.

DAY ONE

A cool breeze coming off the Tennessee River relaxed fans as S.G. Goodman took to the stage. The folk singer-songwriter, hailing from Kentucky, is supporting her third studio album Planting by the Signs. It was a solid set, with a vibe born for ShoalsFest. She performed some of her well-known tunes including. “Satellite,” “Space and Time,” and the new Butthole Surfers’ cover “Pepper.” She and her band also covered “I Lost It,” made famous by Lucinda Williams. Songs such as “Heat Lightning” prove the artist and her band really know how to kick out the jams. Click here for more on Goodman.

Nineteen years of waiting finally paid off for fans of the mid-aughts Drive-By Truckers, as they played their first full set with former member Isbell, rocking through their 2003 classic Decoration Day. It was a reunion worthy of the wait. After the low-key opener “The Deeper In,” a caterwauling Patterson Hood yelped, “Y’all ready, motherfuckers!” (not a question, but a challenge), and they busted out “Sink Hole.” Leaders Patterson Hood and Mike Cooley settled into their roles like it was 1998 all over again.

The band powered through the entirety of their fifth studio album, what many fans and critics believe to be their best. Their first with Isbell, then a young 24 years old, Decoration Day holds up as one of the best releases of that decade. For Isbell’s part – besides bringing wicked guitar skills – he is also a top-notch singer and songwriter, able to connect with the everyman. His five contributions to the album include the title track, “Danko/Manuel,” and the brilliant “Outfit.”

The band was fired up, and the fans followed suit. This was a celebration. Closing with the sobering “A World of Hurt,” the Truckers cemented themselves as the epitome of Southern rock, and one of America’s best live bands. For tour and release information, visit the DBT website.

Isbell and his 400 Unit continued with the energy which had been building all day. The set was solo-heavy, showcasing his work outside of the Unit. Maybe a bit more subdued than the Sunday night show, this evening’s set underscored Isbell’s clean, clear, and excellent voice. It cut through the cool Alabama night like a dream. The band released its last studio album Weathervanes three years back, so fans are eager for new tunes. But there was no shortage of terrific music tonight.

The band has been noticeably evolving over the past few years, with more backing vocals/harmonizing, keyboardist Derry de Borja (formerly of Son Volt) adding magical flourishes to some songs. Finally, guitar slinger Sadler Vaden (formerly of Drivin’ N Cryin’) amping up every rock song. A greater sense of community within the group is evident. These people seem to genuinely like each other. Bassist Anna Butterss and local legend Chad Gamble form the solid rhythm section, while Will Johnson adds guitar and percussion.

The beautiful “Alabama Pines” became the night’s perfect song, as fans sang along surrounded by those very trees. Isbell is proud of growing up in the area, and informed the crowd that his parents were in attendance. I wonder if he stayed in his old room?

After the final song, Isbell’s story of sobriety, “Cover Me Up,” the band exited stage right. The encore included a brilliant rendition of “Ride to Robert’s” featuring Isbell and Vaden on guitars alone on the stage. Isbell called up Hood and Cooley to the stage as the collective rocketed through the Neil Young call to arms “Rockin’ in the Free World.” It was a four-guitar rock assault on our senses, and none of the political gravitas of the song was spared. Singing of “…the warning sign on the road ahead,” the message was sent: VOTE.

DAY TWO

Georgia native Willow Avalon opened the Sunday set with her brand of country twang, playing songs from her new release Pink Pocket Pistol. From that album comes the duet “Cardinal Sin,” featuring Isbell. He took to the stage to perform the song with her. Check out Avalon’s music and tour dates here.

Wilco’s Jeff Tweedy, in the midst of a solo tour promoting his colossal three-disc solo release Twilight Override, put on an exceptional performance. While many in the crowd may have been looking for a back-up band, this was just Jeff and a guitar. He proved why he’s one of the most respected artists around, as he sang in perfect voice while impressing on the six-string. His vocals were sharp, piercing the night air.

Mixing up the setlist, Tweedy played some Wilco tunes, as well as selections from his work with Billy Bragg, Loose Fur, and Uncle Tupelo. “Guess I’ll play some more sad songs, what the hell. They didn’t bring me here to make you happy,” Tweedy expressed, always showcasing that dark sense of humor. Catch his solo tour coming to a city new you.

I thought it would be nearly impossible for Isbell and the band to top the previous night’s show, but I stand corrected. A more rocking affair on night two, there were more 400 Unit songs than solo, which woke the neighbors and all the fishes in the river. They were as tight as a sailor’s rope and improve each time I see them. Labeled as folk and Americana, Isbell referred to his cohorts as, “This Rock ‘n’ Roll band” several times. And it’s true…this group rocks. Tonight’s tunes from Isbell’s critically acclaimed solo acoustic album Foxes in the Snow were energized with help from the 400 Unit, each song taking on a new personality.

As the evening darkened and the cool air wafted off the river, “If We Were Vampires” was played for the second night. A brutally heartbreaking song, it was written and sung with ex-wife Amanda Shires. I’ve pondered the challenges of continuing to sing this song for him, with lyrics such as, “It’s knowing that this can’t go on forever / Likely one of us will have to spend some days alone / Maybe we’ll get forty years together / But one day I’ll be gone or one day you’ll be gone.” While the intention was discussing death, it has transformed to divorce.

