{"slides":[{"media_title":"Dogs In A Pile","media_tagline":"with Natalie Brooke","event_body":"\n\nSomething organic has been blooming from Asbury Park, New Jersey, and is now making its way around the world. Dogs In A Pile, a band of five twenty somethings with old souls and limitless chops, is waking people up to the timeless and ineffable joys of psychedelic-tinged jazz-funk rock n’ roll.\n\nThis is one of the busiest touring bands of today, averaging 130 live shows per year since 2022. The road has become their creative engine, generating a rapidly growing catalog of original tunes. Distroid, the band’s newest album, is a 10-song collection featuring long-awaited studio versions of some of the Dogs’ most beloved repertoire.\n\nFrom the start, guitarist Brian Murray “was surprised about the community surrounding the band. It seemed like so many people were excited about this thing we were creating.” Keyboardist Jeremy Kaplan reflects on how they have “always done things grassroots, picking up fans one by one.” Their faithful Dog Pound – the group’s extended family of fans – has grown into crowds of thousands at Bonnaroo, the Stone Pony Summer Stage, and sold-out multi-night runs from coast to coast. \n\nBesides being a lyric from the Grateful Dead song, “He’s Gone,” the name “Dogs In A Pile” is an apt description of the quintet’s stylistic breadth. The sonic image it conjures is a heap of storyteller Americana, bluegrass, jazz improvisation, eccentric instrumental excursions, pop-rock sophistication, and deep-pocket grooves, ranging from funk to Latin to reggae and beyond. “We’re like a pile of all sorts of junk,” Kaplan laughs. \n\nThe Dogs’ origin story begins at the Jersey Shore when a young Jimmy Law (guitar) began jamming with family friend Joe Babick (drums). Lightning struck when they were introduced to Berklee College of Music student Sam Lucid (bass), who immediately suggested bringing his fellow classmate Jeremy Kaplan (keys) on board. The addition of Berklee student Brian Murray (guitar) in 2019 made for the quintessential final piece in the Dogs’ puzzle. “I remember a defining moment where we found our chemistry. We were playing in this room and it just sounded magical,” Murray recalls. \n\nWhen the original four first met, the Grateful Dead was the common thread—one that became a collaborative springboard for what was to come. When Murray joined the band, they quickly began adding originals. “There was this shared excitement in building original repertoire,” Murray remembers. Kaplan adds, “we’ve been working on finding our voice ever since.” The band now has a collection of over 100 original songs and never uses the same setlist twice – ensuring that each show is a one-of-a-kind experience. \n\nDogs In A Pile’s latest, Distroid, is the band’s third album, and it features songs that have already become staples of their live shows. These studio renditions have afforded the group a chance to present these compositions precisely how they envision them. “It’s like the live show plus extra bits that we can’t replicate onstage because we don’t have five arms,” Kaplan barks. Distroid offers a cross-section of the Dogs In A Pile essence, tight and tuneful four-minute funk and jazz informed psych-rock songs, and then sprawling longform compositions with elegant harmony, agile genre-jumping, and dazzling musicianship.\n\nOn “Go Set,” Tommy Emmanuel-esque fingerstyle guitar techniques are uniquely applied to a funk-rock setting. The rap-driven lyrics portray the bustling and ever-changing music scene of New York, the place that shaped Murray and sparked his earliest inspirations. On “Thomas Duncan, Pt. 3,” the band’s musical prowess shines brightly. It is the third part of an ongoing story, composed using motifs previously heard on the band’s first  record. \n\nThe Dogs’ out-of-the-box humor comes forth on “Por Que Pedro,” serving as a prime example of how the band can weave between styles on a dime. The epic “Samba for Sam” is theatrically ambitious, with ribbons of flowing melodies, tempo changes, and a challenging arrangement that ends abruptly (you’ll see what we mean). “That’s the greatest glue job ever,” Kaplan exclaims. “I think we wrote pieces of this song all over the country and then sat on it for three years!” \n\nWhile you’re reading this, Dogs In A Pile is out on the road vibing with the Dog Pound. Maybe the guys are hitting the five states out of fifty they haven’t had the pleasure of playing? Looking back on six years and tens of thousands of miles, Kaplan says: “A small tear forms in my eye when I think about all the goodness we’ve had and how we ended up here. I’m excited to see where the journey takes us next.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0403-Dogs-in-a-Pile-web-banner-2d6ae4170e.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/dogs-in-a-pile-1","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 3<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0403-Dogs-in-a-Pile-thumbnail-a077eb377d.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Penny & Sparrow","media_tagline":"with Caleb Elliott","event_body":"A wise wizard once said: “when in doubt, always follow your nose.”\n\nThe last album from Penny and Sparrow, Olly Olly, was a work of revelation and liberation.\n\nA search for and an embrace of the self. I imagine they were left with a headscratcher of a question: well, shit. Where do you go from there?\n\nFortunately, they listened to the wizard and followed their noses backwards to find their way forward. \n\nAiming to strip away pretense and invite experimentation, they commandeered a garden shed from a friend and retrofitted it to make a twenty-track album that is vast, weird, and wholly unexpected. \n\nIf Lefty is anything, it is the journal of Penny and Sparrow’s inner child. Dog-eared, lock busted open. On its pages the sketches of dreams, nightmares, erotica, and literary fan fiction graffiti the margins of poetry, elegies, and love letters in the wild colors of saxophone blue, electronic pink, and blood harmony red.\n\nBeautifully varied and richly rendered, it is an album that wanders from theme to theme, style to style, exultation to tragedy. Yet it is never lost. If anything, it is at play.\n\nUnited by its intimate vocals and aching harmonies, its acoustic laments trickle into ethereal pop only to surge into whimsical ballads and crest into grand hooligan anthems that sway gently down to familiar shores where melancholic ballads tell of love lost, found, forgotten, and remembered. \n\nAndy and Kyle have written some albums in blood. Others they’ve whispered to the sea. This one they danced in the sky with smiles on their faces. Lefty feels like not just a celebration of their journey beyond the bounds of their traditional genre, but as if they have rediscovered the joy in music by honoring the sounds that inspired two boys growing up in Texas to one day make the damn stuff themselves.\n\n- Pierce Brown, author and friend\n\n\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/PS660-34a9f3e932.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/penny-sparrow-1","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 7<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/ps180-2348309667.png","category":{"name":"Other","id":"0"}},{"media_title":"Cameron Whitcomb \u2013 Fragile Egos Tour","media_tagline":"with Stella Lefty","event_body":"Cameron Whitcomb has partnered with PLUS1 so that $1 from every ticket sold goes to support Shatterproof and their work reversing the addiction crisis in the United States.\n\nIn a world that often prizes surface-level honesty, Cameron Whitcomb is the rare artist with the courage to uncover his most uncomfortable truths. After leaving home at age 17 and getting a job on a pipeline, the British Columbia native discovered his passion for singing and devoted himself to making music, soon achieving a monumental breakthrough with his 2024 debut EP Quitter—a fearlessly candid collection of country\/folk songs inspired by his journey in overcoming addiction. In a testament to the pure force of his storytelling, the 22-year-old singer\/songwriter has ascended to tremendous heights in the past year alone, including headlining multiple tours across North America and Europe and amassing over 600 million global catalog streams—all before releasing a full-length project. On his highly awaited debut album The Hard Way, Whitcomb now shares his most powerful work yet: a selection of songs that willfully stare down his demons, instilling every moment with equal parts grit and sensitivity and explosively poetic detail.\n\nFeatured on 2025 Artist to Watch lists from both Spotify and Amazon Music, Whitcomb created The Hard Way in close collaboration with producer Jack Riley (Knox, Grace VanderWaal), as well as Cal Shapiro (Alex Warren, Timeflies) and Nolan Sipe (Andy Grammar, Benson Boone, Alex Warren). The Hard Way debuted at #1 on the Canadian Country Albums chart, establishing Whitcomb’s position as one of the leading voices in country music today. Upon release, the album quickly surpassed 100 million on-demand streams nationwide, achieving Certified Gold status in Canada. With its standouts including “Medusa” (a No. 29 hit on Billboard’s Hot Rock & Alternative Songs chart) and “Quitter” (nominated for Single Of The Year and Songwriter Of The Year at the 2025 Canadian Country Music Awards), the album ricochets from stripped-back folk to rough-edged country to punk-leaning pop as Whitcomb offers a real-time glimpse into his inner world. “The way I’ve always written songs is to talk about what I’m feeling in that exact moment, instead of trying to fit everything into a certain vision,” he says. “The goal is to tell the truth and paint the picture with lots of beautiful visuals.”\n\nNaming firebrands like Eminem and Fear and Loathing in Las Vegas author Hunter S. Thompson among his longtime inspirations, Whitcomb kicks off The Hard Way with the gut-punching opening lines of its title track: “Waking up worthless\/Shoulda worked up the courage to kill myself.” A shining example of Whitcomb’s richly layered songwriting, “The Hard Way” begins in a moment of haunting intimacy before morphing into a wildly cathartic anthem of determination. “A lot of people think all your problems are solved as soon as you get clean, but in my case the ups and downs of my mental health got more extreme,” Whitcomb says in revealing the song’s origins. “That instability has been hard to deal with while trying to navigate a career as a musician, especially as a kid who used to dig holes for a living. At the same time I’m really grateful, and I know I just need to keep moving forward.”