In March, Book More Women attended the sold out Support the Girls Fest featuring indie pop acts like Carol Ades, Debbii Dawson, Ally Salort, and more artists performed, and roamed and engaged with fans while excited attendees poured in. Each set was engaging, interactive, and a genuinely good time. Performances felt intimate and intentional, across both stages. Whether it was an acoustic melody or a track everyone could dance to, it was clear that everyone attending wanted to be there - which may not happen as often as you’d think.

We sat down with Push-Up Bra LA founder Zealyn to understand how the unique energy of the event and organization came to be. Read below!

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As Zealyn told us,

“The biggest goal was to create shows that were for the artist and not just the fans.”

This was new to me. In an industry where money talks, artists who aren’t in the first few lines of lineups often get left behind. As an artist who has been through her own journey, Zealyn knows this all too well. This knowledge drives her to provide and care for the artists she features at Push-Up Bra LA events. Artists are welcomed, taken care of, and advocated for.

Their intention is to “provide performance AND content opportunities.”

Not only does Push-Up Bra LA tap into local scenes to book artists of varying identities, followings, and genres, they also support these artists with content creation at the events. While it is standard to take photos and conduct an interview, I was impressed at the intentional content support provided by Push-Up Bra LA to the featured artists.

We all know how stressful, time intensive, and hard to navigate media can be; especially for an artist towards the beginning of their career. Larger events and festivals could take note here and support their independent, younger acts in ways past providing them a slot.

“Note to artists: have some type of email listed somewhere!”

For practical advice as someone who has been on lineups and creates them, Zealyn urges newer artists to list an email “SOMEWHERE - ANYWHERE!” Make yourself easy to reach (most other talent buyers / promoters will not do the passionate, investigative A&R Zealyn and her team will ;).

Quick hits from our conversation:

Zealyn’s favorite venues:

“If you would have asked me six years ago it would have been very different answers… R.I.P Bootleg and The Satellite. Now Goldiggers, I love Goldiggers. Great for an intimate show with up and coming artists!”

What local artists should we be watching?

“Oh man, there are so many… Some that come to mind first are The Two Lips, Carol Ades, Niko Rubio, After, Baby Rose, Jessie Mazin, The Aces, Ally Evenson, Zina Delphia, Maeta, Kid Sistr, and Hailey Knox (she’s no longer in LA, but had to give her a shout out. So talented). I will forever be in awe of Lindsey Lomis and Sarah Defney Gray’s voices. And I’m so glad Eli and Amelia Moore are popping off - both incredible!”

Favorite place to eat after an event/show?

“In n Out. Always.”

Thank you to Zealyn and Push Up Bra LA!

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We connected with South Sound Block Party’s founder and producer, Christen Greene to learn how the independent festival puts together their lineup, the challenges they face, and what it’s like booking local heroes. Read on for much more.

Learn more about the festival at their website!

This is the first in a new series, Behind the Lineup, going inside the booking process at music festivals - the decisions, the values, and the people behind them. We’re exploring how the lineup goes from idea to reality. Subscribe now to get every conversation delivered to your inbox!

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THE PROCESS

Walk us through how this lineup came together. Where did it start? What were some of the key conversations along the way? What themes, vibes, or principles guide you through the booking process?

Christen Greene: This year was a bit of a saga, honestly. We had a couple of bands confirmed that would have changed the entire size and scope of the event, and then lost both of them within 48 hours. Late in the game. So it was back to the drawing board pretty quickly.

The upside is we’ve built real relationships over time. We have a reputation for treating artists well, and strong agency relationships to lean on. That matters in moments like that. You can pick up the phone and actually get things moving again.

From there, it came together in pieces. I’ve been offering on Shannon and the Clams for years, so getting that across the finish line for Year 5 felt like a win. Sleater-Kinney was a no-brainer for us, it just took the right timing. And Sleigh Bells came out of seeing them live last fall. I hadn’t fully dug in before, but they blew me away. When things shifted, they were one of my first calls.

In terms of approach, we’re always balancing a few core things. We prioritize female-identified artists. We want to honor Olympia’s musical legacy while still creating space for discovery. And we’re intentional about mixing in local and regional artists who are really doing something.

Once the headliners are in place, we build around them. It’s about complement, contrast, and flow. Making sure the day feels good to move through, not just stacking names on a poster.

And then reality hits. You go after artists across genres, but not everything lines up. This year leaned more rock-forward than we initially planned, mostly because some of the country, reggae, and rap acts we pursued were either unavailable or out of budget.

That’s kind of the job. You have a vision, you stay flexible, and you build the best possible version of the festival with the pieces you can actually get across the line. I’m really proud of where we landed.

How does decision-making work when putting together SSBP? How many people have input into the final lineup? When deciding on artists to pursue or book, what factors do you consider, and what carries the most weight?

CG: I have final decision-making power and send all the offers. Ian and Jane are pivotal to the event, both in booking and production, and all three of us are on site wearing a half dozen hats during the event.

When it comes to building the lineup, we’re looking at different things depending on the level of the artist.

For legacy or more established acts, it starts with alignment. Do they understand what this is? Do their agents get it, or are they just chasing a festival payday? Because we’re not AEG or Live Nation. We don’t have that kind of money. We’re a hard-ticket, tertiary market festival.

So the pitch is different. You can go play Bumbershoot the following weekend: take a little more money, play a shorter set, and be one of 4 or 5 things happening at once. Or you can come here, stretch out for a full set, play on the water, and have a crowd that’s fully with you. For a lot of artists - ahem….if the agents actually care to relay this info - that experience actually wins.

For developing artists, it’s about fit. Do they match the aesthetic and the overall lineup? And are they and their teams good to work with? That matters more than people think.

For newer bands, we’re looking at intent and experience. Are they actively working, trying to grow and trying to build something? Sometimes it’s as simple as: do they return emails and promote their shows? We’re much more inclined to book artists who are serious about making a go of it. No shade to hobby or side projects, there’s room for all of it, but we want to be part of helping artists grow, especially here in the PNW. At the end of the day, it’s a mix of instinct, experience, and knowing our audience. That’s what carries the most weight.

Where in the process does the conversation of equity intentionally come into play? Are there any strategies, principles, or frameworks you have concretely worked into your operation?

CG: We prioritize female-identified artists. Period. And not as a talking point - because we don’t even really lean on it that way. As Ian likes to say, “don’t just talk about it, be about it.” We’re about it. For us, equity isn’t a separate conversation. It’s baked into how we build the lineup and the event from the jump. It’s who we’re reaching out to and who we’re championing. It’s who we’re putting in positions of visibility. We’re not interested in checking a box after the fact.

So this means looking beyond the ‘usual pipelines’ and being thoughtful about billing and placement. And making sure artists aren’t just included but actually positioned to be seen and discovered.

Why does it matter? Representation, obviously. But also because the talent pool is deep and historically overlooked. There’s no shortage of talent, just a long history of it being undervalued. The industry has acted like this is hard and the work [Book More Women does] has really put a light on that. It’s not hard. One just has to decide it matters and then actually take action.

We’re not perfect, but we’re intentional. And that’s the difference. Equity doesn’t slow us down. It makes the lineup stronger.

What is your approach for finding smaller or emerging artists? What makes a lesser-known artist appealing to SSBP?

CG: Oh, it’s nothing novel. We ask around, we go to shows, we send people to shows we can’t get to, and we listen to everything that comes in. If you’ve taken the time to track down our email and send a link and a pitch, I’m happy to listen.

A lot of it is just staying curious and trusting the people around us.

This year I found Alien Boy while I was getting a tattoo in Portland. I was making conversation with my artist and asked who was hot down there right now since I hadn’t booked a PDX band yet. At first they brushed it off, then a few minutes later they were like, “actually… people are really going crazy for Alien Boy.” They put them on, I heard “Changes,” pulled up a couple live videos, and sent the offer from the chair.

On the flip side, we also lean on artists already in the lineup. I asked Lovely Colours about Babes in Canyon and where they thought they should sit in relation to them. Basically, “be honest, who’s a bigger deal right now?” And they were like, “Babes in Canyon, for sure. That band is sick. They should be after us. Things are happening for them.” That kind of awareness and respect goes a long way. It helps us place artists in a way that actually reflects what’s happening on the ground, not just what we think we know.

At the end of the day, we trust our network, we trust our ears, and we move when something feels right. What makes a lesser-known artist stand out is usually pretty clear. There’s a point of view, some momentum, and a sense that they’re building something. That’s the moment we want to be part of.

What are the biggest difficulties, roadblocks, or constraints to building your best lineup, especially as an independent, community-focused festival?

CG: The reality right now is that it’s never been more expensive to put on a show, and never been more fragile on the revenue side. Touring costs are up. Production costs are up. So…roadblocks? Money and capacity. But if we’re being honest, it’s money.

Independent festivals are operating in a pretty tight environment right now. Costs keep climbing, but funding is less predictable. Grants are helpful but time-intensive. Sponsors are stretched. And you still have to deliver a lineup people will show up for.

So the challenge is simple, even if the solution isn’t. The artists who move real tickets cost more. To book them, you need capital you don’t always have. We try really hard every year to make it work, but it’s a grind and doesn’t always work.

THE FESTIVAL

SSBP has consistently championed women and gender-diverse artists and this year is no different, with Sleater-Kinney, Sleigh Bells, Shannon & the Clams, and Annie DiRusso leading the lineup. Sleater-Kinney feels like an inevitable headliner for SSBP, with their namesake road just a few miles from the festival grounds. How long has this been in the works? What was it like getting the band on board?