Closing the show and hitting like a cannon ball was “This Ain’t It,” a post-Southern blues rocker that always gets fans on their feet. The guitar interlude between Isbell and Vaden was a highpoint, and felt like we’d been transported back to a seventies-era Allman Brothers show.

As the band preps for their annual six-night run at The Ryman Auditorium later this month, it appears they’re ready. For more info on those dates, click here. Check out other tour dates and releases at Isbell’s website. Finally, keep scrolling for the #SetListPlayList and Band Shirts, Who Wore What below.

Band Shirts: Who Wore What. Musical festivals present a grand opportunity to people watch. As Day 1 ensued, I started keeping score. Here are the t-shirts in the order I saw them throughout the fest. I did not include shirts from this year’s ShoalsFest artists as there were many.

The annual rock/indie rock music fest Shaky Knees was held for the thirteenth year in midtown Atlanta’s wonderful Piedmont Park. Up until last year, the fest had been presented from numerous other areas, the latest being Atlanta’s Central Park. The growing weekend concert once again took over Piedmont Park, former home to the long-running, but now defunct, Music Midtown Festival.

This was Shaky Knees’ first sellout weekend, with an estimated total crowd of 50,000+ per day rounding up to roughly 150,000 total attendees across the weekend. Not sure if we can refer to weather occurrences a “Shaky Knees Curse,” but again, they put lightning bolts in the logos! More below.

DAY ONE

New York City’s Geese revved up Saturday with their brand of experimental-indie rock music. Their recent meteoric rise, mainly resulting from their monster fourth release Getting Killed, has brought the band unrivaled exposure and a ton of fans. Singer Cameron Winter, whose solo album Heavy Metal also sold big, led the band through a fiery set of songs. Well-known hits such as “Taxes,” “Au Pays du Cocaine,” and “Trinidad” were true crowd pleasers. And the psyop robots were showing their emotional human sides!

Baltimore’s Turnstile hit the stage at 7:30 and neither the weekend, nor Atlanta, was ever the same. One of the most anticipated performances of the fest, the six-piece lived up to the hype. Kicking it off was the blistering “BIRDS,” from their latest, critical and commercial hit NEVER ENOUGH. My sixth Shaky Knees and I had yet to see a crowd so into a band. It was beautiful chaos. The five-member hardcore collection is a bit different, in that they know how to write a pop song. See the title track, as well as “I Care” for a joyful ride.

Lead singer and major crowd hyper Brendan Yates was a man possessed. He held the attention of the entire crowd as he jumped, kicked, and emoted on every song. Yates and the band are clearly students of Rage Against the Machine, as exhibited through the power drums, explosive guitar, and Yates channeling Zack de la Rocha with each breath.

The big screen behind the band looped moshing crowd scenes from previous shows, inspiring the Atlanta crowd to do the same. Like I said, beautiful chaos. Turnstile’s stock is rising worldwide, and with a recent slot on SNL, more fans are jumping on.

Dublin’s breakout success story is Fontaines D.C. The quintet’s world-changing fourth studio album, Romance, shot them into the stratosphere of success. With major hits “Starburster” and “Favourite,” they were/are in demand. The band played an inspired set of indie rock. But let’s just call it dance rock, as the crowd never stopped moving.

The Strokes, playing Shaky Knees for the third time, were a crowd fave. Playing a whopping six tunes from their debut album Is This It, the band was in rare form and somewhat redeemed themselves from a – let’s just say – sloppier performance during their last time. Crowd pleasers included “The Adults are Talking,” “Selfless,” and “You Only Live Once.”

Julian Casablancas was in good voice and the band’s sound quality was a close second to their beginnings some 25 years ago. Opening the show with “Dine N’Dash” from their new release Reality Awaits, the boys proved they still knew how to write and play solid rock songs.

DAY TWO

Is it nature’s tradition? A curse? A blessing? Whatever the cause, night two was blown out by severe thunderstorm warnings, sending festival goers scattering after the powers that be announced an emergency evacuation. My first thought was, “THIS SUCKS.” Then I thought of the artists who traveled to get here and take the stage for their hungry fans. Smack dab in the middle of the 6:30 sets for Taking Back Sunday and Blood Orange, the announcement hit. We’d all been watching the skies and checking our weather apps, knowing it looked bad. But still held out hope. As fans exited the park, security and door agents were yelling, “It’s over! Go home!” Bad advice.

It lightninged, thundered, and poured buckets of rain. Thousands of fans had nowhere to go but stand on the sidewalks and side streets. After at least an hour braving the elements, the skies cleared enough and fans trailed back into Piedmont Park. Confusion ruled as no one knew if it was, in fact, canceled, or if the show would go on. Finally, around ten o’clock, Twenty One Pilots took the stage and did about a one-hour show. During the evacuation, a few other bands missed their slot, most notably Pavement and The Prodigy (two of my must-sees).