\n\nOne of the most slow-burning tracks on The Hard Way, “Fragile” inhabits a bluesy desperation as Whitcomb reflects on his insecurities. “That song’s about me having a fragile ego and feeling like I’ll never be good enough,” he says. “One thing I’ve learned from recovery is that you need to come to terms with the way you are, rather than trying to hide it.” Next, “Call For You” delivers a bittersweet meditation on unconditional love. “I wrote that song for my mom, but it could be for anyone you’d call on when you’re at your lowest,” he notes. Threaded with a series of interludes (including a voicemail left by his grandfather on Whitcomb’s 21st birthday), The Hard Way reaches an epic fever pitch on the brutally self-aware “Hundred Mile High.” “‘Hundred Mile High’ is about chasing down something for the smallest bit of gratification, even if it means sacrificing your self-respect,” says Whitcomb. “It came from thinking about me and my buddies when we were 15 or 16, and how we’d pool all our money and walk across town in the dead of winter just to get a tiny bag of drugs that wouldn’t even last.” Meanwhile, on “Options,” Whitcomb shares a high-powered statement of self-reliance. “I think a huge part of what keeps me sober is knowing I’m in control,” he says. “Knowing my life will be whatever I make it. My entire career, my sobriety, my choices are up to me. I have options.”\n\nOriginally from Vancouver Island, Whitcomb first explored his musical side by playing drums as a kid. During his years on the pipeline, he spent his downtime singing karaoke and posting covers on Reddit, and later learned to write songs and play guitar in the process of getting sober. “I was probably 12 the first time I had a drink or smoked weed, and within a few years I was doing cocaine and meth and whatever else I could find,” says Whitcomb. “I grew up in a family of addicts, and drugs have always been a big part of my environment. My best friend went into treatment and it changed his whole life, and I knew I had to do the same thing for my own mental health.” While holed up in a cabin on a Vancouver Island farm, Whitcomb got clean and crafted countless songs, eventually coming up with “Shoot Me Dead”—a spellbinding portrait of reckless behavior and overwhelming guilt. “‘Shoot Me Dead’ felt like the first time I was completely honest in my lyrics, and it was a huge stepping stone into how I approach songwriting now,” says Whitcomb.\n\nSigned to Atlantic Records in early 2024, Whitcomb soon gained major chart success with “Quitter” and “Medusa,” with both songs continuing to rack up over a million streams weekly in the U.S. and two million streams weekly across the globe. Over the past year, he’s brought his electrifying stage show to the sold-out Quitter Tour, the Hundred Mile High Tour (including a two-night stand New York City’s Bowery Ballroom), a run of Australian dates supporting singer\/songwriter Sam Barber, and a summer 2025 headline tour of Europe. “Whenever I can, I try to hang out after the shows until I’ve gotten to talk to everyone,” says Whitcomb, pointing out that his fans often bring him presents like bracelets and bibles. “Sometimes people tell me their story and talk about how my songs helped them to get sober, which always means a whole lot to me.” With his latest triumphs including tying for the most nominations at this year’s Canadian Country Music Awards, where he performed “Quitter” and won Breakthrough Artist of the Year and Fan’s Choice, before diving back into his fast-selling I’ve Got Options Tour - a North American headline run including a two-night stand at the historic Troubadour in Los Angeles. \n\nAs Whitcomb’s most fully realized work to date, The Hard Way features an elaborate, Easter-egg-filled cover image dreamed up by Vancouver-based tattoo artist Logan Morrison. But even as his artistry evolves and his reach expands exponentially, Whitcomb is careful to protect his songwriting process and create from a place of absolute freedom. “If people can find some kind of solace in my music, that’s amazing to me,” he says. “But I know that if I ever started writing with the intention of giving people what they want to hear, it wouldn’t sound as genuine. I think you can hear it in the music when someone’s telling the truth, so my only goal is to keep learning, keep getting better, and keep being as honest as I can possibly be.”\n \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0408-Cameron-Whitcomb-web-banner-2758e2b94f.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/cameron-whitcomb","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 8<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0408-Cameron-Whitcomb-thumbnail-9cd8673282.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Old 97's","media_tagline":"with Lizzie No","event_body":"The thirteenth studio album from Old 97’s, American Primitive arose from what vocalist\/guitarist Rhett Miller refers to as a “de-evolution” of the legendary Dallas-bred band. “As much as I want us to calm down and grow up, the songs that felt right for this record were mostly big and loud and brutal and dirty,” says Miller, whose bandmates include bassist Murry Hammond, guitarist Ken Bethea, and drummer Philip Peeples. Arriving just months before the 30th anniversary of Hitchhike to Rhome—a powerhouse debut that played a vital part in pioneering the alt-country genre—the result is a gloriously rowdy body of work, revealing a veteran band more attuned than ever to the raw and reckless energy of truly timeless rock-and-roll. \n\nWith its title lifted from a bit of fictional art criticism in Stephen King’s psych-horror novel Duma Key, American Primitive merges its unvarnished sound with the punchy yet poignant storytelling signature to Old 97’s, radiating a rambunctious joy even as Miller’s lyrics contend with complex questions of love and mental illness and the routinely daunting state of the world. Produced by Tucker Martine (My Morning Jacket, The Decemberists, Neko Case) and featuring iconic guest musicians like Peter Buck of R.E.M. and Scott McCaughey of The Young Fresh Fellows and The Minus 5, the album took shape in a series of deliberately whirlwind sessions at Flora Studio in Portland, Oregon. “This was the first record we’ve ever done with zero pre-production,” Miller points out. “It’s us working completely on instinct, leaning on 30 years of playing together to come up with something on the fly rather than overthinking any of our choices.” \n\nKicking off with the frenzied riffs and restless grooves of “Falling Down,” American Primitive opens on a lyric encapsulating the album’s snarling joie de vivre: “You’ve got to dance like the world is falling down around you, because it is.” Next, on “Somebody,” Old 97’s deliver a thumping punkabilly anthem channeling both desire and doom. “That song came from looking back over my relationship history and acknowledging that I spent a long time as something of a serial monogamist,” says Miller. “As a young man I was in love with the idea of being in love, and I wanted ‘Somebody’ to speak to the hopelessness of exiting a very intense relationship and knowing you’re just going to rush right into the next one.” From there, American Primitive bursts into the breakneck urgency of its title track, a gorgeous entangling of poetic observation and feverishly expressed longing. “I was sitting on the balcony of a hotel in Peachtree, Georgia, watching the sun setting over the forest and trying to identify the trees, and I started writing what began as meditation on nature but eventually turned into a song about missing someone,” Miller recalls. “I wound up taking inspiration from that phrase in the Stephen King novel, which felt like a perfect description for our band and how primitive and unstudied we are.” \n\nAnother track born from Miller’s contemplation of the natural world, lead single “Where The Road Goes” slips into a lush and hypnotic reverie, achieved in part through Buck’s arpeggiated 12-string guitar and a trance-inducing drum loop dreamed up by Peeples and Martine. “I was in Montana and found myself on the banks of the Blackfoot River, watching the water pounding with a ferocious power, and I started building this song as a statement of gratitude for having survived this long,” says Miller. “It revisits some of the darkest moments of my life, including a suicide attempt at age 14 that by all rights I shouldn’t have lived through and yet somehow did. In a way it’s like a spiritual travelogue that rolls back through all the places that shaped me for better or worse, and ends up in this beautiful place that I felt so thankful to experience.”  \n\nA distinctly literary lyricist who’s authored a number of children’s books and written for publications like McSweeney’s and The Atlantic, Miller threads American Primitive with so much lived-in yet dreamlike detail, such as on the sublimely blistering “Masterpiece” (“So I sank to the bottom of the hotel pool\/You drank sunshine like you always do\/Then it rained broken glass on your paperback\/The ink ran and so did I, never said goodbye\/Just fade to black”). “Magic” serves up a jittery piece of power-pop echoing the anguish of grasping for salvation, while “Western Stars” presents an intimate portrait of pained isolation inspired by an epic Alfred Lord Tennyson poem that Miller memorized in high school. Equal parts sprawling rumination and freewheeling joyride, the album also spans from the stripped-back benediction of “Incantation” to the sweetly skewed whimsy of “Honeypie” (a loping and lighthearted love song featuring McCaughey on piano and Buck on mandolin). And on “Estuviera Cayendo,” American Primitive closes out with an instrumental reprise of “Falling Down,” beautifully reimagined on flamenco guitar by guest musician Jeff Trapp. \n\nIn choosing the cover art for American Primitive, Old 97’s selected a painting created by Hammond’s 17-year-old son Tex Hammond—a prodigious talent who, at age 14, became the youngest artist ever to exhibit at the prestigious LA Art Show. It’s a fitting choice for a band who’ve maintained a certain youthful exuberance more than three decades into their career, and for an album in which a palpable sense of wonder prevails despite its world-weary undercurrent. “Over the last year of touring in celebration of our 30th anniversary, it’s been impossible not feel some emotion welling up at the idea that my bandmates and I have been in this close brotherhood for so long,” says Miller. “I think a lot of that longevity has to do with the fact that we’re really the same band we were back then. We’ve experimented with pushing in different directions, and we’ve had experiences outside the band where we’ve learned new things, but the way we approach this music has fundamentally remained the same. Our heart is still in the exact same place.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0410-Old-97s-web-banner-767351c143.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/old-97s-1","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 10<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0410-Old-97s-thumbnail-e687eaf7b8.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Bad Suns: ACCELERATOUR USA 2026","media_tagline":"She's Green","event_body":"Bad Suns are embracing everything that’s possible. On their joyous fifth album, fittingly titled Accelerator, the Los Angeles trio are taking stock of everything they’ve been through together as a band and pushing into a bright future with a renewed sense of purpose.\n\n\nTogether since 2012, Christo Bowman (vocals\/guitar), Gavin Bennett (bass) and Miles Morris (drums) started playing together as teenagers and went viral almost immediately with their magnetic blend of indie-rock and ‘80s synth sheen. After four hit albums, the trio reached a point where they needed to recalibrate and recenter if they wanted to continue. Recording their exuberant 2023 EP Infinite Joy was a cleansing experience that recalibrated Bad Suns and set them on a thrilling path forward into making Accelerator, which comprises 12 new tracks brimming with dance-pop hooks and poignant lessons learned.  \n\n \n\n“We saw the Infinite Joy EP as a new beginning for the band. I felt this yearning once again,” reflects Christo Bowman. “Accelerator being our fifth album, our first studio album as a trio, and the first album of my 30s, we knew that this was going to be really important. We didn't want to take that lightly. We asked ourselves, how do we live up to the occasion? We saw this album as a mountain we wanted to climb.”\n\n \n\nIn planning their elevation, Bad Suns reconnected with their go-to producer Eric Palmquist (Tate McRae, Half Alive), who also helmed their 2014 debut Language & Perspective, plus follow-ups Disappear Here (2016) and Apocalypse Whenever (2022). Going into recording Accelerator, Eric encouraged Bad Suns to channel their sense of renewal into an energetic sonic direction they’d tapped into before, but never quite to this extent. “One of the first times we sat down with Eric, we were talking about what we'd all been vibing with. He said point blank, ‘It would be really cool to mess around with some ‘90s house-inspired music. Right away, the light bulb went off for me. I'd wanted to push in that direction forever.”\n\n \n\nWhile tracks like the previously released “Communicating,” anthemic opener “Slow Karma,” the pulsing “Why Am I Like This,” and the shimmering club cut “Just Like Magic” reveal a riveting pop turn for the band, Accelerator is still steeped in the original DNA that made Bad Suns a feel-good viral sensation with early hits like “Cardiac Arrest.” The rushing pop melodies mirror Accelerator’s title, but its lyrics are filled with stop-and-think moments where Christo surveys his past actions and makes the intentional choice to embrace personal growth and impending fatherhood.\n\n \n\n“My 20s were a challenging time with a lot of peaks and a lot of valleys,” he says. “There's a lot of joy, a lot of mistakes. This album is ultimately about finding the strength within yourself to assess the damage that's been done and make the changes that you need to in order to take control of your own life, kind of reckoning with the fact that you can't control the external circumstances. I can't control the world around me, but I can control the way that I react to the events taking place and the way that I move through the world.”\n\n \n\nThe hook-packed gem “Slow Karma” acts as Christo’s mission statement for Accelerator. An intimate and cathartic track, the album opener finds Christo at a personal and professional crossroads as he confronts old habits and makes the decision to become sober. “I was at a point in my life where it was becoming abundantly clear to me that I needed to make some changes in order to progress and live the life that I really wanted,” Christo says. “Getting sober is really hard, but then it becomes the easiest thing in the world. ‘Slow Karma’ is about accepting that this is gonna be difficult. And I don't know exactly what's ahead, but I know this is the direction I'm supposed to be moving down.”\n\n \n\nThe sparkling “Mystery Girl” signifies another crossroads as Christo, in a diaristic stream of consciousness, remembers his coming-of-age years while facing the inertia of fatherhood. “There's this beautiful new chapter in my life unfolding, and there's mixed emotions that come with it,” he says. “This is a song about my teenage years, past relationships and experiences, and being a young person who is ultimately just looking for love.”\n\n \n\nChristo is equally unafraid to imagine what would have happened had he not made a series of positive changes. On the urgent, electropop banger “Back To Zero,” the singer envisions an alternate reality without Bad Suns or his wife and partner of 13 years and arrives at a place of heart-bursting gratitude for everything he has and the future that lies ahead.\n\n \n\n“I didn't want this record to be too self-help-oriented, but I did want every song, one way or another, to relate some wisdom I’ve gained,” Christo says. “By imagining myself alone in an apartment, my wife long gone — my life very easily could have looked like that. I’ve learned how important it is, as the lyrics say, to ‘find the beauty in what's painful,’ and love every moment for what it is.”\n\n \n\nAs Bad Suns move into their latest era, one filled with exciting personal and professional milestones, they’ve never been more harmoniously aligned. “While making this album, I turned 30, I got married, I found out I was having a kid. Going to the studio every day and being in the room with the guys, I had this sense that I'm going to look back and know that was probably one of the best times of my life.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0412-Bad-Suns-web-banner-a34fdac535.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/bad-suns-acceleratour-usa-2026","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 12<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0412-Bad-Suns-thumbnail-d5e79920d4.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Hannibal Buress","media_tagline":"","event_body":"From within the bustling heart of the Windy City, a comedian named Hannibal Buress embarked upon his journey. The year was 2002, the location, the Big Muddy Room at Southern Illinois University. Guided by the wisdom of his friend Chidi and sharpened in the fires of Tony Trimm's "Sunday School sessions," young Buress was prepared to take the comedy world by storm.\n\n \n\nIn 2006, he emerged from the shadows, performing at Montreal's 'Just for Laughs' New Faces, an event that led to his first international appearance on "Late Night with Jörgen Raymann" in Holland. From that moment, he continued to grow, creating a series of successful stand-up specials including "Animal Furnace," "Live From Chicago," "Hannibal Takes Edinburgh," "Comedy Camisado," and "Miami Nights".\n\n \n\nFate intervened in 2009, when a last-minute booking on "Late Night with Jimmy Fallon" led to a meeting with Seth Meyers. This encounter gave him the opportunity to write for the legendary show "Saturday Night Live." It was there, my young turtles, where Buress had one sketch air – a moment he credits to the creativity of his cousin Percy. He cherishes the memory of watching Rihanna uttering his lines in the "Shy Ronnie" sketch. After a season there, he moved to "30 Rock," filling the space left vacant by the departure of Donald Glover.\n\n \n\nIn the realm of film, Buress has proven his versatility, showcasing his talents in "Neighbors," "Neighbors 2," "Baywatch," "Daddy's Home," "Spiderman: Homecoming," "Spiderman: Far From Home," and "Tag." He also provided a memorable performance as Lincoln the dentist on "Broad City" and lent his voice to animations like "The Secret Life of Pets" and "The Angry Birds Movie."\n\n \n\nFrom 2009 to 2017, Buress held court at the "Comedy at the Knitting Factory," his charm and wit making an indelible mark on late-night television, featuring on shows such as "David Letterman," "Conan," "Stephen Colbert," and "The Daily Show with Trevor Noah."\n\n \n\nIn 2022, he underwent a transformation, shedding his skin to become Eshu Tune in the world of music. His rhythmic anthems like "Veneers remix" with Danny Brown and Paul Wall, the lively bowling song "1-3 Pocket," and the meticulously crafted "I Lift Weights" echo through the streets. This endeavor was made possible through collaborations with creative minds like Kiefer, Tru, Eshu Tune, Wahsabi Papi, Kenny Segal, Eryn Allen Kane, and Haile Supreme. Through these transformations, Hannibal Buress remains a true warrior in the world of entertainment.\n\n \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/hannibal660-632640616e.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/hannibal-buress-2026","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 14<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/041426-Hannibal-Buress-thumbnail-e8f8fa9ac1.png","category":{"name":"Other","id":"0"}},{"media_title":"Tigers Jaw","media_tagline":"with Hot Flash Heat Wave and Creeks (solo)","event_body":"Despite our deepest desires, time only continues to move forward, slowly and incessantly. We attempt to understand the present through our conceptions of the past, and we hope to use that understanding to guide the future. These simple chronological divisions offer us a simple way to organize our lives: where we’ve been, where we are now, where we hope to be. Despite their connections, they feel disparate, always looking at one through the lens of another. On their new record Lost on You, the band’s seventh full-length, Tigers Jaw pose a much more holistic idea: we exist in all of these timelines at once.\n\nFormed in 2005 by high school friends from Scranton, PA, Tigers Jaw have long been an important and revered band. They quickly gained attention for their ability to effectively and cooly capture teenage emotions, with equal parts upbeat angst and mellow moodiness. And now, two decades later, the band is still going. Ben Walsh (guitar, vocals) and Brianna Collins (keys, vocals), alongside the expanded lineup featuring Mark Lebiecki (guitar), Colin Gorman (bass), and Teddy Roberts (drums), continue their legacy into a new era.\n\nLost on You is a continuation of what we’ve always loved about Tigers Jaw. There’s the powerful and pounding rhythm section, the great melodic leads that shift from instrument to instrument, and, as always, the interchanging and overlapping vocals. With five years since their last release, Walsh noted that the band “wanted to feel confident in the material we have and let things progress naturally.” And so they took their time finding what felt right, even though, of course, life continued on all around them. They reunited with producer and engineer Will Yip (Turnstile, Movements) at his famed Studio 4 in Pennsylvania to capture this moment, this solid and yet very strange period of middle adulthood where we are supposed to have shaken off the uncertainty of adolescence and yet are still plagued by many of the same problems.\n\nThe result is a Tigers Jaw record as great as you’d expect. Songs like “Primary Colors” and “Baptized on a Redwood Drive” find the band embracing a driving midtempo similar to alt rock heroes Jimmy Eat World or Weezer, with other tracks like “Head is Like a Sinking Stone” and “BREEZER” feeling so classic that the best reference is Tigers Jaw themselves. They sing about blades and knives, anxieties and intentions, and timeless TJ topics like two worlds and ghosts.\n\nAnd while this record is decidedly from the present, it is deeply embedded in their history. There are many moments that would feel just as at home sung along to at the defunct Scranton venue Test Pattern as they would in the huge halls of Philadelphia’s Union Transfer, a venue probably ten-times as large that they are now able to sell out. This is not surprising. The scene’s present moment owes a lot to Tigers Jaw; their contributions have helped pave the way for this entire world, and still the group continues on.