CG: We’re thrilled to finally have Sleater-Kinney at SSBP. It’s been in the works, in one way or another, for a few years. The timing just had to be right. The band and their agent have been great to work with, and the show is incredible, but it’s bigger than that for us.

Their connection to Olympia is foundational. It’s part of the DNA of the town and, in a lot of ways, part of the reason something like this can exist here at all. This place has contributed so much to music, not just great bands, but entire movements and ways of thinking about art and community. You can still feel that when you’re here.

I used to live right off the Sleater-Kinney exit, and it never got old seeing that sign. It’s a small thing, but it’s a constant reminder that something undeniably cool and influential, on a global level, came out of this town. So to now have them headlining, a few miles from that road, feels full circle in a way that’s hard to overstate.

With them, and with Bikini Kill before them, there’s a real sense of responsibility. We want to do it right. We want them to walk into this and feel like something meaningful is happening here, not just another stop on a tour.

Part of that is giving people a reason to come to Olympia now. Not just to look back, but to be part of what’s still unfolding. To see new artists coming up, to feel the community around it, and to understand that this place is still actively shaping culture, not just living off its history.

More than anything, I want them to feel proud. Proud of the town, proud of what’s being built now, and hopefully able to see their fingerprints on it. Because the truth is, this doesn’t exist without them. I really hope they know that.

Building and sustaining community is a clear focus of SSBP. Now five years in, how does the festival’s relationship with the local community, including artists, audience, and the city itself, shape the festival? And how has the festival shaped the community in return?

CG: What a great and thoughtful question! I think it’s a two-way street, for sure. This festival only works if the community shows up for it, and they have. Locals plan their summer around it now. We see people buying tickets before the lineup drops because they trust what we’re building. That didn’t exist in Years 1 or 2.

The city and county have also been genuinely supportive, which matters a great deal. When municipalities are willing to lean in, it makes it possible to keep something like this going.

On the artist side, we’re seeing more bands route through Olympia and ask us how to come back, which is huge. I get far more agents pitching me now than the other way around. That wasn’t happening five years ago. Outside the festival weekend, we’ve got alumni shows like Luke Borchelt coming next month that are close to selling out. That shows me we found something Thurston County saw, liked, and want to see again. That feels great.

The South Sound Music Summit is another big piece. That’s our free networking, education and workforce development day that happens each fall. It started small and has grown quickly, which tells us there’s real appetite here for connection, education, and infrastructure around music. It’s not just about a weekend anymore. It’s about community building year-round.

There’s also the economic piece. We’re bringing people in from out of town who are booking hotels, eating, and spending locally. We also employ 45 to 65 paid staff each year. Between heads in beds and paychecks going out, it’s real impact, and local businesses feel it.

At the same time, the community shapes us just as much. Olympia has a deep musical history and a strong point of view. It’s a place that consistently punches above its weight musically and culturally. You can’t just drop a generic festival into a place like this and expect it to work. The lineup, the tone, even the way we talk about the event is influenced by the people here.

Sustainability is still the hardest part. It takes constant work to keep it going. But at this point it feels less like we’re trying to prove something and more like we’re responsible for taking care of something the community has claimed as its own.

What are you most looking forward to at this year’s SSBP?

CG: We’ve got a few surprises up our sleeves for the super fans that I’m really excited about. And Jane is booking a Thursday night kick-off show with some alumni that we’ll be announcing soon, which feels like a fun expansion of the weekend.

On a personal note, one of my closest friends is flying in from Chicago. She hasn’t been back since Year 1, so getting to see it through her eyes now versus then will be really special.

Talent-wise, I’m excited to have Annie DiRusso back. I’m just a huge fan. And Saturday is really stacked. The one-two punch of Shannon and the Clams into Sleigh Bells is going to be pretty epic.

But honestly, more than anything, it’s that moment each year when the gates open and you can feel the whole thing come to life. That never really gets old.

Thank you to Christen Greene and South Sound Block Party for your time and thoughtful, insightful answers!

Learn more about the festival at their website!

Support all of Book More Women’s work by subscribing today, or making a donation via our fiscal sponsor, Fractured Atlas.

MAKE A DONATION

Keep up with Book More Women:

Learn more: bookmorewomen.com
Support: donate now or shop our merch
Follow: Instagram and TikTok

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Blondshell: New York-born Sabrina Teitelbaum, aka Blondshell, has quickly become a defining rock voice for her generation. Her 2025 third album If You Asked For A Picture is a reflective continuation on past themes like early adulthood and toxic intimacy. Known for live performances that revive explosive ‘90s guitar energy, Blondshell is perfect for an early Saturday set.

Flowerovlove: Joyce Cissé, better known as Flowerovlove, is a rising singer-songwriter pop sensation from London. She first gained popularity by sharing her well-crafted music and aesthetic on TikTok. Her brand new single “American Weddings” showcases how her smart writing combines with her whimsical pop sound. Stay tuned for her first full-length project!

Jane Remover: A constantly-evolving hyperpop game-changer, Jane Remover has incorporated glitch pop, EDM, emo, shoegaze, rap, and more into their music in just the past few years. The live energy of their shows is hard to describe. You can read about our Executive Director’s experience at a Jane Remover show last year here:

Jessica Brankka: Brazilian DJ and Producer Jessica Brankka has moved from the club scene to massive international stages with her afro-house and melodic techno. With an intense style focused on a deep percussive groove, her set is early on Friday, but a great way to start your weekend!

CMAT: CMAT, also known as Ciara Mary-Alice Thompson, is an Irish indie-country-pop artist, who brings her sense of humor, defiant attitude, and plenty of talent to her music. Last year’s EURO-COUNTRY explores body-shaming, mental health, and late-stage capitalism with a wit that finally broke through to an American audience. Her live performances puts both her talent and humor on display, creating a show that can’t be missed.

Slayyyter: Hyperpop powerhouse Slayyter released her major label debut WOR$T GIRL IN AMERICA just two weeks ago. She recently told Hollywood Reporter about the lead-up to the project: “I was kind of over it and over being called an up-and-comer and over trying so hard to not lose money on tours and all of this stuff.” She treated the album as the last one she’d ever make, and it paid off. Combining electropop, punk, and club music, Slayyyter is completely herself.

Die Spitz: From Austin, Die Spitz is what happens when the “Venn diagram of passion, friendship, identity, and artistry collide.” The four-piece all-female punk band has rapidly ascended from backyard shows to opening for bands like the Foo Fighters. Their live shows are known for a raw, chaotic sound where members often swap instruments. See them to start your day on Saturday!

Let us know who you will be showing up early to see!

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And to fund it all, we started our first ever crowdfunding campaign through our fiscal sponsor, Fractured Atlas.

THE 3 DAYS LEFT UPDATE

60 people have donated so far. We’re most likely not going to hit our dollar goal, and that’s ok. But we’re not just giving up on this campaign. We’re setting our sights on hitting 100 donors instead.

Because we would rather receive $10 from 100 people than $1000 from 1. And we mean that. Book More Women was started by the community and is for the community. We want to invite you along on this journey and build it with us.

DONATE NOW

Book More Women doesn’t have major funders. We opened our bank account last year with a $100 gift from my mom. Our board is comprised of working artists. Our team is volunteers. And we won’t take money from companies that actively harm independent artists and festivals, even when it would be easier to say yes.

But what we do have is a real community that has been built over 8 years. We have 8 years of data, over 550 festival lineups analyzed, and a vision of what needs to change and how to change it.

READ OUR STRATEGIC PLAN

In 2025, only 22% of musicians booked at major US festivals were women. For the first time since we started tracking, it got worse. That’s why we moved from awareness to action.

WHAT YOUR SUPPORT IS FUNDING:

Our first two BOOKED festival accountability partners have been announced. The intro episode of our podcast MEASURED is live. Workshops are coming soon!

If you’ve been following this work for a while and have wanted to support us, this is the time. Any amount matters and contributions are tax-deductible to the extent permitted by law.

DONATE NOW

If you can’t give right now, sharing this with one person who loves music and believes in equity is just as meaningful.

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40 more donors. Let’s do this!

Thank you,

Abbey Carbonneau
Executive Director
Book More Women

Book More Women is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of Book More Women must be made payable to “Fractured Atlas” only and are tax-deductible to the extent permitted by law.

Paid subscriptions through Substack are NOT tax-deductible.

See more updates on Instagram!

How We Started

When Book More Women began in 2018, our approach was simple. We erased the all-male acts from each lineup poster. When we began including statistics, we counted “by acts.” Each name on a festival poster, whether a solo artist or a group, was treated as a single unit. If an act featured at least one woman or nonbinary musician, it stayed on our edited posters and counted as a “yes” in our data.

At the time, this method worked for what we needed to do. It helped us visualize disparity at a glance and turn the volume up on the conversation. But as we tracked this data over several years, we realized this method had two significant limitations that we could overcome with a bit more work:

• Nonbinary Erasure: By combining nonbinary musicians into a single “woman/nonbinary” category, we were reinforcing a shortcut that erases real identities. We wanted to know how many nonbinary musicians were being booked. So we needed to look at them as individuals.

• Full Band Composition: A female lead singer with a four-piece male backing band and a five-piece all-woman band both counted equally as a “point” in our data. On a poster, they are both one act. On stage, they tell two different stories.

The Shift

At the start of 2024, we decided to move the bar to where it should be. We shifted our focus from the “act” to the individual musicians - the people.

This meant going deeper. Doing the research to find the individual members of every group on the lineup. We wanted to see who was actually being paid to stand on those stages. When we stopped looking just at the poster and started looking at the people, the numbers changed dramatically.

Comparing the Methods

To visualize the difference in the two methods, imagine a lineup of five 5-piece bands, as represented on the graphic below.