Needless to say, people were pissed. Especially those who took the advice to “go home.” Social media and the Shaky Knees message boards were filled with raging from those who missed out. Many stated they had flown here, rented cars, booked hotel rooms, etc. This could have been handled better. Nonetheless, the Pilots kept their fans – who made it back in – very happy.

DAY THREE

Decent weather was back for the final day of the fest. Several well-known groups graced the Shaky stages early, including Jet, OK Go, and Modest Mouse. Staten Island Hip Hoppers Wu-Tang Clan opened with “Bring Da Ruckus,” and bring it they did. Fans seemingly became part of the collective, rapping along with the legends. Around the same time, Fcukers lit it up on a competing stage with their fierce electronic sounds. The NYC duo, consisting of Shanny Wise and Jackson Walker Lewis, roared through eighteen works. That beat was felt for miles.

And now for something completely different: Kentucky’s Knocked Loose blasted from the Ponce de Leon stage with a vengeance, blasting their hardcore punk sounds through the helpless speakers. It was a pallet cleansing, of sorts, for the eyes and ears of concertgoers. Lead vocalist Bryan Garris screamed through the hour set before closing with the ironically titled “Everything is Quiet Now.” It was anything but quiet!

James Murphy’s storied LCD Soundsystem became a highlight for fans. The band is described in many ways, dance punk revival being my favorite. For the lead-in to “I Can Change,” Murphy input pieces of Kraftwerk’s “The Model” and “Radioactivity,” a tip of the hat to one of LCD’s biggest inspirations. The songs that made them huge, “Dance Yrself Clean,” “All My Friends,” and “Home,” were featured with crowd reactions matching the band’s energy.

Murphy called it quits in 2011, releasing the critically acclaimed documentary Shut Up and Play the Hits telling the band’s story. The “hiatus” didn’t last long, as members reunited four years later, then releasing their fifth studio album American Dream. It became their first #1 album in the U.S. The break in no way affected their fanbase, and judging from their Shaky Knees performance, they’ll be around for a while.

The Sunday night headliner was Gorillaz, the British conglomerate headed up by Blur’s Damon Albarn. The band recently released their ninth studio album The Mountain to universal acclaim. Albarn’s genre switching hit the public 25 years ago with their self-titled debut album.

As longtime fans wished, Gorillaz played all the hits. “Feel Good, Inc.,” “Clint Eastwood,” “On Melancholy Hill,” and so many others were played with spirit. Several guests joined the band onstage who sang on the new album. Del the Funky Homosapien, Bootie Brown, EarthGang, DRAM, 6LACK, and Kara Jackson all showed up to support Gorillaz in Atlanta.

Despite the Saturday weather shenanigans, Shaky Knees 2026 was an overall success. Plenty of great bands to please everyone, food trucks galore, plenty to drink, and a weekend of mingling with like-minded music lovers. Always looking forward to this fest and ready to discover great music, old and new.

For the complete list of Shaky Knees 2026 setlists, click HERE.

New York City’s Diary have released their debut full-length album Spiral Bound, which is peppered with 80s jangly guitars and 90s Manchester vibes, all blending with the shoegazey aughts. This genre-bending collection of songs is sure to grab the attention of serious music fans.

Longtime friends Kevin Bendis on vocals and guitarist Chris Croarkin formed Diary, releasing two EPs in the early 2020’s. The duo soon added drummer Adam Sachs, Jessica Dye on guitar and vocals, and bassist Yan Kogan.

The band released its first single and video this summer “Keep Comin’ Up,” a clear nod to that Madchester sound, possessing heavy Stone Roses and Happy Mondays vibes. It maintains a groove that’ll imbed itself in your cerebral cortex for a good while.

Recently, “Drive It” was dropped with an equally mysterious video, a sorta 21st century Falling Down with the protagonist (antagonist?) experiencing a full-on mental breakdown seemingly caused by the frustration of everyday life. I feel this in 2026.

A Marr-ish guitar ushers in “The Same Door” and my mind is pulled back to discovering the Smiths in the 80s. But comparison is the thief of joy someone once retorted. I’ll go with that and enjoy Diary’s fresh, tight sound. The individual contributions from each of these musicians is evident, sounding like a band who’ve been jamming together for years.

“Already Dead” is reminiscent of Dinosaur Jr. on speed, even referencing the 90s with “Bring it back to a time and space / When everything was fine / Cigarettes and mp3s / And you weren’t on my mind.” More genre-defying stuff. And while “Blue Sunshine” may or may not be referencing Robert Smith’s album of the same name with his 1983 project The Glove, it radiates a gothy ambience.

Not to go out with a whimper, the bass-heavy “Asterisk” closes the 10-track album with a true rocker. Bendis provides his echoey and impassioned vocals singing, “I can’t bring myself to fall in love with someone else again,” clearly a breakup song but it’s everything but sad.

Spiral Bound is a wonderfully balanced album, full of well-written, powerfully-played songs. All they need is a little exposure, so share with all you know. Here’s hoping Diary gains the success they’ve earned, and fans will see more music and tours.