\n\nAnd that’s the thing, Tigers Jaw was the band that wrote those songs before and they still are the band writing these songs now. You can plainly hear it. Tigers Jaw show us the possibility of realizing all versions of ourselves. We are our former, present, and future selves in one being, filled with prescience and past. These songs are portals taking us between different parts of the band’s life and even our own lives, showing us how we can understand time not as a linear narrative but as something that is all real and knowable at once. They weren’t able to get here without starting somewhere else—somewhere we as fans can instantly recognize and relate to. And while where they are going may still be unknown to us, we can see traces of it here already. It’s uncertain but true, something we are constantly grappling with as time continues to inevitably pass. But there is beauty in it if we can accept it, finding contentment in just attempting to know ourselves. As Collins sings on “Primary Colors,” “I understand it all now\/It’s not supposed to make sense.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0415-Tigers-Jaw-web-banner-e52ecf57d0.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/tigers-jaw","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 15<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0415-Tigers-Jaw-thumbnail-9726d7db2c.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Gasolina Reggaet\u00f3n Party (18+)","media_tagline":"","event_body":"This event is 18 & Over Only. No Exceptions.\n\nGasolina is dedicated to creating a community within the reggaetón and latin-music scene across the United States through exciting and innovative events. From throwing shows at small clubs in Los Angeles to large-scale events in New York & beyond, Gasolina is bringing together the reggaetón community from coast-to-coast. Serving as both a legendary perreo and a platform to showcase up-and-coming talent in the reggaetón and Latinx scenes, the collective is determined to break the boundaries of latin music and push the culture forward.\n\nGasolina has held events with artists such as Nina Sky, DannyLux, Tornillo, Vice Menta, Izzy La Reina, BRRAY, Tomasa Del Real, Ir-Sais, ECKO, Jen Morell, Fuego and beyond in venues such as Avalon Hollywood, House of Blues, and more.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/gaso6603-2adb9dfeb2.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/gasolina-reggaeton-dance-party-18-up-5","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 17<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0419-Gasolina-thumbnail-a05f0fc13a.png","category":{"name":"Other","id":"0"}},{"media_title":"All Your Friends (18 & Up)","media_tagline":"","event_body":"This event is 18 & over only.  No exceptions.\n\nAn indie dance party for the ones who still romanticize a scratched iPod, American Spirits, and a blurry night scored by Bloc Party and Crystal Castles.\n\nOfficial afterparty of the Tom Tom Festival. Ticket purchase required, admission is not included with festival badge. \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0424-Indie-Sleaze-web-banner-5bf76957b3.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/all-your-friends","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 24<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0424-Indie-Sleaze-thumbnail-96acaae1aa.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Hot In Herre: 2000s Dance Party (18+)","media_tagline":"","event_body":"This event is 18 & Over Only. No Exceptions.\n\nHot in Herre, the biggest 2000s\/Y2K party in the country!\n\nHot In Herre features dope DJs behind the decks and 00s visuals that will transport you back to the days of blinged-out flip phones and trucker hats!\n\nAt Hot In Herre, you'll hear your favorite hits and guilty pleasures from the first decade of the millennium from artists like Nelly (duh), Beyoncé, Usher, Rihanna, Britney Spears, Pitbull, 50 Cent, Shakira, Snoop Dogg, Flo Rida, Fergie, T-Pain, Amy Winehouse, Outkast, Eminem, Pink, Black Eyed Peas, Jay-Z, Sean Paul, Avril Lavigne and so many more. \n\n** Wear your best 2000s-era gear at Hot In Herre! We're talkin' fuzzy pink Juicy Couture sweats, bling, Ed Hardy shirts, loooow-rise jeans, UGG boots, crop tops… you name it, just wear it! **\n\nWe’re taking song requests all night, too. Pull out your old iPod playlists and have your favs ready to go! \n\nOfficial afterparty of the Tom Tom Festival. Ticket purchase required, admission is not included with festival badge. \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0425-Hot-in-Herre-web-banner-43f9419ec4.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/hot-in-herre-2000s-dance-party-13","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 25<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"9:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0425-Hot-in-Herre-thumbnail-ac11d036c5.jpg","category":{"name":"Other","id":"0"}},{"media_title":"The Happy Fits","media_tagline":"With BEL","event_body":"Over the course of ten tumultuous months, The Happy Fits’ world turned upside down in every way imaginable. Rather than let it break their stride, though, the acclaimed indie rockers leaned into the turmoil, transforming all the heartbreak and uncertainty they experienced into their most exhilarating, adventurous, and cathartic record yet.\n\n \n\n“It feels like a whole new beginning,” says singer\/cellist Calvin Langman. “We had to go through a lot of struggle to get here, but the band is stronger and healthier than ever before now, and I couldn’t be more excited about the chapter we’re about to embark on.”\n\n \n\nWritten and recorded amidst an emotional maelstrom that saw one founding member depart the band, another leave tour to get sober, and a third entering an era of self-renaissance, Lovesick is, as its title would suggest, a complicated reckoning with all the joy and pain that comes with opening your heart to the world. The songs are bold and fearless, reveling in the intensity of it all with radical vulnerability, and the performances are similarly, pairing blistering rock and roll energy and addictive pop hooks with sweeping orchestral arrangements and raw, revelatory lyrics. The collection also marks The Happy Fits’ first release with guitarists\/vocalists Nico Rose and Raina Mullen, whose fresh perspective, innovative style, and undeniable chemistry with Langman and drummer Luke Davis manage to infuse the band’s sound with the unbridled energy of a debut record. The result is a poignant reflection on loss, grief, and renewal that touches on everything from Fleetwood Mac and ABBA to Arcade Fire and the Cars, an alternately triumphant and devastating meditation on change and growth that consistently reaches for beauty and transcendence, no matter how distant they may seem.\n\n \n\n“After going through such a difficult stretch, I found myself wanting to get back to a more earnest kind of songwriting,” Langman explains. “Letting go of people who had meant so much really hurt, but at the same time, being able to live a more honest life and experience the world on my own terms brought a kind of freedom and joy I’d never known before.”\n\n \n\nFounded in New Jersey by childhood friends Langman and Ross Monteith, The Happy Fits burst out of the gate in 2016 with Awfully Apeelin’, a self-released EP that climbed all the way to #5 on the Spotify USA Viral 50 and convinced the pair—along with Davis, who played drums on the record and soon joined as an official member—to drop out of school and pursue the band full time. In the years that followed, the group would go on to release three widely lauded full-length LPs (NPR’s Fresh Air hailed their music as “some of the freshest, catchiest pop music around right now”), rack up more than 300 million streams across platforms, land festival slots everywhere from Lollapalooza to Corona Capital in Mexico City, and develop a diehard fanbase across North America and Europe on the strength of their unique (how many bands feature a dynamo frontman with a cello strapped to his chest?) and rapturous live show.\n\n \n\nWhile the band’s meteoric rise may have seemed like the stuff of dreams, challenges arose behind the scenes that threatened to bring it all to an abrupt halt. In early 2024, Monteith left the group, severing the creative partnership that had formed the band’s bedrock since the start. Later that year, Langman found himself forced to hold an intervention for Davis, whose struggles with alcohol had reached a breaking point.\n\n \n\n“I wasn’t angry or frustrated or anything,” Davis recalls, “just sad because I felt like I’d let everyone down. But Calvin told me something that I needed to hear. He said that I shouldn't be doing this for anyone else, that I should be doing it for me, and that I needed to love myself. At the end of that conversation, we decided I would commit to AA and therapy.”\n\n \n\nDown two members for the fall tour, Langman tapped Rose and Mullen to join him on the road.\n\n \n\n“I’d been playing all over the LA music scene leading my own bands and touring as a hired gun for other artists’ projects, but when I got the call to join The Happy Fits, it didn’t just feel like another gig,” says Rose. “It felt like the possibility of something lasting. The addition of two new female voices and the unleashed power of two guitars to accompany what was already present and loved gave every song on the setlist a new life.”\n\n \n\nThe live show became more thrilling and dynamic than ever before, with Mullen and Rose not just filling in, but helping to redefine the sound of the band from the ground up. Surrounded for the first time by musicians who were just as eager to be onstage and elevate the music as he was, Langman found himself at a personal crossroads.\n\n \n\n“The happiness I experienced in those first few weeks of the tour was profound,” he recalls. “But the more fulfilled I felt professionally, the more unfulfilled I felt at home, and I realized that, after seven years, my relationship had run its course.”\n\n \n\nSo Langman packed his things and moved out of the couple’s shared house in Easton, PA, relocating to Brooklyn, NY, where he learned how to live alone for the first time in his life. The transition was difficult, at times filling him with guilt and self-doubt, but, much as he’d discovered with the band, living honestly and authentically opened whole new horizons and put him in touch with parts of himself he didn’t even know existed. The songs came pouring out, and by the time Langman was ready to record, Davis was happy, healthy, and back from hiatus, ready to put his stamp on the new material along with Rose and Mullen, whose insight and inspiration helped push the recording sessions to new heights.\n\n \n\n“Joining an already established band has its growing pains,” reflects Mullen, “but bringing two powerhouse musicians organically into the fold added a whole new dimension to the music with four-part harmonies and female voices. Incorporating our personal tastes and years of experience in different bands was vital to making this record and growing the sound and positive energy of the band. To have four people come together and all want to have artistic input is a new world for The Happy Fits.”