Using the Legacy Method (right): Four of the five bands feature at least one woman or nonbinary musician, so the festival booked 80% diverse acts.

Using the Official Method (left): By counting all 25 musicians in those same five bands, we see 17 men, 7 women, and 1 nonbinary musician. The story is much different, with a score of 28% women, 4% nonbinary, and 68% men.

Here’s how it looks with our real-world data. The following numbers are based on combined data for the 2025 lineups of 9 major U.S. multi-genre festivals (Austin City Limits, Bonnaroo, Boston Calling, Bottlerock, Bourbon & Beyond, Coachella, Governors Ball, Lollapalooza, Outside Lands).

Using the Legacy Method: 38% of the acts on the lineup featured at least one woman or nonbinary member.

Using the Official Method: 21.6% of musicians booked are women, 1.6% are nonbinary, and 77.4% are men.

READ THE FULL DETAILED METHOD HERE

A New Baseline

With our Legacy Method, 50% representation would mean half the acts on a lineup include at least one woman or nonbinary person. We thought that was a reasonable bar.

But of the 9 major festivals we evaluated from 2018-2025, only 3 lineups out of 71 events hit 50%. Boston Calling met the mark in 2023 and 2024. Outside Lands hit it in 2023. For the major festivals, that was it.

Independent festivals have done much better over the years, with many regularly surpassing 50 or even 60% by the Legacy Method.

The full-band numbers are not meant to discourage festivals that are putting in real work to diversify their lineups. We want to acknowledge that 50% is no longer an easily reachable bar.

Of all musicians booked across 130 festivals that we researched in 2024 and 2025:

17.3% women, 1% nonbinary, 81.7% men

Why It Matters

Counting each individual musician isn’t about making the numbers look worse. It’s about telling the full story. Because it matters when girls see female drummers or lead guitarists too.

Building a festival lineup is complex. Promoters, agents, labels, managers, artists, and sponsors can all play a role. The gender disparity didn’t begin with festivals. It won’t end with “fixing” festivals.

But by learning that 77% of musicians on festival stages are men, it forces us to look past the surface and ask more systemic questions:

What are the sources of gender inequity in music?
Who is making decisions and how are they making them?
What powers are keeping the system unfair?
How can we change it for good?

What’s Next

We changed our method in 2024 to be more inclusive and tell a more complete picture. The Legacy Method was safe. It allowed us to see big-picture progress, and that progress was real.

But counting everyone measures the problem more clearly. And establishes a better baseline we’ll use to hold ourselves and the industry accountable moving forward.

Our next chapter begins next week.

Follow along on our Instagram for the latest and subscribe here to dig deeper with us.

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Thank you.

Check out the interview highlights below to learn more about how Joy thinks about responsibility as an artist, how she protects her creativity, and much more.

The following interview has been edited and condensed.

Want to hear more of the conversation? Become a paid subscriber and unlock our audio clips!

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Book More Women: Your music often gives space for stories that aren’t usually centered. Have there been moments where you’ve really felt the power of using your voice, connecting with fans or other artists through your lyrics?

Joy Oladokun: I used to be really insecure about the sort of blank-slateness, or the sort of Mad Lib-y quality to my songwriting, but it has always been really intentional. I love music that is specific, but I think for me, growing up as a kid of multiple identities, music was a way for me to understand myself and others.

There are songs that I grew up loving that may mean something totally different to the artist, but they were general enough that they sort of stuck with me and helped me grow. And I think I try to do the same thing as a writer. So to be able to see that happening in real time, like when people come to my shows, or when I get a card or a DM, that feels so special to me, really genuinely.

I try to keep in front of me that the goal, when I first picked up a guitar or first picked up the pen to write, was to feel less alone.

So every time someone says, ‘I understand that too,’ or ‘I feel that way too,’ I feel like I am accomplishing my goals, which is a gift on the days when you are like: ‘I am like, not famous, I am not maybe all the things that the industry tells me that I should be’. But I am connecting, in a world where it is increasingly hard to connect, and I try to hold on to the gift of that.

From your perspective, what does real change look like in the music industry, especially when it comes to equity and visibility for underrepresented artists?

I have actually been thinking about this because I feel I get asked a version of this question a lot, not even just as a musician, like in my past lives, when I was a pastor, the churches would be like, how can I be more friendly to not-white people, and I am like… literally do anything different. Literally make any choice opposite the choice that you are making now.

I think for the industry, the thing that I have been thinking about a lot is, I think the change might need to start from the top down. And a lot of times we think the top down is like “the industry”, like somebody’s manager or agent, but I think the top is us, the artists, and the choices we make. From who we bring along with us, to how we treat them, to who we collaborate with, and how we treat them. I feel like I have been challenging myself in a lot of ways to think about: how I can pay attention when I am the only person like myself on a lineup or in a room, and how I can make sure that that does not continue to be the case.

Yes, it is people in the industry’s responsibility to make things more equitable, but it is also the artist’s responsibility. And I think that is what can be done, for people like me to actually think about our impact for real, not just like what we say, but how we do it from the ground up.

My experience as an opener is sort of what made me think about it. I got into the music industry by playing gigs, playing guitar or singing backups for somebody. I think I am always thinking of things from the working man’s perspective, like from a crew member’s perspective, or from a band member’s perspective. It is not just me doing everything I can to get ten sold out Radio Citys, like there are people who come with me who sacrifice time at home just to be able to do what they love.

I have been trying to think more about that, and lead more from a place of, like, I want everybody to feel a sense of equity.

How do you think about building a team around you, people you trust, who respect you, and who reflect your values?

I think if you are not thinking about the makeup of what is around you, you are already messing up, like if you are just sort of on autopilot, and you are like, this manager, this person, this band, this tour manager… I think that is how cultures get broken from the start. My goal has always been – like Jeff Probst of Survivor says – is that my team and my shows and everything should feel like a microcosm of the real world. So I want everybody to be represented in the work that I do. For my band, I want the band on stage to feel like the people that I would hang around with.

If you look around and everybody looks like you and thinks like you and feels like you, that is never satisfying to me. So I try to get ahead of it by making sure that, not only is the person I am picking the most qualified, but that they also represent a part of my world that maybe is not represented in the rest of my team.

As a musician, you have to have people around you that care if you live or die. That was a hard reality for me to sit with. There is a book I read by Hanif Abdurraqib, one of my favorite writers, and he talks about going to a show and seeing a Black kid pass out, and watching people just step over that kid’s body for like thirty minutes until they came to. Honestly, sometimes on lineups of festivals, I feel like I could be that kid. That is my biggest fear, like we have already been accosted by security on the way in… sometimes it’s hard to keep your head up and feel encouraged, unless the people around you are like, I see you as a human, I love you as a human, I appreciate your art. Because a lot of the places I go, especially in this body, people are not immediately respectful. I have to earn that respect, so to speak, which is…

I spent some time in India with the Dalit people, one of the lower caste people, and to me it was such an inspiring time, in the sense of humans are so fucked up because we just want to classify. We just want to make a ladder, everywhere. We just want to make a system, or we just want to say this is who is first and this is who is last. But the best experiences I have ever had in my entire life are the ones where people see each other, treat each other, sit with each other, eat with each other, sing with each other as equals.

And I think as an artist, I am trying to make mini pockets of those experiences so we can do better as a society.

What was it like being part of Allison Russell’s Past and Future Sounds set at Newport Folk Festival?

That was my first Newport Folk Fest. I knew the basic facts about it, but I did not really know what I was going into. It was one of, still, my favorite festivals I have ever been a part of.

I think what was special for me about that one is: First, I love Odetta. I think it was important and timely to celebrate an artist that I do not think we think about enough. And I think what was beautiful about it is, I think what my heart is, and I think a lot of people’s heart, like me, is that we want Black artists to have the same moment that Joni Mitchell had at Newport Folk Fest, but at this current juncture, a lot of times they do not live long enough to do so.

So for me, being able to pay homage to a hero that I think should get flowers, I think should get celebrated, who’s music should be in our mouths and hearts more often, was really powerful for me. I like to call myself a musical Afro-futurist, or like Black-futurist when it comes to my art, because there is not a day that I do not think about Sly Stone, or Betty Davis, or Alice Coltrane, or Bob Marley, Bill Withers. I think it’s important to celebrate your heroes. And I think I am trying to make a world that is kind enough for my heroes to live long enough to be celebrated.

Outside of music, how do you take care of yourself and create space to keep making art?

I love nature. I like being outside. I have a porch that I really appreciate, a space where at any moment I can step outside for a few minutes and not be so consumed by walls and sounds and lights and screens. I think family is a huge part of it, and relationships, and the people close to me.

I am a big 9 to 5 creative. I take a lot of inspiration from authors and their writing systems. Like Maya Angelou would go to a hotel and handwrite on a hotel bed and then come in the evening and read it to her husband. And that was her process.

So I sort of think about my work in that way, from 9 to 5, or 10 to whatever, I am going to be in the studio and then when I shut the lights off, I am going to go out and have dinner with people I love, or play video games, or go on a hike, and live a full life.

The boundaries are helpful for my creativity, because I try to fit as much as I can into that time, and I also get to experience what I feel like is a really beautiful and good life.

If you had to put us on to one artist, someone up and coming or doing something interesting that we need to know, who would it be?

There is an Afrobeats artist, Libianca. There’s a song called ‘People,’ and she talks about how sometimes it is crazy to have so many people in your life, but to feel alone, if that makes sense. So, yeah, go listen to Libianca.

Teni is another African artist that I really love. I am sort of in my Zamrock phase, like ‘60s, ‘70s African rock. For some reason I have just really been in that bag.