For more information on Diary and Spiral Bound, visit their website and Bandcamp page.

Whether the False Corners‘ debut title sends your mind Stevie Wonder’s way (“Shoo-Be-Doo-Be-Doo-Da-Day”) or even further back to Sinatra’s “Strangers in the Night” (“doobie-doobie-doo”), you’ve missed the mark. Releasing EPs piecemeal in a sort of riddling way over the past couple of years, the trilogy added up with the release of Shoobie Doobie Doo.

Jack Shaw took some time off from his band The Head to conjure up some tunes of his own, pulling in some of the best local artists out there.

Working with longtime friend, producer Damon Moon, Shaw penned the words and music for each song. The result is a highly listenable album exhibiting flavors of indie pop and rock. While False Corners won’t be a live experience, you can keep up with The Head as well as all the uber talented artists on this album. Below are our reactions to each EP release.

Shoobie: Shaw Evolves with False Corners (1/26/24)

To say Jack Shaw has been a fixture of the Atlanta music scene for well over a decade is an understatement. Along with his twin brother Mike and guitarist Jacob Morrell, The Head was formed back in 2007 when the brothers were just 15 years old and Morrell was 14. Since then, the trio has toured the U.S. and U.K. accumulating a repertoire of several releases. False Corners is the newest iteration for drummer Jack, who has written the words and music for the Shoobie EP, enlisting alternate vocalists to lead each one. Friend and producer Damon Moon was at the controls for production. He also performed all over the record with Shaw.

The four-song EP is a wonderful mix of indie pop and sentimental emotions. “Somewhere” is a luscious ballad that promises to pluck at the heartstrings of its listeners. Vocalist Chloe Kay provides the angelic voice that ties this song together. The simple and stark “Bare” features Anna Griffith on seemingly effortless vocals. This wispy, mid-tempo tune adds a new feel to the release. The lone male voice on the EP is provided by Tyler Key on “She Said,” a perfect radio-friendly pop song for the new year. The opening harmonica notes evoke an Asbury Park, NJ vibe. Emily Backus offers up a folksier pop sound on “Where is My Blood.” The brightest light here is Shaw’s excellent songwriting chops, each track masterfully tailored to suit the respective vocalists. Imagine a writer pairing with four vocalists who bring their unique styles and personalities, creating a sort of Myers-Briggs personality set of songs. This would be that.

From the Shoobie press release, Shaw reflects on the creation of False Corners, “I’ve always loved that Brill Building format of writing songs for other artists to sing. Collaborating with Damon has allowed me to explore that format more than ever. He’s been my George Martin and Wrecking Crew rolled into one.”

Shaw kindly answered some questions for No Earplugs:

Where did the name False Corners come from? False Corners are what contractors build to add corners to a structure, I think. I really don’t know the phrase’s true definition. I just heard an architect use the term once to describe building corners for this room he was designing. Regardless, “False Corners” wouldn’t leave my head so I decided to put it to use.    

What specific instruments do you and Damon each play? On Shoobie specifically, I play the acoustic guitar, drums, and glockenspiel. Damon plays everything else (electric guitar, bass, keys, synth). On “She Said,” Tyler Key actually contributes an electric guitar solo. On “Somewhere,” my brother Mike plays piano. Me Me Me also performs strings on “Somewhere.” 

What other bands are Tyler, Anna, Emily, and Chloe associated with? Tyler Key is an old buddy of mine who has been playing in the Atlanta/Athens scene for a while. Anna Griffith came from the now-defunct band Bandanna. In terms of “Where Is My Blood,” that song is sung by Emily Backus. Emily is the singer of this awesome local band called Mom Friend. “Somewhere” singer Chloe Kay is a singer-songwriter who used to share bills with my own band The Head. She’s also my fiancée! All of these singers are fantastic singer-songwriters in their own right and have released music on their own. Chloe actually just released her second LP I’m free now, I’ll miss you last fall. Most of these guest singers performed for The Goodmood Fund‘s benefit concerts at one point or another. Tyler and Chloe also used to be part of Goodmood’s booking roster in 2019-2020. All of them are amazing artists and people.

Any plans to play live? No. False Corners isn’t a live kind of project. That’s not to say we wouldn’t do a special live performance one day. 

Anything happening with The Head in the near future? Yes! We’re actually working on some new stuff we plan on releasing soon. We’re also about to announce our first live show of the year soon. Expect more from both False Corners and The Head.

Mark your calendars for the Shoobie release January 26 on all streaming platforms. It will be the first installment of a three-volume EP series from the Shaw-Moon collaboration. Stay informed by following False Corners on Instagram and Spotify.

Doobie: False Corners Drop ‘Doobie’ (4/18/25)

Drummer Jack Shaw of The Head has been exploring new horizons lately. His first solo project under the name False Corners was the EP titled Shoobie, released in early 2024. His latest four-song collection is called Doobie. (What could be next?) Once again, Shaw wrote the music and lyrics, while his collaborator and fellow musician Damon Moon of Standard Electric Recorders handled the production, engineering, and mixing. 