\n\n \n\nThat sonic rebirth is obvious on Lovesick, which builds from a lo-fi whisper to an orchestral roar on brooding opener “Do You See Me?” Like much of the record, the song contemplates longing and desire, coming to terms with the inherent selfishness of love and our bottomless need for acceptance and approval. The explosive “Shake Me” begs to feel something—anything—in the face of emotional stagnation, while the muscular “Cruel Power” invites heartbreak, the if only for the rush. The riotous “Black Hole,” meanwhile, explores what happens when we surrender our sense of self to meet the needs of another, watching helplessly as a creative relationship that once brought such light and joy slowly transforms into a source of frustration and regret. “Sing to me \/ Sing through me \/ All I gave you and you never even knew me,” Langman belts over theatrical strings and guitars. ““Why do you lie? \/Show me you’re human \/Cause it’s been a while while while while \/ Since I’ve seen you prove it.”\n\n \n\n“I learned through this experience that no matter how badly you may want to help someone, if they’re unwilling to accept it, you have to let go,” Langman explains. “Otherwise, you’ll just keep giving more and more of yourself until you get whittled down to nothing.”\n\n \n\nRather than fixate on what’s lost in those moments, however, Langman instead focuses his energy on the emotional and creative highs that come from connecting with others who give as much as they get, who and make you feel truly alive. The euphoric “Everything You Do” luxuriates in the bliss of infatuation; the dreamy “I Could Stare At You For Hours” surrenders to yearning and desperation; the buoyant “Sarah’s Song” celebrates silver linings and the rewards of platonic love; and the pulsating “Wild” throws caution and logic to the wind.\n\n \n\n“For the first time since I was a teenager, I found myself falling in love again,” Langman recalls. “I felt passion everywhere I looked.”\n\n \n\nPassion, in the end, is what Lovesick is all about. Not just romantic passion, but passion for life in all its messy, confusing glory: passion for growth, for healing, for heartbreak, for discovery, for destruction, for creation, for mistakes, for second chances. The Happy Fits have experienced it all these last ten months; now they’re ready to share it onstage with you every night.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0427-The-Happy-Fits-web-banner-12b82d2be9.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-happy-fits-1","ticket_link":"Buy Tickets<\/a>","event_date":"Apr<\/span> 27<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"7:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0427-The-Happy-Fits-thumbnail-40e2e7fec6.jpg","category":{"name":"Other","id":"0"}},{"media_title":"The Wailers","media_tagline":"","event_body":"The Wailers — 50 Years of Positive Vibrations\n\n50th anniversary of Rastaman Vibration\n\nIn 2026, The Wailers celebrate 50 years of Rastaman Vibration, marking a defining moment in reggae history and honoring one of Bob Marley & The Wailers’ most influential albums. This special tour, 50 Years of Positive Vibrations, highlights select cuts from Rastaman Vibration alongside the timeless classics that continue to unite audiences across generations.\n\nReleased in 1976, Rastaman Vibration was a pivotal album that carried reggae’s message of resistance, spirituality, and hope onto the global stage. Songs like “Positive Vibration,” “Roots, Rock, Reggae,” and “War” remain as relevant today as ever — powerful expressions of music as both a cultural force and a call for unity.\n\nUnder the leadership of Aston Barrett Jr., son of legendary bassist Aston “Familyman” Barrett, The Wailers continue to honor their roots while carrying the music forward with purpose and authenticity. Joined by Mitchell Brunings, whose soulful vocals and commanding stage presence have captivated audiences worldwide, the band delivers performances that embody the enduring spirit of reggae — uplifting, conscious, and deeply human.\n\nLegacy honored. Evolution ongoing.\n\nIn a unique crossover into film, Aston Barrett Jr. portrayed his father in the 2024 biopic Bob Marley: One Love, directed by Reinaldo Marcus Green and starring Kingsley Ben-Adir. His portrayal added rare authenticity, grounded in lived experience and a deep personal connection to the legacy.\n\nAlongside honoring the past, The Wailers remain firmly rooted in the present. Their recent albums One World and Evolution — both Grammy-nominated — reaffirm the band’s creative vitality. Evolution, produced by Grammy Award-winner Emilio Estefan Jr. on Crescent Moon Records, blends classic roots reggae with contemporary global influences, with songs like “Love Should Be Free” resonating worldwide for their positive and socially conscious message.\n\nAudiences can expect a soul-stirring setlist that weaves together the revolutionary spirit of Rastaman Vibration, the band’s classic anthems, and select modern highlights — all delivered with the same authenticity, musicianship, and heart that made The Wailers a cornerstone of global music.\n\n50 Years of Positive Vibrations is more than a tour — it’s a celebration of music with meaning, a living connection between reggae’s golden era and its continuing power to inspire unity, resilience, and hope.\n \n\nAbout Aston Barrett Jr.\n\nAston Barrett Jr. is a Grammy-recognized musician, producer, and bandleader carrying forward the legacy of The Wailers while firmly grounding it in the present.\n\nIn 2017, Aston Barrett Jr. received a Grammy certificate as co-producer with Damian Marley for the track The Struggle Discontinues, featured on the album Stony Hill, which won the Grammy Award for Best Reggae Album.\n\nAs the son of legendary bassist Aston “Familyman” Barrett, Aston Barrett Jr. now serves as leader and musical director of The Wailers, guiding the band into a new era with respect for its roots and a clear forward vision. Under his leadership, The Wailers have released the Grammy-nominated albums One World and Evolution. Evolution, produced by Emilio Estefan Jr. on Crescent Moon Records, blends classic roots reggae with contemporary global influences and features the internationally resonant single Love Should Be Free.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/wailers660-c7ea7d09db.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-wailers-4","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 3<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0503-The-Wailers-thumbnail-3c19d0e09a.png","category":{"name":"Other","id":"0"}},{"media_title":"Soulja Boy - The Drip Tour","media_tagline":"with special guest Lil Xan","event_body":"Before he reached the age of 18, Soulja Boy Tell Em (born DeAndre Way; originally Soulja Boy until copyright issues interfered) was already an ambitious artist and a seasoned businessman wielding all the hitmaking requirements: producer, live entertainer, and an ability to write catchy hooks. Born in 1990 in Chicago, Illinois, Way moved from the Windy City down to Atlanta when he was six years old, but then went to live with his father in Batesville, Mississippi at age 14. In Mississippi, the young entertainer found all the various connections to pursue a musical career seriously, including the aid of his father, who provided a recording studio. After successfully promoting his music online in 2004 and establishing his Stacks on Deck Entertainment label, he moved back to Atlanta to pursue industry leads and to get his feet wet doing live performances. Shortly thereafter, he was discovered by Atlanta producer Mr. Collipark (Ying Yang Twins, Bubba Sparxxx, Young Jeezy), who helped launch Soulja Boy Tell Em from a local sensation to a national mover and shaker -- and it was all largely due to the Internet. His MySpace page broke the site's records and generated millions of views. Affiliated with Interscope via Collipark's Collipark Music imprint, Soulja Boy Tell Em gradually rose to number one on the pop.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0505-Soulja-Boy-web-banner-d8b4a2c050.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/soulja-boy","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 5<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0505-Soulja-Boy-thumbnail-2-bc766f6905.png","category":{"name":"Other","id":"0"}},{"media_title":"Waylon Wyatt: Everywhere Under The Sun","media_tagline":"with Julia DiGrazia","event_body":"This show has sold out and no additional tickets will be released. Please note that verified resale tickets cannot be purchased at the box office and must be purchased exclusively online.\n\nWaylon Wyatt is a 19-year-old folk-country artist from Hackett, Arkansas, known for his raw, red-dirt take on Americana. He began writing songs as a kid, often after long days working construction with his father. Waylon recorded and produced his debut EP Til The Sun Goes Down in the rec room of his childhood home. The EP has amassed over 225 million streams and two of its standout tracks “Arkansas Diamond” and “Jailbreak” have earned RIAA Gold certifications. Drawing inspiration from modern trailblazers like Tyler Childers and Zach Bryan, Waylon has cemented his place as a “rising country star to know” (GRAMMY.com) and was named one of VEVO’s 2026 DSCVR Artists to Watch. He has played sold-out stages worldwide, headlining major U.S. venues and delivering standout performances at Stagecoach, Cavendish Beach Music Festival, and FairWell Festival, as well as joining Zach Bryan at London’s Hyde Park. In 2026, Waylon will continue his global momentum with appearances at C2C Festival across Europe, select North American dates supporting Sam Barber, and major festivals including Under the Big Sky, Railbird, Bonnaroo, and more, all while preparing to release his highly anticipated debut album this coming Summer.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0508-Waylon-Wyatt-web-banner-f269dcfd1f.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/waylon-wyatt-everywhere-under-the-sun","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 8<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0508-Waylon-Wyatt-thumbnail-b08f0615e8.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Arcy Drive - The Pit Tour: Spring 2026","media_tagline":"","event_body":"With time to kill and an attic to jam in, Arcy Drive, a group of four good buds from Northport, New York began forming their scratchy but spirited sound. Traveling in a 1989 Toyota van, they shared their music locally which they coined "Attic-Rock."\n\nAfter a summer in their hometown and newfound passion of playing live, the four renovated an old school bus and began touring the US before their first official release. Many dive bars and music halls later, their "Barefoot Tour" landed the band a new cult following.