Thank you to Joy and her team! It was a genuine pleasure.

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For its fifth year at Merriweather Post Pavilion, ATG did not disappoint, pulling off yet another unique, nostalgic, and iconic lineup. Forget running around trying to find your festival group or arguing over which set to see next; ATG DC keeps it simple with only two large stages, sending everyone back and forth from one incredible set to the next with almost no overlap. It is truly an amazing way to see your favorite artists of the year back-to-back, surrounded by a welcoming crowd, beautiful sunsets, and impressive production.

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Tip #1: Bring a tote bag! No need for fancy festival gear here. Having a Trader Joe’s tote on your shoulder feels almost like a requirement for entry.

Friday

Walking into the festival under a pink-purple sky, sipping a free Yerba Mate, and hearing The Marías start onstage, one has to pinch themselves. From the stunning sunset view to their consistently breathtaking set design and stage presence, there was no better way to start the weekend. The performance was both chilling and gorgeous, confident and controlled. Fans screamed as they played hit after hit, lost in a trance, knowing every word.

Sarah and Valeria, two longtime fans standing next to me (close to tears), told me they came specifically for the band. “Their music is so powerful and touching for everybody,” Sarah said. “I feel so overwhelmed, it’s surreal. I’m so proud of them and how much they’ve grown.”

Next up were the all-femme rock queens, The Last Dinner Party. Authentic, goofy, and hardcore all at once, I just wanted to join them onstage. It felt like a jam session between friends, bouncing around and having the time of their lives. They radiated energy between each other and out into the crowd, making the whole atmosphere electric. From stopping mid-song to deal with a massive bug onstage to the band’s non-stop chemistry, the set felt straight out of a movie.

We left the festival ten minutes early, snagged an Uber in record time, and called it a winning first night.

Tip #2: Do not respond when the artist says, “What’s up, DC?” You are not in DC.

Saturday

If you wanted to feel bad about your own skills, all you had to do was show up early to watch G Flip play every instrument in existence while singing flawlessly. I left their set feeling both talentless and inspired, and hungry, which led me straight to the food carts in search of anything that wasn’t fries or chicken tenders.

Post-snack, I wandered to the Garnier Pop-Up Truck (for the fifth time that weekend) to grab yet another free mini micellar water. The reps were handing them out like they were on commission.

Feeling proud of my haul, I made my way to the Chrysalis Stage, where Orion Sun was serving the calm, grounding energy I desperately needed after the pop-up frenzy. Aside from some crowding, the whole vibe of the festival felt like a concert in the park. People picnicked, lounged, and read between sets. It was refreshingly different from the typical festival chaos; shoes off, blankets out, everyone content to just stay put all day.

And just when the day couldn’t get better, we remembered what was coming: Gigi Perez into Faye Webster into Clairo into Lucy Dacus. No wonder there were tote bags, line tattoos, septum piercings, and carabiners everywhere. Queens of silent swagger, each artist graced the stage with poise and quiet power as fans sang every lyric. The dedication was unreal, like everyone had studied for a test. Multiple performers called out how special the ATG crowd was, saying it was one of their favorites ever to play for (though they might say that to all the girls).

Tip #3: Check the forecast! (But don’t trust it.)

Sunday

Another day, another rain poncho wasted on false promises of an 80% chance of rain. Regret hit hard as I walked in dressed in all black under a clear sky. Still, an incredible day was ahead.

Molly Grace and jasmine.4.t opened with sparkle, power, and spunk, two artists who’ve found their voices and perform with love, inclusivity, and authenticity. We caught up with both post-performance (more to come here ; ), and they each praised the festival, the fans, and the sense of community among artists.

After two days of constant stage-hopping, we finally laid down our blankets and claimed a little patch of grass. Shoes off, tote bags marking territory, we danced along with MICHELLE, who had just hit the Chrysalis Stage. For one of their final performances as a band (RIP), they went all out, sunlight glinting off sequins, choreographed dances, and pure joy radiating to their day-one fans. The set was way too short, but there was no time to sulk: Rachel Chinouriri was calling.

You know when artists talk a lot between songs but don’t say much? Rachel was the opposite. She spoke with purpose, sharing honest stories about heartbreak and creative struggles, connecting deeply with the crowd. It was emotional, empowering, and unforgettable.

Then came Marina, and honestly, it felt like stepping into a glittery video game world. Badass fairies, rainbows, and total whimsical chaos, in the best way.

By then, I was blissfully exhausted, so the chicken fingers and fries at the concession stand felt like a five-star meal. I needed the fuel, because Ke$ha was next.

We weren’t sure what to expect, but from the moment Maryland’s governor appeared onstage (yes, really) to welcome All Things Go “for years to come,” we knew something special was coming.

Empowered and unapologetic, Ke$ha owned that stage, dancers, costume changes, and defiant energy. She’s been reclaiming the songs she didn’t have control over for most of her career, and you could feel that freedom. It was powerful, poetic, and cathartic.

Good thing we drove that night, because there was no chance of finding a Sunday post-Ke$ha Uber.

All in all, All Things Go 2025 was unforgettable. I have never seen such a dedicated, respectful, and joyful crowd. Every artist commented on the energy, the connection, and the genuine love radiating from the audience.

Thank you, All Things Go, we’ll be back.

Tip #4: They have $6 beer. I repeat, $6 beer.

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Joy Oladokun - Blending classic sounds with fresh ideas, Joy Oladokun is what I always hoped Americana would be. Commanding yet serene, listening to Joy feels like floating. Her storytelling is unparalleled across versatile records that span rock, pop, and folk. A rejuvenating way to start your day. Promise <3

Sunday (1994) - Yearning, whimsical, pop. Their music feels like the score to your calmest, most confusing dreams. Even with slower songs, Sunday (1994) delivers spirited live shows and has sold out venues across the country. Their effortless chemistry shines onstage. Catch them before they blow up even more on TikTok.

Caroline Kingsbury (DC) - A force to be reckoned with. Caroline Kingsbury blends authenticity, vulnerability, and boldness into records you can dance to with friends or cry to alone in the shower. After moving past a religious upbringing and finding her voice in LA, she’s crafted a sound that’s part new-wave, part indie pop, and all star power.

Hey, Nothing - Young, gifted, charming, and a little dark. This duo grew up together and keeps pushing past barriers with a sound that feels homemade and authentic, crunchy in the best way. It’s the kind of music you imagined you were making at 10 years old with your acoustic guitar, but actually good. New, inventive, folky goodness.

Zinadelphia (DC) - A timeless voice over irresistible pop beats. Her fully formed records deserve full orchestras, fusing pop with the mystique and jazz of musical theatre. Brass shines throughout in tasteful, exciting ways. Zinadelphia is guaranteed to deliver, start memorizing lyrics now so we can all sing together (though I will personally not be hitting those Love Over Glory notes).

Carol Ades (DC) - Music that screams, “but I am just a girl!” in the best possible way. With impressive songwriting chops, Carol Ades pulls us in, chews us up (respectfully), and spits us out. Her songs shimmer in a subtle but potent way. Comforting and exhilarating, her set will feel like an invitation to connect and relate.

Peach PRC - Aussie and authentic, Peach PRC is an electro-pop queen. Through dreamy vocals and revealing personal stories, she invites us to be ourselves. Her music feels like stepping into a pink, perfect video game. Self-made and multi-talented, she’s the kind of artist you’ll want to autograph your face.

Alemeda - I dare you to find a genre she can’t do. Every track shows her range, fire, and spunk while still sounding unique. One moment you’re breaking it down to UKG, the next you’re swaying to soft indie. A true rising star, Alemeda is both impressive and de-stressing, a front-runner for your new favorite artist.

Molly Grace (DC) - Bold, funky, and soulful, Molly Grace builds a world for us to dance and explore while she shines onstage. From angelic vocals to her fashion, she’s created a brand with a devoted following. Inspired by everything from old-school soul to Hannah Montana, Molly’s stage presence is magnetic. She is, simply, that girl.

jasmine.4.t (DC) - Devilishly cool and quirky, jasmine.4.t pulls us into her world with each record. Dark but hopeful, her music feels like the soundtrack to a montage of your best day. Intimate and sobering, songs like “Woman” give “Bella and Edward’s first dance” energy.

Goldie Boutilier (NYC) - Classic cool and chic. With a 70s rock sound that’s hard to replicate, Goldie brings worldly experience and raw emotion to the stage. A lifelong performer, she channels young Stevie Nicks energy, tactful yet wild, drawing you into her pain and perspective. Expect to be twirling through infectious choruses and stirring bridges.

The summer may be winding down, but September brings as many events as ever all across North America. If Bourbon and Beyond has gotten a little too big for your preferences, here are some smaller, under-the-radar festivals happening across the US and Canada in September that are worth the trip:

We know we’ve been a little quiet here. There’s a lot going on behind the scenes as we prepare to enter our next phase. If you’d like to support everything Book More Women does, becoming a paid subscriber is a cool way to do that!

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Evanston Folk Festival / Evanston, IL / Sep. 6-7

Evanston Folk Festival returns for its second year on the spectacular lakefront at Dawes Park on Chicago’s North Shore. Join us September 6 + 7, 2025, as more than 30 world-class artists take the stage with Lake Michigan as a beautiful backdrop. Listen and learn at in-person interviews and panels with authors and luminaries presented by Chicago Public Media. And keep the music going after the sun sets with intimate evening performances at Cahn Auditorium.

Endless Summer / Kitchener, ON / Sep. 6

A free, all-ages music festival held in Kitchener’s Victoria Park, Endless Summer brings together an impressive lineup of Canadian female artists. Alongside the live performances, festival-goers can enjoy food trucks, a licensed drink area, and family-friendly activities.