“From A Shadow” opens with a nostalgic piano reminiscent of the 1960s, evoking “Louie Louie,” but quickly shifts into an upbeat pop song featuring Atlanta’s Emily Backus of Mom Friend on vocals and a dash of guitar fuzz for good measure. The compelling line “You don’t know my pain” captures the feelings we all share in 2025, resonating deeply with listeners. 

Shaw’s wife, Chloe Kay, beautifully contributes to the release with her vocals on “Goodbye.” She sings “No need to surround / I’m doing okay / I’m learning to drown / And crumble away,” sounding like a person who is clearly in distress, accepting an inevitable outcome. 

Across this project, Shaw demonstrates both experience and skill in his songwriting and musicianship, having performed music professionally for half his life. Bringing in talented vocalists like Kay has proven to be a winning strategy. It’s unclear whether he writes the songs first and then selects singers or if he crafts them with specific voices in mind—either way, we’d love to hear more. 

Kay continues her noteworthy contributions on the enchanting “Tomb of This Size.” The track is enhanced by dreamy strings from Atlanta trio Me Me Me, envelops listeners in a warm embrace, with Kay’s lilting voice perfectly capturing the song’s mood and energy. The lyric, “I notice a pattern in the way you loom / Over the hills tonight,” hints at Kay serenading the moon. 

Finally, “Dedicated Flowers,” sung by Jordan Reynolds of Rose Hotel offers a sober meditation that may transport listeners into a dream state. The lyrics touch on themes of mortality: “Dedicated flowers are left to rot / Up against a marker of stone / They stay a while and offer me a comfort to be known.” Shaw confirms saying, “Death is definitely a theme that pervades a good chunk of this record.” 

False Corners is a conceptual project, and it appears that touring and live performances are unlikely. Shaw has successfully collaborated with these skilled singers and musicians on this, the second installment of a three volume EP series. Fans are excited for more from the Shaw/Moon combo. 

Visit the Bandcamp pages of all the collaborators: False Corners, Chloe Kay, Mom Friend, Rose Hotel, and Me Me Me.

Doo:  False Corners Complete Trifecta (11/7/25)

We all saw it coming. False Corners, the new project from The Head‘s drummer Jack Shaw, has released the third EP of three in the series. EPs one and two, Shoobie and Doobie, featured a variety of vocalists. What else could follow but Doo? Shaw has written another slew of sweet tunes featuring vocals by Rock Eupora, the moniker of Nashville’s Clayton Waller as the sole singer on all four tracks. 

Opening track “My Revolver” finds Waller singing, “Can’t believe in God / Without a favored nod / To all the nihilation” with pop perfection over a solid groove of happiness. Longtime collaborator Damon Moon is again at the helm producing, engineering, mixing, and adding some of his own sounds at his Standard Electric Recorders Co. in Atlanta. “I’m playing acoustic guitar, some small percussion, and some minimal keys/mellotron,” Shaw told No Earplugs. “Damon is playing everything else (i.e., electric guitar, bass, drums, synth stuff, etc.). He’s really been my Wrecking Crew and George Martin rolled into one.” 

With a tranquil organ lead-in, “Knee Pain” kicks in with a jumpy beat and Waller’s smooth, layered vocals. Like many of Shaw’s compositions, songs are well-written and full of hooks, making them instantly hummable. “Safer Hands” is no different, filled with catchy and memorable sounds that invade your brain. Feed the earworm! Waller’s voice is a perfect fit with Shaw’s musical creations. “Small fact, Clayton and I have known each other for over a decade. His band (Rock Eupora) used to play shows with The Head back in the day when we were both traversing the Southeast out of our vans,” Shaw shared.

Closing track “Metal Clothes” drives a little harder and is the most rocking tune on the EP. More meaningful lyrics shine on the track: “Open your lips, I need a sound / I’d love a chance to swim around / Inside that lake rising behind / Your fragile, porcelain eyes.” 

Fans look forward to more music from False Corners and Jack Shaw, whatever the form. For more information, visit the artists’ Bandcamp pages at: False Corners, Rock Eupora, The Head.

#supportlocalmusic

For the fifth time since 2019, Jason Isbell‘s Southern rock, Americana-tinged ShoalsFest is happening. Returning this October to the beautiful banks of the Tennessee River in Florence, Alabama, the fest continues to pull in fans old and new. Isbell, who grew up in nearby Green Hill, has made this a true homecoming event.

Former Drive-By Truckers bandmate Patterson Hood comes from Muscle Shoals, a music Mecca famously known for shaping the sound of American R&B, soul, and rock ‘n’ roll. Both are returning home for this incredible music festival. Isbell and his 400 Unit will headline both nights, while the Truckers will be performing 2003’s Decoration Day in its entirety (with Isbell joining, of course).

Wilco frontman Jeff Tweedy will make his inaugural appearance at ShoalsFest, sharing his wares from years of producing superb music for the masses. In addition to his band’s 13 albums dating back some three decades, Tweedy’s solo material holds up miraculously. His latest foray is Twilight Override, a 30-song, triple album showing the artist as prolific as ever.