\n\n \n\nOver the last couple of years, the group has released a live album, 'Attic Sessions', a studio EP 'Beach Plum', and their debut studio album ‘The Pit’ released in April of 2025. They have amassed over 35 million streams, having played Bonnaroo, Lollapalooza, Gov Ball, Shakey Knees, Kilby Block Party & more. Their International following grew from their first time overseas in May of 2025 - selling out their first London headline. \n\n \n\nTheir most recent ‘The Pit Tour: 2025’ was a massive success in the US, selling out 31 of 36 shows. This tour spanned from September to November and included sold-out headline shows in NYC (Webster Hall), Chicago (Metro), Boston (Royale), Philly (BB), Los Angeles (Troubadour) + many more. Selling over a combined \n\n \n\nLooking forward to 2026, Arcy can be seen at Noah Kahan’s ‘Out of the Blue’ Festival in January, as well as High Water Festival in April. They will embark on a Spring headline tour - hitting 20+ cities through May. They will be heading back to the UK later in the year and have exciting festival plays to announce soon! Keep your 2026 ears open for the bands debut studio album with Atlantic Records! \n\n  \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0510-Arcy-Drive-web-banner-ef05129a40.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/arcy-drive-the-pit-tour-spring-2026","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 10<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0510-Arcy-Drive-thumbnail-062e9b53c7.jpg","category":{"name":"Other","id":"0"}},{"media_title":"The Head And The Heart: 15th Anniversary Tour","media_tagline":"with the Brudi Brothers","event_body":"This show went on sale on 2\/18 at 9:00am EST through multiple presales, with only a very limited allotment released during the public on-sale. As with any high-demand event, tickets moved quickly.\n\nDue to overwhelming demand, General Admission tickets are now sold out. Only VIP tickets remain available.\n\n\nAs The Head and the Heart toured behind their 2022 album, Every Shade of Blue, Jonathan Russell realized something needed to change inside the band he had cofounded a dozen years earlier: the entire songwriting process. At the start of the last decade, with their self-titled debut, they’d instantly bloomed at the fertile intersection of indie rock and folk-rock like some rare flower. Their massive harmonies and pulsing arrangements suggested a cadre of old friends, working together to share some new emotional burden—a band, really. But the tandem of success and encroaching adulthood had forced sometimes-unspoken changes over the years, with Russell often taking on lead songwriting duties, even bringing in outside collaborators to bolster his ideas. That early band energy faded a bit, The Head and the Heart becoming more a team of collaborators adding or even playing parts for songs that were almost ready to record. On stage, they could all feel it: a slight disconnect from the songs, a slight disconnect from one another. The Head and the Heart needed a restart.\n\n \n\nAperture—The Head and the Heart’s sixth album and their first since signing to Verve Forecast—is the affirming result of that realization. After working with a string of marquee producers on their previous three albums, the six members took the lessons they’d learned into studios in Seattle and Richmond, patiently shaping and self-producing a record that satisfied no one but themselves. More important, though, they tossed out the codex that dictated who did what. After leading so much of the songwriting during the last decade, Russell ceded that role to everyone, shooing away siloed work for a highly collaborative approach where everyone hatched tunes together in a room or passed ideas between coasts. Some members wrote and sang for the first time; others redoubled their commitments and contributions. More than any other record ever by The Head and the Heart, Aperture feels like the work of a real band, made giddy by the process of once again sharing some emotional load. With every song fortified by the sense of beginning again, Aperture is The Head and the Heart’s most vital and poignant album. It is the best work they’ve ever done.\n\n \n\nThere was, though, some early worry it might not cohere, that everyone might not have the same chance to fit and lift. As spring arrived in Richmond in 2023, four members—Russell, bassist Chris Zasche, pianist Kenny Hensley, and drummer Tyler Williams—rendezvoused there to do what the band had rarely done: simply jam, with few if any preconceptions of the songs they might write. Weeks earlier, Charity Thielen and Matty Gervais had their second baby, so they stayed home in Seattle. After all, the stakes seemed low, since this was unstructured exploration.\n\n \n\nBut the quartet instantly tapped into a renewed enthusiasm, a tide of ideas rippling out in a matter of days. There was a rawness and unfettered energy to these songs. A band that had built a massive audience with meticulous arrangements and studio perfection suddenly found a vim that bordered on punk. There was a boundlessness to it all. Williams even sang lead for the first time, boosting an explosive Russell tune called “Cop Car.” And the first bits of a first song by Hensley were taking shape. How would Thielen and Gervais respond to this new exuberance? Was it too much?\n\n \n\nNot at all: The couple responded in kind, excited not only by the material the ad hoc quartet had written in Richmond but the attitude of boundless teamwork they’d embraced. Across a half-dozen subsequent sessions and countless more casual hangs, songs simply seemed to leak out of The Head and the Heart, some inspired by bits of kismet and others by deliberate teamwork. In the former field, for instance, Russell left a guitar in Gervais’ home studio in an unlikely tuning after a session. When Gervais picked it up days later, he heard something he liked. On New Year’s Day 2024, he played the snippet for Hensley and, they quickly wrote “After the Setting Sun,” turning Russell’s accidental gift into the cascading album opener. Gervais repaid the favor on “Pool Break,” a contemplative number about what we want but might not get from childhood that Russell started in those Richmond sessions. Russell thought the song was done, but Gervais helped him reconsider the structure, to emphasize the idiosyncrasy of its rhythmic dynamics and falsetto vocals by adding balance. It’s a testament to the unexpected bounties of collaboration, to letting go of control among people you trust.\n\n \n\nActually, all of Aperture feels that way, the work of a band reaching unimagined levels of camaraderie and mutual risk as one. A spirited homage to honesty and love, “Jubilee” is like the sun suddenly bursting from the clouds. It bounces like a piece of pop-punk and arcs like a Springsteen classic. As Zasche and Williams strut in the rhythm section, the rest of the band yearns for better days during “Beg Steal Borrow,” The Head and The Heart’s trademark harmonies conjuring communal aspirations. The transfixing “Finally Free” begins with Thielen alone, offering vivid images in her endlessly inquisitive tone above toy piano; as the rest of the band slowly joins, they help lift her above the hurdles that she limns. There may be no better summary of this fellow feeling than the mighty “Arrow,” a shout-along song about sometimes needing the space to roam and fail on your own and sometimes needing to be guided and helped by those around you. The Head and The Heart has finally found a way for its six members to find their own ideas and then build them, as one, into something magnificent.\n\n \n\nFor a long time, The Head and The Heart wasn’t sure what to call this record. There were, after all, so many poetic gems from which to borrow within the record, so many bits of insight into how we move forward through seemingly impossible times. Why not After the Setting Sun, for the album’s beautifully arcing opener, or Finally Free, for the band that had found both a new label home and collective synergy? But as they were in the final stages of mixing, they landed on Aperture, the cathartic closer about the redemption of perseverance, about what hopefully arrives after a very hard spell. “Sun was made for coming out\/even though the night is long,” they sing together beneath galloping drums, another iconic crescendo for a band that made its reputation with them. It’s a fitting credo for a band that’s seen so much in its dozen years.\n\n \n\nAs important, though, was the way it was made. Long known as “Kenny Piano Song,” it began as a series of keyboard progressions by Hensley, the band adding layers in real time. What, though, should it say? For weeks, Gervais listened to the instrumental as he walked through old-growth forests near Seattle, his and Thielen’s newborn strapped to his chest. He wrote a line at a time that way, eventually landing on this anthem for togetherness and endurance, for all of us moving forward, arm in arm. It is a lesson The Head and The Heart learned by giving themselves time and space to make Aperture, a band finding again its shared footing. And it is a lesson that feels as timely as these songs now, as we look for more ways to share our collective burdens.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/051226-head-and-the-heart-web-banner-cd9915990f.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/the-head-and-the-heart-15th-anniversary-tour","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 12<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/051226-Head-and-the-heart-thumbnail-840bfc9d18.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Steep Canyon Rangers","media_tagline":"","event_body":"Steep Canyon Rangers arrive at a moment of renewal and reaffirmation with Next Act, their 15th studio album set to be released May 22, 2026. The record represents a conscious tightening of focus: a return to the bluegrass foundations that first bound the band together, approached with the confidence and emotional range earned through years of collective evolution. It is an affirmation that bluegrass still contains endless expressive possibility. Next Act finds the Rangers sounding deeply at home in their own musical language, drawing strength from tradition while continuing to write new chapters within it.\n\nFormed in North Carolina and shaped equally by the Appalachian Mountains and the Piedmont, Steep Canyon Rangers have long occupied a singular space in American roots music. From their earliest recordings, the band demonstrated an unusual ability to honor traditional bluegrass forms while allowing contemporary songwriting, literary influence, and regional storytelling to seep naturally into the music. Over time, this balance earned them both bluegrass credibility and broader Americana acclaim, culminating in a Best Bluegrass Album GRAMMY Award for 2013’s Nobody Knows You, additional nominations for Rare Bird Alert (2012) and North Carolina Songbook (2020), and an induction into the North Carolina Music Hall of Fame.\n\nIn recent years, as their audience expanded and their songwriting reach grew wider, the Rangers began to feel a pull back toward the elemental forces that shaped them: acoustic instruments speaking clearly, songs built for ensemble interplay, and stories grounded in lived experience and regional memory. Next Act emerges from that impulse.\n\nSteep Canyon Rangers is made up of Graham Sharp on banjo and vocals, Mike Guggino on mandolin\/mandola and vocals, Aaron Burdett on guitar and vocals, Nicky Sanders on fiddle and vocals, Mike Ashworth on drums, dobro, percussion and vocals, and Barrett Smith on bass, guitar, and vocals.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/SCR-WEB-BANNER-b77f02ce95.