Blossoms & Bones Music Fest / Abiquiu, NM / Sep. 11-13

New Mexico’s best music festivial is an intimate, open and welcoming festival experience set in the heart of the stunning landscape that inspired Georgia O’Keeffe’s life and work in Abiquiu, New Mexico just north of Santa Fe on Hwy 84. Three days of amazing music, camping, glamping, great food vendors, and libations from New Mexico brewers and distillers. Enjoy some of New Mexico’s best hiking trails, morning yoga classes, swimming pool, horseback riding, after-show dance parties with ABBAquerque, and much more!

Sustain-Release / Monticello, NY / Sep. 11-14

An off-grid electronic music gathering set at Camp Kennybrook in the Catskills, Sustain-Release offers immersive performances across forested stages, shared cabins, a swimming pool, lake, and bonfire. Described by sources like Viberate as “a cultural movement that captures the essence of the electronic music scene,” the festival emphasizes sustainability, close-quarters connection, and communal experience. And according to its official site, it aims to be a safer space, leaning on respect, care, and zero tolerance for violence or disruption.

Pygmalion Fest / Urbana, IL / Sep. 18-20

A multi‑day, multi‑venue festival held every September across Champaign‑Urbana, Pygmalion Festival showcases a vibrant mix of indie rock, folk, hip‑hop, electronica, comedy, literature, tech panels, food, and crafts—all running concurrently across local bars and performance spaces. The 2025 edition (September 18–20) promises to be especially packed, with a diverse lineup that blends music, comedy, and literary events presented across venues large and small

BlackAmericana Fest / New Orleans, LA / Sep. 26-27

BlackAmericana Fest seeks to elevate the narratives and music of Black artists in this tradition, inspire a more inclusive Americana community, and encourage more young Black artists to take up the mantle of creating music in this genre. Together, partnering with other New Orleans Black Americana artists as well as fans and supporters of this genre, this festival explores the questions of where Americana fits into the New Orleans musical landscape and celebrates the legacy and contributions to Americana music by Black artists.

Let us know of any upcoming hidden-gem fests we should know about in the comments!

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A few weeks ago, I attended Newport Folk Festival, the long-running, historic, now nonprofit festival that takes place at Fort Adams in Newport, RI. It was the tenth anniversary of my first visit in 2015, when I told myself I would never miss the fest again. That year also happened to be the first Newport appearance for country artist Margo Price. She has become a regular at the fort, having performed several of her own sets as well as frequently joining other artists for guest appearances and taking part in collaborative sets.

On Saturday this year, Margo was generous enough to sit down with me for a quick conversation. She was one of the first artists that I was already a fan of to follow Book More Women in 2018, and she has been a great supporter and inspiration ever since. It was great to finally meet her and get to talk a bit about festivals, representation, and activism. Keep reading below to learn why she thinks Newport is so special, how speaking out has affected her career, and the advice that she recently heard from Joan Baez.

➡️ Read my full Newport Folk 2025 recap on the Book More Women website!

Margo Price took the Fort Stage with a new band, marking her own ten-year Newport anniversary. She was joined by Jesse Welles for their newly released duet and later by John C. Reilly for covers of “Maggie’s Farm” and “Making Plans to Leave,” a Dolly Parton and Porter Wagoner song that fit them and the festival perfectly.

The Spirit of Newport

We began our conversation by discussing what makes Newport so special. Margo pointed to the festival's focus on community and activism. “Newport values art that really has something to say,” she explained.

She recalled her first appearance at the festival in 2015, playing on the smallest stage, noting that it was “a huge deal” for her. She emphasized the role of music festivals in fostering a sense of community. “It's important to just build togetherness and to be able to raise our voices in unison and stand united against all the injustice and terrible things that are going on in the world.” She added that being able to sing for so many like-minded people is “really grounding.”

This year was a particularly special one for Margo because it was her mother’s first time at the festival. “My mother is here,” she shared happily. “She’s 70 years old, and it's her first time here.” Earlier in the day, they took a photo next to Newport legend Mavis Staples’ trailer banner. Margo added that having her mother there was particularly special because she is “really compassionate and has given me my bleeding heart and always taught me to speak up when things aren't right.”

Speaking Out

Even at Newport, Margo acknowledged, there’s still room to grow. She referenced her 2018 appearance on the main stage, where she commented on the need for more women headliners. The next year, the festival brought Brandi Carlile to lead and curate the headlining collaborative set (which featured Dolly Parton among many others).

Her critiques have been accepted at Newport, but that hasn’t always been the case elsewhere for the country artist. “I know that my career has been damaged in some ways because I have chosen to use my voice,” she explained. Early on in her career, “people kept telling me, ‘Oh, you're gonna get Dixie-Chicked.’” She added “The Chicks walked so I could run.”

Though her trajectory “definitely took a blow,” she said she wouldn’t change a thing: “I wouldn't take back anything I've said. If we're silent and compliant, that's exactly what they want.”

She also spoke candidly about being held back by industry gatekeepers, particularly the straight men who hold most of the power today. Still, she’s hopeful that their influence is fading, telling me that she is “just watching the clock because I think what's going on right now is the last sounds of the patriarchy dying.”

Moving in the Right Direction

As we spoke about activism, Margo told me some advice she recently received from folk legend Joan Baez. At an event for Sweet Relief Musicians Fund with Baez, Margo recalled, Joan said that when everything feels “pathetic,” we must “just do one thing a day to move in the right direction.”

Reminders like those and the sense of solidarity she finds at Newport help to fuel her persistence. "They want us to feel defeated,” Margo said. “We need more shared events like this that give us all the strength to carry on.”

What Margo Price brings to Newport Folk Fest is exactly what the festival has always been about: music as activism and community as resistance. Her willingness to speak, sing, and keep pushing boundaries, even when it comes at a cost, is the legacy she continues from legends like Joan Baez. And a reminder that folk music has always been about carrying the fire forward, together.

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Read our full Newport Folk 2025 recap here!

Paid subscribers can keep scrolling for a collection of my personal videos of Margo’s Newport performances through the years!

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With headliners like Doja Cat, Gracie Abrams, and Doechii, this festival is already set to be unforgettable… but Book More Women dares you to show up early. Not only can you explore pop-ups, brands, and activations without the crowds, you’ll also catch these incredible up-and-coming artists, so when they headline someday, you’ll be a day one:

Alexandra Savior

A whimsical powerhouse. Somewhere between folk, soul, and pop Alexandra Savior has continued to grace us with comforting (and haunting?) tracks. Blast these when you drive down your local highway but you’re a lil sad. If you saw Lana at OSL 2 years ago this will be similar, as good, and less packed…

Alameda

Girls rock. Girl rock. Chillest vibes, bouncy and straight up fun. Lowkey aggressive lyrics over lighthearted and fairylike beats deliver a satisfying confusion that we can all resonate with these days. Alameda’s discography includes angsty pop rock with a sprinkle of UKG which means her set will have something for everyone.

New Dad

The music makes me feel something. What? I am not sure. Something like walking through pouring rain with headphones on. Like the end of 2010s coming of age movies. If you think you’re an “old soul” and love 90s rock/grunge, I WILL see you at New Dad.

DJ Mandy

The people’s princess. She is actually good y'all. Baddie’s know how to throw a party and this girl has skills and a USB you can trust. The bay loves DJ Mandy <3

Orla Gartland

Sharp, self-aware, and effortlessly cool, Orla Gartland blends punchy indie-pop with lyrics that cut deep. Think emotional guitar anthems with just the right amount of chaos. If you like your songwriting honest, loud, and a little existential (don’t we all), this set’s for you.

Arcy Drive

No BS indie rock for the beach straight outta Long Island. Knockout drumming, unpolished charm, and the DIY charm you have been missing since college house shows. They turned a school bus into a tour van and also made a great debut album. Catch them before they blow up (or before the bus breaks down).

The Army, The Navy

BAY AREA LOCAL ALERT. Both your mom AND your coolest friend love this folk-pop duo. The music feels intimate yet unpredictable. Fresh off of a breathtaking EP full of poetic truths, you won’t be able to tell if you’re at the Twin Peaks stage or being serenaded around a campfire.

See you in the park!

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It’s peak festival season and July is home to tons of events all across North America. If the scale of Lollapalooza is your kind of thing, it’s coming up fast! But if not - here are some smaller, under-the-radar festivals happening across the US and Canada in July that are worth the trip:

We know we’ve been a little quiet on here. There’s a lot going on behind the scenes of Book More Women as we prepare to enter our next phase. If you’d like to support everything Book More Women does, becoming a paid subscriber is a cool way to do that!

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Bass Coast / Merritt, BC / July 18-19

Bass Coast is an independent & artist owned festival with accolades that include two consecutive wins of DJ Mag’s ‘Best Boutique Festival in North America’ and 'Best Midsize Festival in Canada' by Canada Music Awards. “The fact that it’s run by women, free of corporate sponsorship, and rooted in artistic expression has resulted in a carefully curated audience: one that is intelligent, creative, and dedicated, in various ways, to the advancing human potential.”

She Rises Fest / Taos, NM / July 18-19

She Rises Music Festival is a transformative celebration of women in music, set against the stunning backdrop of Taos, New Mexico. Our mission is to empower female artists, foster community connection, and create lasting impact by supporting Music Helps Nonprofit programs for traumatized children, children in hospitals, and women in shelters.

Folk on the Rocks / Yellowknife, NT / July 18-20

FOTR is one of Canada’s top summertime music and cultural festivals, drawing performers from the NWT, Nunavut and all across Canada for the North’s biggest party under the midnight sun. More than 35 hours of programming on six stages, including a children's area and a beer garden, promises fun and enjoyment for all ages. Along with the music, crowds can savour international and traditional cuisine at the food fair, check out non-profit groups and activities, and buy Northern creative works in the artisan tent.