S.G. Goodman joins the fest this year with her melding sound of folk, country, and rock. Recently releasing her critically acclaimed third studio album Planting by the Signs, Goodman’s star continues to ascend. A relative newcomer to the music scene, singer-songwriter Willow Avalon joins the fest promoting her new album Pink Pocket Pistol, which features Isbell on the track “Cardinal Sin.”

Alabama magician/musician and rockin’ eco hero Steve Trash resumes his role as resident crowd worker, entertaining kids and adults throughout the weekend.

ShoalsFest has teamed with Athens, Georgia-based Nuçi’s Space, whose vision is “to end the epidemic of suicide and to inspire a culture free of the stigma attached to brain illnesses and its sufferers by supporting a community-wide effort that focuses on education, prevention and access to appropriate treatment.” A most worthy cause.

For ticket information, visit the ShoalsFest site; and check out my review from last year. It promises to be another unforgettable time. And don’t forget to bring a chair!

#supportmusicians

If you’re already familiar with Shearwater and Loma, you know they’re a mysterious amalgam. The trio formed after Cross Record (Emily Cross and Dan Duszynski) toured with Jonathan Meiburg’s band Shearwater, which led to the collaboration resulting in Loma.

The bands are touring Northern Europe and the UK in November and want to see you. Here’s the catch: it is extremely expensive to produce a tour, especially with no major label support (Shearwater’s latest The New World was self-produced).

The musicians have teamed up with Fractured Atlas, a different kind of crowdfunding source. From the website: “Think bigger than crowdfunding. Engaging your network and sustaining your artistic practice can stretch the limits of a single campaign. That’s why we’re with you for the long haul.”

Shearwater and Loma have shared full transparency of costs and plans, exhibiting a desire to team with fans to create new experiences. And make it a threefer tour with Duszynski’s band Any Kind opening the shows. Check out his stuff here on Bandcamp.

Short of flying to Europe in November (which I’ve not yet ruled out), show these bands some love and get a valuable piece of merch from their tour, starting with a printable poster for as low as $25, up to Duszynski mixes of your own songs for just $600! Many things exist between those price points, including producer credits on audio and video recordings from the “When Can I See You?” tour.

To grab a part of history and help these terrific bands put on the tour, visit FRACTURED ATLAS. For information and ticket availability, visit the Shearwater website. Also, Visit Loma’s site here; and Dan Duszynski here.

#supportmusicians

The Austin collective Shearwater has always straddled the line between music and nature. That may sound like a gargantuan leap of art, but singer-songwriter Jonathan Meiburg lives comfortably in both worlds. Having published A Most Remarkable Creature: The Hidden Life of the World’s Smartest Birds of Prey, Meiburg is a passionate scientist who puts equal effort into researching birds (and the rest of the natural world) as he seemingly does his music.

The book received rave reviews, even from the likes of Margaret Atwood and Laurie Anderson, the latter adding, “I’m in love with this book. If you like great writing, strange historical twists, adventure, nature, music and/or birds, this will quickly become one of your all-time favorite books.” Maybe Meiburg used this connection to persuade Anderson into performing the spoken word on the final track, “You and Your Dog.” It’s a mesmerizing piece.

The New World finds Meiburg joined by longtime bandmates Emily Lee and Dan Duszynski, who assist in creating a wonderment of sounds recorded in Los Angeles, Berlin, London, Brooklyn, and Austin. Joining the trio is an assemblage of musicians from around the world, contributing harmonies of beautiful and mysterious sounds to the album. This is perhaps the band’s most ambitious work, holding its own throughout all nine tracks.

The debut single, “Daydream Unbeliever,” is an epic, sweeping piece of music, made more so by Meiburg’s video work from his recent journey to Antarctica. Watching and listening, you will be transported into the harsh conditions of that locale. The building landscape of string orchestration paired with the explosive drums underscore the majesty and dangers of the continent, and possibly at a ticking clock as we hurdle toward global warming. The video ends with the statement, “There is still a world outside.”

Meiburg’s voice is simultaneously powerful and vulnerable; the perfect complement to the music (and vice-versa). As he’s demonstrated before, his voice has a somewhat symbiotic relationship with that of David Bowie. Both singers possess a tone which is quite rare out there. “The Only Sound I’m Afraid Of” offers dreamy atmospheres and lyrics aimed at the price of settling: “And the only sound / I’m afraid of / Is coming home now / To live a long life / Of unison.” A story underscoring the fear of becoming trapped in a stagnant and suffocating monotony of a life. Meiburg clearly disavows such an existence.

For the immediately hummable “Slugs in the Marigolds,” another perfect visual storyboard was created. Once viewed, you will never hear this song again without picturing “Lil’ They” in your mind. In the video, Meiburg rescues an out-of-place slug, taking a ferry and roaming for a while. He exposes his new friend to new scenes, all while singing, “Shuffle through the day / Trying to live with people.” The singer’s care for the little guy, along with the sad-happy saxophone, sets this tune apart.