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/steep-canyon-rangers-9","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 16<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/SCR-WEB-TN-5a0b718eaa.png","category":{"name":"Other","id":"0"}},{"media_title":"Indecision ","media_tagline":"with Hash the Band","event_body":"In 1984, well before the explosion of extended instrumental concerts, an improvisational band playing original music named Indecision emerged out of Charlottesville, Virginia. Drawing from a wide variety of influences, including The Allman Brothers, Grateful Dead, The Band, Steely Dan, and Little Feat, as well as the more complex rhythmic and harmonic structure of many jazz artists, Indecision forged a unique sound in the relatively new movement of improvisational music known today as the jam band scene.\n \n\n\nHash is the latest Alt Rock\/Jam band to come out of Charlottesville Virginia, With members Hasler Yancey (lead vocals\/lead guitar), Jackson Rosson (Bass \/ vocals), Tommy Fruscello (drums \/vocals), Aaron Rivera (Guitar), and Asher Friedman (keyboard \/ vocals), Hash is always writing new original music while refining what compositions they have. In addition to their original content they always have a wide variety of covers that they perform with their own spin making them a creative and almost unorthodox powerhouse of repertoire Established in December of 2023, Hash started when Hasler and Asher called in some of their High school buddies(Tommy and Jackson) to put on a last-minute show. Since then, Hash has kept the ball rolling, spending this past year getting their name in the scene while accomplishing some big shows and publishing their first single in August 2024 followed by an EP in December later that year. With an explosive year behind them, Hash is ready to hit the road with these feats under their belt. Their Social media presence includes their Instagram where you can find the latest Hash news and gigs, Tik Tok where you can find some entertaining and interactive videos with the band, and Spotify where they have 6 songs in their discography and soon to-be more as Hash keeps riding the wave of this writing and performance storm.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0523-Indecision-web-banner-4286a0ecdb.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/indecision-5","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 23<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0523-Indecision-thumbnail-5e3226bd57.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Trousdale: Growing Pains (Deluxe) Tour","media_tagline":"","event_body":"For Trousdale—the trio of Quinn D’Andrea, Georgia Greene, and Lauren Jones—the ache of growing through change, of facing down existential anxiety, and matters of the heart are all intimately familiar. “We can acknowledge the strides we’ve made and be grateful, but we’ve talked a lot about how tired we are,” Jones says with a laugh. “We’ve been thinking a lot about the tension that comes with change, wanting it, fighting it, embracing it, but learning to thrive in that moment.” On Trousdale’s upcoming LP, Growing Pains (due April 11th), the band works through those struggles to find strength, courage, and growth in each other. “From what was, something new can always grow,” D’Andrea says.\n\n \n\nOpening on a ripping electric guitar and bolstered by their trademark harmonies, the title track and lead single perfectly encapsulates those feelings in the life of Trousdale. “I’m making it through the tough times when it feels like I’ve been burning out\/ Trying to build up the muscle so the hustle doesn’t pull me down,” they sing, a limber bass line drawing each new syllable forward. The album was recorded largely live in the room and co-produced by the band and John Mark Nelson, a songwriter who has also co-written and produced songs for Suki Waterhouse and Shaboozey, as well as engineered tracks for the likes of Taylor Swift and Mitski. “This song was about what we feel every day in this band,” Greene says. “Being exhausted but finding beauty together.”\n\n \n\nTrousdale’s debut album, 2023’s Out of My Mind, earned raves from the likes of the Boston Globe, Consequence, and Atwood Magazine for its powerful songwriting, immaculate harmonies, and ability to bridge gaps between country and indie pop. On Growing Pains, the three songwriters evolved their style, writing rough ideas on their own, then refining and finishing them in the room together. “We’re all adding to each other’s ideas, drawing from personal experiences and then expanding them into something more people can connect with,” D’Andrea explains. To that end, second single “Secondhand Smoke” lives deeply in the story of an abusive relationship, but elevates into something far more haunting. There’s an icy chill to the acoustic guitar, the pain ringing softly into the night as the trio take on the perspective of a woman struggling to find hope.\n\n \n\nWhile working with co-writers like Mags Duval and Adam expanded the band’s purview, the trio credit John Mark Nelson as a particularly powerful guide. “He’s always thinking about the big picture and staying out of the weeds,” Jones laughs. “We used to live in the weeds. But John Mark helped us focus on the album as a whole.” \n\n \n\nThat lesson shows both in the totality of Growing Pains and in the summery charm of a track like “Over and Over”. Nelson shared a rough sketch of the track, and Trousdale eagerly carved out their own version: a tale of running into an ex and trying to decipher how you feel about everyone moving on. D’Andrea points to the way the track leaps between tight-knit harmonies and lead vocal flourishes as emblematic of the new heights Trousdale has reached. “Every time we record and we're in the vocal booth, we're all getting better and figuring out what we need,” she says.\n\n \n\nAs good as Trousdale sounds when they lean into their gold-hued pop, the group work their country flair into the material more masterfully than ever before. There are shades of Leann Rimes to the groovy, swaying “Lonely Night”, while the heartbeat-ballad “Want Me Back” took inspiration from Lady A and finds the trio hoping that an ex might be regretting the breakup. \n\n \n\nAcross 12 remarkable tracks, Growing Pains stares down all the weight of its title, a trio of strong, independent women facing the threats of loneliness, broken hearts, loss, and more, and converting it into transformative, uplifting music. And as the album closes on the dazzling “Last Bloom”, Trousdale basks in the light at the end of every tunnel. “What it was will grow into something new,” they sing, radiating at the end of the journey. “It's a reminder that even in the coldest moments, renewal is always possible,” D’Andrea explains.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0531-Trousdale-web-banner-e5d6041610.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/trousdale-growing-pains-deluxe-tour","ticket_link":"Buy Tickets<\/a>","event_date":"May<\/span> 31<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0531-Trousdale-thumbnail-f7d06d90f6.png","category":{"name":"Other","id":"0"}},{"media_title":"Pablo Cruise\u00a0","media_tagline":"","event_body":"This is a reserved seated show.\n \n\nIn 1975 Pablo Cruise released its first A&M album simply entitled Pablo Cruise. The album cover was shot in the tropical gardens of San Francisco’s Golden Gate Park and it featured a huge gorilla standing front and center. The band, David Jenkins (guitars, vocals), Cory Lerios(keyboards, vocals), Bud Cockerel (bass, vocals) and Steve Price (drums, percussion) were no where in sight. At that point there was a bit of a mystique surrounding Pablo Cruise and when asked what Pablo Cruise meant, the well-rehearsed answer went something like this: “Pablo”, represents an honest, real, down to earth individual, and “Cruise” depicts his fun loving, easy going attitude towards life: In essence that’s what Pablo Cruise music is all about. Honest, real down to earth vocals, accompanied by fun yet elegant, infectious grooves. To hear Pablo Cruise on record is one thing, but to experience the band live is an exhilarating event!\n\nFrom 1975 to 1985 the band toured the United States, Canada and Japan extensively, welcoming fans to “Climb Aboard The Good Ship Pablo Cruise.” Reaching the top 10 with mega hits like “Whatcha Gonna Do When She Says Goodbye?” and “Love Will Find A Way,”and several other top 20’s, the band went on to sell several million albums and singles collectively and established themselves as well respected writers and performers within the industry. They appeared on numerous TV shows, including Dick Clark’s American Bandstand, The Merv Griffin Show, The Dinah Shore Hour and in 1979 they broke Elvis Presley’s attendance record at the Sahara Tahoe in South Lake Tahoe, Nevada, becoming the first rock band to play a casino showroom. They also became the first rock band to grace the stage at the Grand Ole Opry, but by 1985 after completing several national tours and releasing 7 studio albums in all, the band decided to take a hiatus……one that lasted nearly 20 years.\n\nFast forward 20 years…. In 2005 a reunited Pablo Cruise picked up where they left off and today the band performs all over the U.S. and Canada and they’re enjoying it more than ever… Since getting back together, they have released two live CD’s and a DVD all through Sony Music documenting their exceptional live shows.  During the Pandemic the boys wrote and produced a new single (through Sony) entitled “Breathe” which received considerable critical reviews!  One of the great things about playing shows after all these years, is that primary songwriters David Jenkins and Cory Lerios are still on board!  “Cory says, going out and playing shows these days, gives us the opportunity to not only pay tribute to our timeless repertoire, it also gives us a chance to see old friends and fans from back in the day, as well as gaining a whole new audience!”  Today Pablo Cruise is bringing more energy and excitement to the stage than ever before and with the addition of Larry Antonino (bass, vocals), Robbie Wyckoff (vocals, percussion) and Sergio Gonzalez (drums, percussion) the band has never sounded better!   If you get an opportunity to see Pablo Cruise live, don’t pass it up……IT’S GOOD TO BE LIVE!   \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/060126-Pablo-Cruise-web-banner-33626510b3.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/pablo-cruise","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 1<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/060126-Pablo-Cruise-thumbnail-5da719b6d3.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Spacey Jane - If That Makes Sense Tour","media_tagline":"with Toledo","event_body":"Since forming in Perth in 2016, Spacey Jane have become one of Australia’s most successful indie acts, building a global audience through relentless touring and emotionally resonant songwriting. The band, fronted by Caleb Harper alongside drummer Kieran Lama, guitarist Ashton Hardman-Le Cornu, and bassist Peppa Lane, broke through with their 2020 debut Sunlight, whose single “Booster Seat” earned Song of the Year at the ARIA Awards. Their follow-up, Here comes Everybody (2022), debuted at No. 1 in Australia and made them Triple J’s most played artist that year. In 2025 they released their third studio album, If That Makes Sense - their most ambitious record yet, produced by Mike Crossey (Arctic Monkeys, Wolf Alice, The 1975) - and launched a widely successful global tour across Australia, New Zealand, North America, Europe, and the UK. With their international fanbase continuing to grow, 2026 will bring the bands return to the road (featuring festivals such as Bonnaroo & Osheaga) and the next chapter of new music.