Mosswood Meltdown / Oakland, CA / July 19-20

Oakland’s beloved festival Mosswood Meltdown is returning July 19th and 20th, 2025 to Mosswood Park. Acts will be announced shortly, and of course, the festival would not be complete without the inimitable and esteemed John Waters, who celebrates his 11th year as host in 2025. As CBS Bay Area praised, Mosswood Meltdown is “one of the most entertaining two-day celebrations of punk in the Bay Area” (CBS New Bay Area). This is a weekend not to be missed!

Timber! Music Festival / Carnation, WA / July 24-26

Timber! takes place in the rural splendor of Carnation, Washington with the setting of a densely forested 574-acre park situated at the confluence of two rivers. At Timber!, Artist Home carefully plans, programs, and produces music uniquely accompanied by the great outdoors. Celebrating along a river in the woods and under a summer sky, audiences can immerse themselves in a wonderland of music, nature, and one-of-a-kind adventure that sparks authentic connection and unforgettable memories. Artist Home is an Indigenous-owned company committed to supporting up-and-coming artists who are too often overlooked and underserved, creating opportunities for listeners to discover them in intimate, community-rich settings alongside other artists they already know and love.

SOJOURN / Toronto, ON / July 25-27

SOJOURN is a collaborative effort and community-driven grassroots festival between three of Toronto’s most trusted promoters. Programming includes rare Canadian sets from the legends of the scene, special B2Bs, and outdoor sessions designed for full-day flow. Carefully considered lighting and spatial design return throughout the venue, alongside food and rest areas that allow space to reset.

Underground Music Showcase / Denver, CO / July 25-27

For 25 years, the Underground Music Showcase has been more than just a festival—it’s been the heartbeat of Colorado’s music scene. From its gritty, grassroots beginnings to becoming the state’s largest and longest- running music festival, UMS has been the stage where local legends are born, careers are launched, and legacies are built. This year [it’s final year], we’re turning up the volume on everything that makes UMS iconic. We're celebrating every era of the festival, from the underground anthems of its early days to the genre-bending performances that define it now.

Wicker Park Fest / Chicago, IL / July 25-27

As one of Chicago’s most anticipated summer festivals, and dubbed "Chicago's Best Street Festival of the Summer " by the Chicago Tribune, Wicker Park Fest is one of Chicago’s top-drawing festivals, attracting visitors from across Chicagoland and the country with its fantastic music line-up. Wicker Park Fest reflects the neighborhood’s rich musical heritage, vibrant nightlife and acclaimed restaurants. Building on the area’s unique character, the weekend celebrates the neighborhood with eclectic music, great local food, arts and crafts, and retail vendors.

Let us know of any upcoming hidden-gem fests we should know about in the comments!

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Wasia Project

Blessed musical genes here. Sibling duo creating dreamy pop vocals with melodies that sort of stir your soul. To stand and sway in this crowd would be incredible.

Isabel LaRosa

Singer/songwriter with intoxicating vocals and stories to tell. Giving young dark angel Lana?

Strawberry Launch

Locals alert. Fateful friends and band members making records you hear for the first time feel like classic anthems. Cute angst? Indie rock? Do NOT put these divas in a box.

Yaya Bey

Obsessed. Not sure how this icon has not blown up yet. Simply gorgeous vocals - soulful and moving. Bringing back a 90s r&b flow with her own flare.

Lexa Gates

A Queen from Queens. Girl spits over incredibly groovy beats and does not miss. Straight up, honest bars. Perfect rap for the beach or a kickback.

Die Spitz

Honestly just want to hang out with this band. Giving just enough fucks to show up and perform with insane energy, these punk sirens will have you moshing within seconds.

Monobloc

The strokes basically. In the best way. Hats off.

Frost Children

Chaotic hyperpop please and thank you. Constantly crafting thoughtful and intricate tracks.

Snow Wife

This baddie sings AND dances?! Harder, darker Charli + Britney love child. This will be a SHOW.

Olivia Lunny

2010s soft pop vibes. Relatable, feel-good, nostalgia. Olivia has always been a pop princess, writing songs since 12 yrs old, and her sound is only getting better.

Start studying:

Start planning and send you favorites to your festie besties < 3

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Dog Days Fest / Savannah, GA / June 6, 13-15

Dog Days Fest is a “multi-stage "city style" fest in the heart of Savannah, GA that features an array of rock and roll, punk, country, jam and soul.” It’s returning for it’s third time, and promises “more bands, bigger headliners, more stages, more heat, and more sun!”

Babestock / Austin, TX / June 14-15

Babestock is “America's first and only electronic music festival exclusively showcasing women + gender-expansive artists.” “A grassroots, community-oriented, diverse (in both represented identities and genres), intimate festival with creative, high-quality performances; a festival that is sustainable in every sense of the word and leaves everyone involved feeling inspired, joyful, and free.”

Green River Festival / Greenfield, MA / June 20-22

Green River Festival is “Western Mass' beloved genre-spanning music festival.” It is a “spectacular celebration of music and community: a world-class lineup of over 40 acts on four stages, the best in local food, beer and wine, handmade crafts at The Makers Market, a wide array of kid’s activities, and camping.” NPR recently wrote, “The Green River Festival lineup gets more legendary by the year.”

Camp Punksylvania / Gilbert, PA / June 20-22

Camp Punksylvania is “the Ultimate Punk Rock Summer Camp” celebrating their 5th year. It is “Femme-led, queer-inclusive, community-built. Camp Punksylvania is what happens when you stop asking for a seat at the table and build your own fucking table.”

Nelsonville Music Festival / Nelsonville, OH / June 20-22

“Billboard has called Nelsonville Music Festival “one of the best-kept secrets of the U.S. music festival circuit,” and NMF continues to gain fans who want a music festival with a more personal experience. Set in the beautiful rolling hills of Southeast Ohio, this intimate festival offers live music from a variety of genres on multiple stages from national, regional, and local acts.” “All proceeds raised at the festival support not only NMF, but year-round programming at Stuart’s Opera House, including its tuition-free Arts Education programs.”

Old Salt Festival / Helmville, MT / June 20-22

Presented by Old Salt Co-op, the 3rd annual Old Salt Festival is a “food & music celebration of Montana land stewardship.” They’re “bringing together wood-fired cooking, Americana musicians, Montana ranchers, and Western makers to celebrate in high Montana style.”

Ten Mile Creek Revival / Laytonville, CA / June 27-29

The inaugural Ten Mile Creek Revival is “a family-friendly musical campout named after the scenic creek flowing through Black Oak Ranch.” “Taking the place of the beloved Kate Wolf Music Festival, the Revival invites everyone to sing, laugh, dance, and play.” Founder Biasha Mitchell is the former co-producer of the Hog Farm Hideaway and The Days Between festivals, as well as a second-generation Hog Farmer, the collective that owns Black Oak Ranch.

Let us know of any upcoming hidden-gem fests we should know about in the comments!

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Thank you to my nephew, Beau, for allowing me to write this little piece of his story.

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Last Friday, I went to see Jane Remover at one of Boston/Cambridge’s best venues, The Sinclair. What I witnessed was much more meaningful than just a concert.

Truthfully, the intense video-game-sampling-electronica maximal-hyperpop experimental-rap of their recent album Revengeseekerz isn’t usually my kind of thing. But I wasn’t there for me that night. I was joining my 17-year old nephew, Beau, who is trans, to see one of his favorite artists.

We arrived a bit after the doors opened and the security/admission line was still down the block. We walked past a diverse array of mostly Gen Z fans, eventually turning down a side street and finding the end of the line right in front of Club Passim. A chalk-written sign outside announced that Olive Klug was playing that night. I showed my nephew their Instagram, noting how cool it was that two gender-nonconforming artists were headlining sold-out venues on one street that night.

The show opened with rapper d0llywood1, who had the crowd jumping and moshing from the start. Next up was DJ Dazegxd, whose chaotic, genre-jumping set mashed up just about everything. I lingered near the edge of the crowd, but did briefly consider diving in when he played a remix of “Call Me Maybe.”

Mostly, I watched the electric crowd. A group stopped, made space, and helped someone up when they fell. Several people put their flashlights on to help someone find their dropped glasses. A pair came out of the pit to practice a dance real quick, then went back in. Beau would disappear into the more lit part of the crowd here and there. He’s not hard to lose sight of at 5ft 0in. But it was never too long until I’d spot him again on the edges, a bit sweatier than last time, and we’d meet eyes and laugh.

When Jane Remover emerged, the crowd was in full fervor. There was no change of set required, with Dazegxd remaining to DJ and Jane simply wielding a wireless mic. Singing, screaming, and rapping, she matched the crowd’s eager energy, and they matched it right back—a positive feedback loop of raucous affection. This was, after all, part of the “TURN UP OR DIE TOUR,” and these kids weren’t going down tonight.

The crowd was young; there were a ton of X’s on hands. The majority of them sang or screamed along for most of the set, even as the bulk of the songs were only released a month prior. I was standing near the bar on the floor, so I was frequently stepping aside for the sweatiest folks who stumbled out of the pit for water and air and then quickly returned.

Beau spent the first few songs moving in and out of the chaos. When I lost sight for a longer stretch, I figured he wormed his way in front of the more aggressive moshing to join the tight pack in front. This was soon confirmed with a text message and live view photo:

Between songs, Jane signed phones and whatever else was offered up. She accepted drawings and other gifts that fans brought for her. She grabbed hands. During one of the only softer songs she played, a single shirtless fan got up on another’s shoulders. He sang every word, visibly emotional, and for a long stretch, Jane looked directly at him and sang it back. It wasn’t just fandom that I was witnessing in these moments. It was reverence. Appreciation. It was thank you for being here. A thank you for being you.