As these wonderful tracks unfold, you will hear several of Meiburg’s field recordings in the wild, across continents. So the question before us is: What is the true final frontier? Is it space or our oceans? Meiburg would argue it’s the earth’s natural world – more succinctly, Kingdom Animalia. As he continues to study this ever evolving phenomenon (and frequently putting his discovered thoughts to music), fans are the beneficiaries.

The New World is an intelligent and emotional care package for listeners. Shearwater invite you to enter a world of discovery and understanding; a world where music fuses with science. Meiburg recently shared, “I used to worry about keeping those worlds separate, but now it all feels like one big project.”

Visit Shearwater’s website for more information and catch them on tour if you can.

Fifty years ago this month Danny Beard and the late Harry DeMille opened the doors to Wax’n’Facts, a mainstay in the vibrant Little 5 Points district of Atlanta. Since then, the record store has drawn music lovers from every corner of Georgia, around the Southeast, and beyond.

To honor the place it has become, several local artists gathered at the Variety Playhouse (just around the corner from Wax’n’Facts) for a night of music and excitement. It was an early start at 6:30 on this Sunday evening with Kevin Dunn‘s Unresponsive in Malibu opening the show. The blues/country/art rock/punk legend, known for his time in Athens and producing early works by the B-52s and Pylon, is a natural entertainer. His “20,000 Years in Sing Sing” and the Chuck Berry cover “Nadine” were favorites with the fans.

Paul Melançon‘s new project Helionaut wowed the crowd with a power-pop masterclass. Playing selections from solo material, his New Insecurities band, and a new Helionaut tune “Andrew Scheuchzer,” the future is bright for Atlanta music fans. The audience was treated to such gems as “King Sham,” “Hyperventilate,” and the beauty of a closer “The Answer Is Yes.” Keep an eye out and your ears open for new Helionaut music soon!

Anne Richmond Boston, well known for her time with the Swimming Pool Q’s, performed an intimate solo set before that band took the stage. Her latest release, I Should Be Happy, is full of wonderful harmonies and edgy, thoughtful lyrics. It’s the follow-up to her first solo album from the ’90s and the first album on DB Records in decades. Playing songs from her solo career and closing with the Jimi Hendrix classic “The Wind Cries Mary,” Boston proved why she’s one of Atlanta’s most well-known voices from the late ’70s and early ’80s new wave scene. One of the highlights of the set was the fierce guitar playing of Bob Elsey, and man, did he ever summon Jimi that night.

The smooth transition to Swimming Pool Q’s brought the whole band onstage beginning with “The Earth Makes Us Feel Things,” from the band’s final studio album Royal Academy of Reality in 2003. Popular tunes such as “Now I’m Talking About Now,” “Corruption,” and their first single, “Rat Bait,” were performed drawing enthusiastic singalongs from longtime fans. The closer, “Big Fat Tractor,” from their 1981 debut album The Deep End (DB Records), was a rock ‘n’ roll blast.

From the one-of-these-are-not-like-the-other category, All The Saints delivered crushing sounds at a near-deafening volume. Once described as most likely to cause a sonic boom, the Atlanta trio delivered. Many concertgoers “of a certain age” filled the aisles to the lobby during the set. You know what they say: If it’s too loud, you’re too old. Well, it’s true. But do not be discouraged, as the Saints continue to record and tour with their “metal Radiohead” dynamism and enough energy to power a large city.

Earlier in the evening, an announcement was made that Uncle Green frontman Matt Brown was stuck in Jersey awaiting a delayed takeoff to Atlanta. The Pylon Reenactment Society generously offered up the headlining spot to ensure all could perform. PRS is not a tribute band – and definitely not a cover band – but a reincarnation of Athens legend Pylon, with Vanessa Briscoe Hay still on lead vocals, and a cast of rotating characters backing her up.

Known as co-originators of the Athens alt-rock sound, Pylon was known for their new wave/post-punk leanings, with a vibe sometimes reminiscent of the B-52s. Their energy was high until around ’83 when it ceased to be fun. Members went their separate ways until the Reenactors emerged in 2014.

Once Brown arrived, Uncle Green took the stage around 11:15 p.m. with the original lineup intact. Their six-song set focused on material from the band’s acclaimed early-1990s catalog, including “I Don’t Wanna Know About It,” and featured an impromptu rendition of “Danny Boy” in tribute to DB Records founder Danny Beard. The performance underscored the band’s enduring appeal and left fans longing for new music.

With original members still intact – Brown on guitar and vocals, Jeff Jensen on guitar and vocals, Bill Decker on bass, and Peter McDade on the drums, the band played like no time had lapsed. After a short-lived name change to 3 lb. Thrill and one release, the band has returned to their original moniker and can be found reuniting now and then if you’re lucky enough to catch them.

It was a tremendous celebration of the Atlanta and Athens rich alternative rock heritage, highlighting the lasting influence of Wax’n’Fact, DB Records, and the regional music community. Now, let’s start planning for the next 50 and visit Wax’n’Facts to buy some records today!

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*Not all setlists are available at this time

Singer-songwriter John Robinson is carving his name into the Atlanta music scene. Ultra Lights have unleashed their debut LP Pleasure’s All Yours, and let me tell you, this record absolutely rips. It’s a bold new arrival for 2026, and future fans are in for a wild surprise.

Leela Hoehn joins the ride on guitar and vocals, Alex Wharton brings the bass and harmonies, and Gus Fernandez powers the drums. Together, this foursome storms through their debut with raw, unfiltered energy.

After the title track explodes onto the scene, “Good Enough” turns up the temperature, channeling the raw energy of The Strokes. Sure, you might catch echoes of Pavement and Pixies, but Ultra Lights blaze their own trail with a sound that refuses to be tamed.

On the first single “Bad Feeling,” Robinson sounds fed up as he belts, “Well, it’s a pretty nice day for a kick in the face / And if you like it so much you should take my place.” Hard pass. This track is a jolt to the senses, but make no mistake: Ultra Lights are no copycats. Their clever wordplay and relentless guitars carve out a sound that is unmistakably their own.

Dropped last November, “Just Like You Want” offers a glimpse of the band’s future with its pulsing bass and driving drums. “Nightmares” lands a post-punk blow, with Robinson’s voice steering the story from start to finish.

Already earning a spot on Stereogum’s Bands to Watch list, these Southern upstarts know exactly what they’re after and how to grab it: razor-sharp lyrics, wild fuzzy guitars, and hooks that refuse to let go. Honestly, I’ve run through it ten times and still crave more.

Taken as a whole, Pleasure’s All Yours is a tight-knit set of fresh tracks that most bands only dream of pulling off years into their careers. The Lights sound locked in from the jump. Even when Robinson drops lines like, “I’ve got Botox in my balls / I really don’t care anymore” on “What’s Wrong,” a wry take on aging and loss of youth, the band keeps things sharp. The finale, “Got Damage,” refuses to let the energy dip, closing the album on a high. Not a single dud in the bunch.

Don’t miss this one. For more info on music and shows, visit the Ultra Lights Bandcamp page.

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After Jay Farrar left alt-country upstarts Uncle Tupelo, Jeff Tweedy wasted no time forming Wilco in 1994, releasing their critically acclaimed debut A.M. the following year. Since then, he and various bandmates have forged a path creating an amalgam of indie, alternative, and experimental rock, becoming one of America’s most revered bands. Since then, Wilco has evolved its musical trajectory, adding guitarist extraordinaire Nels Cline in 2004 for work on A Ghost is Born. He never left. While Tweedy and bassist John Stirratt are the only Wilco originals, the band has grown and evolved into a near-perfect musical organism.

On their current “An Evening With Wilco” tour, the band plays two full sets, and on this evening in LaGrange, that was a full, 31-song event. A 90-mile drive from Atlanta, I was having doubts about making the trek, as heavy rain and thunderstorms were forecasted for showtime. I’d been burned once before, when driving to Birmingham in early May of last year. Waxahatchee was supporting, and I was excited to attend such a killer show. Immediately upon arrival, I learned the show had been canceled and would be rescheduled. Instead of checking into the hotel, I hightailed it back to Atlanta ahead of potential tornadoes. Sadly, I was unable to make the new date.

This prompted me to throw caution to the wind and hit the road. The two-hour drive (during ATL rush hour!) paid off as not a drop of rain fell during the show. As the clouds parted and the humidity dropped, Wilco put on an epic concert to a nearly sold-out crowd. The band cruised through their classics as well as the deeper cuts with the majority of tunes coming from Yankee Hotel Foxtrot, the quarter-century-old, arty breakthrough.

As per usual, Tweedy joked and spoke with audience members, at one point asking a teenager if he had been “locked in the cage” (a box seat). The boy said his parents were in the pit. Tweedy remarked, “You’re stuck in there with Steamboat Willie,” at which point a man with a large red hat waved in approval from the box. Tweedy then said to the man, “I like your style!”

All joking aside, this performance underscores the brilliance of Tweedy and the band, which also includes guitarist Pat Sansone, keyboardist Mikael Jorgensen, and powerhouse drummer Glenn Kotche. Together, this sextet has raised the bar for all other bands searching for that sweet spot in a musical landscape that’s become watered down and ultra-processed.

Another highlight was “California Stars” from Mermaid Avenue, the ’98 album collaboration with Billy Bragg. The new “Losing Traction” was played for just the fourth time on their tour, debuting at the band’s Solid Sound Festival in North Adams, Mass., just three weeks earlier. With Cline on the lap steel, it’s a heartfelt rocker. Tweedy sings, “The sky’s still blue, whatever they say / Lately the truth is losing traction / I don’t think we should ever get used to living this way,” possibly a nod to the current state of affairs in the good ol’ U.S. of A. He adds, “Bad luck saved me from worse luck / And I was only depressed when I still gave a fuck.” Words of wisdom.

After the double-set dream of a show, the band returned for a two-song encore playing “I Got You (At the End of the Century)” and “Outtasite (Outta Mind).” Diehard fans filled the seats (which were used sparingly as many stood the entire show), and the collection of Wilco shirts was overwhelming. This is a band to catch live, if at all possible. Buy the tickets . . . you won’t regret it.

For tour information, visit Wilco’s website.

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