Before playing her penultimate song “JRJRJR,” Jane asked the crowd: "How many of you have changed your name?" The response was loud cheers from a significant portion of the room. The last couple songs were unrestrained catharsis on-stage and off. Jane paced back and forth on stage, still giving her most and still getting it back. I went up to the mezzanine for the final song to get a different view.

What was clear to me from wherever I was standing, was that the young people on that floor were experiencing something special. Seeing someone like yourself performing at such a high level and with such passion, is special regardless when you’re young. But when you don’t get this opportunity often, it could be life-changing.

As the crowd slowly dispersed, I made my way down the stairs back to the floor, looking for my nephew. He spotted me first and appeared suddenly in front of me, beaming. He was soaked and had one less layer on than he started with. But he had clearly had the time of his life up there in a crowd full of people that understood him, screaming words back to an artist that understood him too.

To festival and venue organizers: Trans artists are making incredible music. Trans artists are incredible performers. They are diverse in demographic and genre. They are in your city, the next city, and every other city. The young trans people in your community are starved for representation on stage. They will rally around the trans artists you put on your stages. Book more trans artists. There are no excuses.

Thank you for reading. Please share this post if it resonated with you in any way.

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The feelings you have for Your Favorite Band are different than any other. You know their lyrics, their music, their stories. Maybe you’ve seen them in concert over 100 times. Maybe they were dead and gone before you were even born. Maybe when you found them you wanted to be like them. Maybe they’re nothing like you. Either way, they’re yours.

For me, the definition of My Favorite Band is the artist that, at that moment, hits you the hardest. The one that you go back to more than any other. The one that you get and the one that gets you. And tonight, My Favorite Band is releasing a new album.

I’m going to skip ahead just to give you a soundtrack for reading this story:

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How I Got Here

Likely you’ve had several Favorite Bands throughout your life. I suppose if you’re much cooler than me, the first artist you ever loved could still be your favorite. This is likely to be an embarrassing exercise, but before I tell you about My Favorite Band of All Time, let’s trace the full history of who’s worn the title across my life.

I’ll start at 2000 for neatness and I’m sort of guessing on timing in the ‘05-’09 range, but here is the complete list of artists who have ever had the title of My Favorite Band, in chronological order:

As you can see, it took some jumping around in my teens before I settled for a while. So how many times have I actually gotten to experience a new studio album from My Favorite Band?

• *NSYNC - No Strings Attached (2000)

• *NSYNC - Celebrity (2001)

• Simple Plan - Still Not Getting Any… (2004)

• Yellowcard - Lights and Sounds (2006)

• Kings of Leon - Come Around Sundown (2010)

• Bon Iver - Bon Iver, Bon Iver (2011)

• Bon Iver - 22, a Million (2016)

• Lucius - Second Nature (2022)

• Lucius - Lucius (2025)

Quite a few actually! I don’t remember how the releases in the ‘00s went to be honest… I’ll just jump to 2010. Come Around Sundown was sort of right on the line of my next era, I wouldn’t call it my favorite Kings album, but I was definitely anticipating it and I scrobbled it 712 times in its first year (A "scrobble" is a single play of a track as logged into last.fm. I’ve used the site since 2008, so I’ve got a lot of data, more of which will certainly be revealed through Substack at some point).

A Longtime Favorite

My intro to Bon Iver was the 4-song EP Blood Bank released in 2009 following his debut. Title track “Blood Bank” would almost instantly become My Favorite Song of All-Time, retaining that crown until Lucius’s “Dusty Trails” would finally surpass it around 2020-ish.

The release of Bon Iver, Bon Iver was a big deal. I still remember the first teaser audio that was released: the guitar riff from the beginning of Track 1 “Perth,” leading into the snare drum build-up, stopping before the vocal. I still get the feeling of anxiously listening to something brand new when I hear that guitar riff. I scrobbled the album 730 times in the next year.

I didn’t have quite the anticipation for 22, a Million in 2016 for whatever reason, might have just been where I was in life, no longer being in school, but it would eventually surpass Bon Iver, Bon Iver in my personal rankings. I scrobbled the album 520 times in the year following release, but it just took some time to really seep in, and it is now my 11th most all-time played album.

My Favorite Band

My first Lucius experience was in October 2012. I bought a ticket to see Milo Green at Brighton Music Hall, a 500 or so capacity venue in Boston. I can distinctly remember looking up the opening band, Lucius, on Myspace before the show. The music was good, but as I would find out, it truly came alive on stage.

Lucius - Go Home at Brighton Music Hall 10/29/2012 (Not my video, thanks to the owner!)

After the show, I went to their merch table just to tell them that they were great (talking to people I don’t have to talk to is something I avoid generally fyi). Holly and Jess were both there, still in matching outfits and hair. I told them I’d have to grab their EP next time, as I didn’t have any cash. As I was lingering around before leaving, someone tapped me on the shoulder—it was Holly. She wordlessly gave me a copy of the EP.

I said “thank you” and I really meant it. I knew opening bands at 500 capacity venues couldn’t be giving away things for free. If it was meant as an investment, trust my credit cards over the last 13 years: it was a good one. But either way, it was a generosity I wouldn’t forget. I tried to repay them the next show, in summer 2013 opening for Tegan & Sara, and they wouldn’t accept, so I bought a second copy and gave it to a stranger.

Since then, I’ve seen Lucius live more than 30 times in 6 states and Mexico. I’ve bought most of their t-shirts, all of their vinyl, and a bunch of other merch (I will always buy socks FYI). Lucius is My Favorite Band.

Their debut full-length (in their current iteration…) titled Wildewoman was released in 2013 and the follow-up Good Grief came in 2016. Sometime in the following year or so was when I decided that My Favorite Band had officially changed. Just two albums and I was in deep.

When Second Nature was released in 2022, it had been a long time since a studio album. I was starving, and My Favorite Band delivered. Produced by Brandi Carlile, it had less of the folk-leaning pop and instead went for a seriously needed dance-pop vibe. But the most — it just hit midnight on Friday, May 2nd. Happy release day to My Favorite Band, Lucius. Hitting play… now — critical element of Lucius, for me, was still front and center (left- and right- center?). Two magic voices that combine to make one unlike any other.

On the 10-year anniversary tour for their debut Wildewoman in 2024, they set out a mailbox and asked fans to leave letters and stories about the album. I was set to see 3 shows in a row on that tour, and brought my letter to my home show in Boston. I taped a 5-dollar bill onto the envelope, of course hoping it would catch their attention, but also to finally repay my EP debt. I am happy to say they accepted the repayment. But like I said in my letter, I still owe them so much more.

A couple weeks ago I was fortunate enough to attend a listening session in Brooklyn for My Favorite Band’s self-titled 4th studio album Lucius. Usually, when a personally-highly anticipated new album comes out, I’m in my bed waiting at midnight to press play and cry in the dark by myself (most recently it was Lucy Dacus). So it was kind of weird one for me, listening in a cool little bar with massive hi-fi speakers. Half the songs had been released previously as singles, but it was the first time that I had heard 5 of them. It was a great experience, but I didn’t really get to soak the songs up, so there was still plenty of emotion left for me to feel [which I have been feeling as I write this] tonight.

It’s not lost on me how lucky I am that My Favorite Band is still making music, still touring, still doing amazing things, still great people. Many fans probably never got to see their Favorite Band live, or never got to experience what it was like when they released new music. It’s not something I’ll ever take for granted. I’ve been through the album a few times now, and it’s as great as I expected. But honestly, it wouldn’t matter at this point. Lucius is mine. And who knows, maybe they’ll become yours, too.

Listen to Lucius the new self-titled album now:

Website | Bandcamp | Apple Music | Spotify

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Biscuits & Banjos / Durham, NC / April 25-27

A brand new artist-curated festival for 2025 by Rhiannon Giddens, “dedicated to the reclamation and exploration of Black music, art, and culture in her home state of North Carolina.” The sold-out indoor performance lineup includes the highly anticipated reunion of the Carolina Chocolate Drops (tickets for a live-stream are available). There are also a ton of free outdoor shows, as well as artist talks, workshops, a biscuit bake-off, a community square dance and more!

Norman Music Festival / Norman, OK / April 24-26

NMF (a volunteer-run nonprofit) has, year-after-year, curated brilliantly diverse and unique festivals for their community in central Oklahoma — all totally free. The music is spread across indoor and outdoor venues and features nationally touring acts alongside tons of local and regional artists. This one’s all about discovery!

Waking Windows / Winooski, VT / May 2-4

Launched in 2011 and continually evolving to keep the party going, Waking Windows takes place in and around the downtown rotary in the small city of Winooski, just north of Burlington, VT. Music fills bars, restaurants, and whatever other spaces can be turned into venues. It is one of the friendliest festivals I’ve ever been to.

SierraGrass Fest / Ahwahnee, CA / May 9-10

Another first-year artist-led festival, this one is coming to California courtesy of AJ Lee and Blue Summit. Focused on folk and bluegrass, it promises an intimate and exclusive experience for music lovers with multiple camping options.

Mid West Music Fest / Winona, MN / May 9-10

Celebrating 16 years of discovering new music, Mid West Music Fest is a nonprofit event on the Mississippi River. They present regional artists from a wide range of genres scattered across four venues, and the day portion of the Saturday slate is free. Another festival by a community for the community!

Ladybug Music Festival / Wilmington, DE / May 30

The Ladybug Music Festivals have been presenting 100% female-fronted lineups in Delaware for more than a decade! The block party style celebration is all about showcasing exceptional talent while celebrating the contributions and careers of women in music and supporting the local creative economy. The festival typically takes over Wilmington in early summer and Milford later on, and last year crossed state lines to Old Ellicott City, Maryland. And they’re completely free!

They are looking to spread their mission and model across the mid-Atlantic, so if you want to work with them to bring a micro fest to YOUR town, you can reach out here!

Let us know of any upcoming hidden-gem fests we should know about in the comments!

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Our last post was a little heavier:

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Newport Folk Festival 2019: Shhh he’s working

Austin City Limits 2019: Chicken in pants totem

Green River Fest 2024: Say no more

Otis Mountain Get Down 2019: Kid’s Ramen Age Policy

Boston Calling 2019: Super jealous

Newport Jazz Festival 2024: Frasier tattoo 🤘

Girls Just Wanna Weekend 2025: Reptar at the function

Waking Windows 2019: Ideal festival activity

Boston Calling 2024: Me about to get in the free iced coffee line for the 7th time in one day

Stay tuned for a very exciting related post coming soon: Ways My Sister and I Have Described Our Locations to Each Other While Separated at Music Festivals

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It was a huge undertaking, honestly. It took about 20 hours to completely research the Coachella lineup alone that year. But here’s why we did it:

For one, it allowed us to begin undoing the erasure of nonbinary musicians in our data. Nonbinary people are so often lumped in with women. This was the minimum we could do to address that in our own work and start to provide concrete numbers on nonbinary representation on festival stages.

It also gave us the ability to capture data on just how underrepresented transgender musicians are at music festivals.

We are committed to continuing to provide information like this. If you find it valuable, please consider subscribing to support our work:

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To take a wide look, we combined data from 10 major U.S. multi-genre music festivals: Austin City Limits, Bonnaroo, Boston Calling, Bottle Rock, Bourbon & Beyond, Coachella, Governors Ball, Hangout, Lollapalooza, and Outside Lands.

We tallied the members of every artist playing these festivals (counting each only once, even if they appeared on multiple lineups). There were a total of 776 acts. Across those acts, 1,661 individual musicians were counted and researched.

Here’s what we found:

Of the 1,661 individual musicians booked to play the biggest music festivals in 2024:

• 1,277 were cis men

• 363 were cis women

• 16 were nonbinary

• 3 were trans women

• 0 were trans men

Of the one thousand six hundred sixty-one musicians booked across these ten major festivals in 2024, three are transgender.

What you can do:

If you are a human: Learn how to be an active ally and how to interrupt transphobia when you encounter it. Donate to trans individuals, trans-led orgs, and mutual aid fund when you can. Learn about anti-trans legislation, call legislators, and show up to vote.

• Guide to Being An Ally from PFLAG

• Transformations Projects: Informing the public about and advocating against the anti-trans legislative crisis in the U.S

• Mutual Aid: Nashville | New York | Twin Cities

If you are A&R , a promoter, playlister, journalist, etc: Make room for transgender people in your work. Expand beyond your usual circles. Offer trans artists funding, a stage, a mic, or a platform - not as a favor, but because their work belongs there.

• BFTA Collective Directory

• HRC’s Guide to Reporting on Trans Individuals

• Sign the upcoming Trans Charter for the music industry

If you run a physical event space: Ensure your spaces are safe, accessible, and welcoming for trans musicians, fans, and staff. Post clear codes of conduct and provide training for all staff.

• Workplace Courses from PLFAG’s Straight for Equality

• European Festival Assc. Diversity Toolset

• Sign the upcoming Trans Charter for the music industry

If you are a fan and listener: Seek out artists that are not handed to you. Trans musicians are making incredible art. Don’t let an algorithm be the reason you miss it.

• Bandcamp tags

• Transa compilation by Red Hot Org

If you are a trans artist: We see you. We support you. Please reach out any time and let us know what we can do for you.

• Microgrants from Trans LifeLine

• 2STGE+ Survival Guide Zine from Trans Resistance Network

• Helpline lookup from Born This Way Foundation

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I can’t look back at last year’s Coachella lineup without being frustrated (for many reasons) but this one in particular: Every year without fail I become obsessed with artists that were towards the bottom of the lineup AFTER attending the festival and missing their sets. Half the time, I am unaware that they performed entirely, evidently a couple months late to the party.

It is no secret that many smaller artists have their big breaks after playing the world-renowned double weekend festival. This is because the industry brings their best acts and those acts put their best foot forward. This is what makes Coachella so special. People show the fuck up. From legendary headline performances on the Coachella stage to smaller bands ripping up the Sonora at 2pm, you literally cannot make a bad decision when it comes to who to see –unless you are me and you missed acts like RAYE and Olivia Dean last year……

Although I am still salty, moping is not going to fix my issue. With Coachella right around the corner, I am committed to making a plan. We have done the research so you do not have to.

Here what you need to know about the up-next female and nonbinary artists you might have missed on the Coachella lineup this year:

Blowing up:

• The Beaches: Fully femme band reclaiming angst and breakup indie rock. I hear their live performances are legendary and unexpected so you know I will be front row.

• Judeline: Ethereal and unapologetic. Judeline –a lifelong creative, is already widely known for her sound, respected by some of the biggest names in music. Her vocals are soft but filled with emotion connecting you instantly to her music… even if you don’t speak Spanish ; )

• Ravyn Lenae: If you don’t know her by now, you will. Her recent hit “Love me not” has not stopped playing in my head since it came out. Speaking hard truths through gorgeous and bright melodies, she’ll have you vibing hard even in your feels.

Raw talent:

• Yulia Niko: Yulia Niko has been DJing since 15…. gurl knows her stuff. Yulia lives at the crossroads of techno, house, and melodic vocals commanding the crowd with hard hitting yet uplifting tracks.

• Hope Tala: Powerful lyricist and buttery vocalist Hope Tala’s vibey records are impressively unique and satisfying. Imagine falling asleep in a grass field with just the right amount of sun shining on you. That’s Hope Tala.

• Wisp: If you want the 2000s alt rock without the problematic bands –Wisp. Restless and grungey yet whimsical, Wisp has found her sound early and it is timeless.

• DJ Gigola: Praised for her creative curation and masterful transitions during sets, DJ Gigola will have you bowing down at the end of her set. She makes creating the ultimate techno/trance dancefloor look easy but don’t be fooled, our queen is working hard up there!

No genre needed:

• Kumo 99: A cross genre duo making the electro-punk records we didn’t know we needed. I feel like I would hear this at 5AM in Berlin and lose myself completely.

• DESIREE: Her highness. Not really flying under the radar because this legend has already delivered electrifying sets on platforms from Boiler Room to DJ Mag. Literally refuses to be put in a box. Straight up curated vibrationssss.

• VTSS: Playing through influences across Europe and beyond, VTSS pushes the boundaries of techno. Her collaborations speak for themselves and the tracks are tantalizing.

• Underscores: Glitchindie rage. Underscores is essentially a one woman show writing, recording, and producing her own music. Capturing the essence of controlled chaos, her performances unusually include her, a laptop, and some tasteful brain rot.

Goats:

• Indira Paganotto: Pioneering a psy-techo movement, Indira highlights the beauty of culturally traditional vocals over heart pumping beats. And yes, her music is as badass as she looks.

• EREZ: From classical jazz training to DJing, it seems EREZ has already lived multiple musical lives. She brings energy and connection to her sets incorporating her own songs and vocals while curating a mix of the best of electronic today.

• Haai: Creative and boundless, Haai started on the guitar and has since made her way through tasteful sets and legendary collaborations. Now an electronic empress and inclusivity advocate, Haai’s crowd is one you’ll want to experience.

• Egypt 80: Afrobeat legends. Absolute grooves and incredible live sounds with iconic collaborations in their discography.

New twists on classic sounds:

• Glixen: Whiny in the best way. 4 piece band out of Phoenix giving us rattling and eerie melodies with yearning vocals. Deftones meets Smashing Pumpkins. Sort of like you are in a low but hopeful point in a dark coming of age movie.

• vs self: emo asf. Cutie guitar riffs turn to scream vocals in a matter of seconds. This chill trio from socal has no business making such emotionally angsty sounds but they absolutely smash it every time.

• TOPS: Bringing 80s grooves to modern indie rock, TOPS makes me feel like I can sway all night. Lead vocals are cheeky and playful with unforgettable lyrics partnered with dreamy melodies and guitar jams. Like a glass of lemonade on a hot day. They are so next up.

Dynamic Duos:

• Snow Strippers: Building quite the cult following. Confusing yet intoxicating beats with whiney ethereal vocals make you feel like you are in an eastern european club in the 90s but the sound system is distorted, everyone is mad, and you are actually in Bushwick.

• Fcukers: Chill but dangerous and sexy. This duo grew together from their separate indie rock roots to create something new and exciting, and that they did. Eclectic, electric vibes. If their music was a person they would be serving weird-hot in a great way.

• Coco & Breezy: That friend that is literally good at everything. As stylish as they are musically talented, this set of twins is serving up house grooves with some spice that feel like a Kaytranada and Kienemusik lovechild.

• Shermanology: Sibling duo who command the stage bringing insane energy to every set with juicy beats and soulful (live) vocals. Booty shaking, heart pumping, legitness. Grab your squad and get ready to dance. This one is going to be FUN.

Note:

• GEL was a hardcore punk group included on the original lineup but has since dropped from the festival.

  Playlist for all artists mentioned in this article (do your homework!):

Share with your fest squad and show up for these early acts, they save the best for first ; )

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