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0607-Spacey-Jane-web-banner-8644341004.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/spacey-jane-if-that-makes-sense-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 7<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0607-Spacey-Jane-thumbnail-a741b44923.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Evan Honer","media_tagline":"with Thomas Rowland","event_body":"Evan Honer\n\nEverything I Wanted\n\n \n\nA cross-country move to Nashville. An international touring schedule. A record label with 25 artists and more than 100 releases, all operating out of his living room. A recording studio built into his four-car garage. Evan Honer spent 2024 in a blur of momentum, expanding his life in all directions, playing nearly 100 shows in support of his second album, Fighting For, while writing new songs for its follow-up.\n\n \n\nOnly two years earlier, his cover of Tyler Childers' "Jersey Giant" had become a viral juggernaut, earning more than 200 million streams and launching his music career. He was busy then, too, balancing his college classes with nighttime gigs as a solo act and daily practices with the school's Division 1 swimming team. Things only intensified as school came to a close. Honer released the debut album West On I-10 on graduation day and quickly remade himself into a road warrior, balancing the challenges of early adulthood with an unbending commitment to music.\n\n \n\nThen, one day, he learned to look around him and take stock of the present. Everything I Wanted finds Honer planting new roots in Nashville, his adopted hometown after a multi-year stint in Southern California. Recorded over 18 days in a garage studio that he built himself, it's a homemade record with big-studio sparkle, its 13 songs emphasizing the indie and alternative-pop influences that have always lingered on the outskirts of his sound. Here, they're moved to the forefront, pushing Honer beyond his roots as an acoustic Americana act and into something more eclectic and electrifying. There are string arrangements courtesy of a talented neighbor, Kate Stephenson. There are horn arrangements, pedal steel swells, and contributions from his roommates, too. At the center of that sound is Evan Honer himself: an acclaimed songwriter, storyteller, and bleeding-heart vocalist who, after years on the move, has learned to slow down a bit and appreciate the moment.\n\n \n\n"My life completely changed this past year," he says. "I'm learning to be happy with where I'm at. I'm grateful that I get to stand onstage and sing songs I wrote in my bedroom, and people know the words and sing them back to me. How can you be upset about that?"\n\n \n\nIt's true; there's a lot to be grateful for. 500 million streams, for starters. An RIAA gold certification for his "Jersey Giant" cover. Sold-out shows alongside headliners like Wyatt Flores. The ongoing success of his own label, Cloverdale Records. With Everything I Wanted, though, Honer turns his gaze inward, writing autobiographical songs about romance, resilience, roots, and his relationship with his audience.\n\n \n\n"When the going gets tough, I'll stick through the season," he promises during "Maybe For Once." On the surface, it's a love song to a woman he met on the road, her memory lingering in the rear-review mirror every time his van pulls away. For someone who's used to living life at 80 miles per hour, though, the song is something more: a self-made promise to focus not only upon the destination, but on the journey itself. "These songs are about me not getting in my own way," he clarifies. "I've stopped looking for reasons not to commit. I'm pushing myself to just let things happen." The rest of the record is similarly personal. On the cinematic piano ballad "It's a Home," Honer whisks himself back to childhood to unpack some traumatic family baggage. On "Place I Hate," he sings about a career filled with astral highs and bottomed-out lows. With the short-and-sweet "Waiting Room," he delivers a genuine love song in less than two minutes, showcasing just how concise his craft has become over the past three years. And with "Curtain," he sings directly to the fans who've supported him over the years, singing, "You guys bother showing up to hear me scream about my feelings… I don't know if you can tell, but I'm the one who really needs it."\n\n \n\nHoner's previous album, Fighting For, was recorded during his first national tour, slowly pieced together in the studio spaces, living rooms, and AirBNBs he encountered while driving from show to show. Everything I Wanted, on the other hand, was recorded at home with producers Garrett Hall, Shane Travis and a small handful of guests. From the start, Honer embraced those differences. "The last thing I ever want to do is make something I've already made," he says, naming artists like Andy Shauf, Medium Build, and Pinegrove as the album's touchstones. He sought outside opinions, too, by embracing Nashville's co-writing culture. "Writing with other people was exciting," he adds, "because some of these songs wound up going to places I wouldn't normally go."\n\n \n\nLongtime fans will notice those changes and more. There's the Beatles-inspired bridge of "Finally Commit." The noisy, full-band freakout that brings the final track, "Wonder," to a close. The drums kickstart "Lose a Friend," one of Honer's only tracks to begin with percussion. Now three albums into his career, Evan Honer has more than a signature sound — he has the guts to expand and evolve that sound, as well. There will be more shows to play… more horizons to chase down in a 15-passenger van… but as long as Everything I Wanted is playing, you can find Evan Honer at home, coaxing new sounds out of the garage, thankful for the moment even as it passes by.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/EH660-860614dd55.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/evan-honer-1","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 16<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/EH180-a7a7f9f2bb.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Josiah and the Bonnevilles - The Redline North America Tour 2026","media_tagline":"with Max Alan and Brenna MacMillan","event_body":"Josiah Leming has paid his dues. As a teenager from East Tennessee, his devotion to music led him to hit the road, where he lived in his car and played for anyone who would listen. That took him all the way to a major record deal when he was only nineteen. When that ended, he refused to give up and became an indie artist, relying solely on the music and his undeniable gift for crafting relatable songs that led to a devoted fan base he calls the Bonnevilles. He appreciates them so much that he includes them in his artist name. “They’re the reason I’m able to make music,” he says.\n\n \n\n2024 saw Josiah and the Bonnevilles reaching new heights, completing a headlining tour of thirty-three sold-out dates followed by a slew of international stops that proved his global following. He has become known for raw emotion and a profound connection to his audience. This newfound attention has led to much anticipation for his new album — and As Is lives up to the expectations.\n\n \n\n“I knew I had a responsibility to try to become a better writer, a better artist,” he says. “One day that feels like a blessing, and the next it feels pretty intimidating.” Instead of reproducing his popular sound from the self produced “Endurance”, he decided to expand it. “I think it would have been hard to keep my excitement to go out on the road with another kind of acoustic record.” His tenth studio album finds him going more electric than ever before, even as he unplugs from the digital world. “I feel like a grizzled old veteran at this point,” he says, even though he is only thirty-six. “I’m desiring quiet, a work space away from the internet…I felt like it was important to pull back this last year and try to understand what’s on my heart.” What he found there resulted in an album focusing on joy, sorrow, and working-class issues that feel very of the moment in a time when so many Americans are struggling to make ends meet.\n\n \n\nLeming comes by his empathy for working people honestly. He’s one of nine siblings, born and raised in Morristown, Tennessee, right in the heart of Appalachia. He taught himself piano when he was eight and was writing songs by thirteen. As a child he was intently aware of his community and intensely proud of his people, something he thinks about even more in these trying times. “I look at my I look at my folks in East Tennessee and very few of them seem to be winning in this new world,” Leming says.\n\n“Being a regular person, working, trying your best. I think that’s something to be proud of.”\n\n \n\nHis records have always been intensely personal. But on As Is he wanted to step away from being the main character and instead use vignettes to express essential truths he has learned. “I want anyone to be able to put it on and not think about me when they're listening. I want them to be in the emotion.” Because of this he made a conscious choice to not include himself on the album cover.\n\n \n\nLeming chose ten tracks from ninety-six songs he has written over the last year and a half. As Is features the most co-writes he has ever recorded. “I love writing alone, but I wanted to bring in some trusted partners on this one,” he says. The resulting list features some of the most acclaimed songwriters working today. There’s Nashville powerhouse Natalie Hemby, a two-time Grammy winner who has written for everyone from Lady Gaga to Miranda Lambert; Joel Little, a Grammy winner who has written with Lorde, Taylor Swift, Noah Kahan, and many others; Scott Harris, best known for work he’s produced or written for artists such as Shawn Mendes, Dua Lipa, and The Chainsmokers; and others.\n\n \n\nTo help him find the sound he hoped to achieve, Leming brought in Konrad Snyder as a co-producer. Snyder has engineered or produced some of the best work to come out of Nashville in the last decade, including tracks by Kacey Musgraves, Stephen Sanchez, and Noah Kahan. “It was an amazing partnership with Konrad,” Leming says. “I never had to touch a computer or a piece of gear; he's a whiz with all that stuff. I’m usually so hands-on with my stuff, switching between setting up, tracking and editing but on this record I got to just perform the songs.”\n\n \n\nThe songs on As Is feature Leming’s vivid sense of place, precise yet poetic lyrics, and  emotion that is always longingly expressed by his vulnerable vocals. This collection is more up-tempo than most of his work, which is something Leming and Snyder strived to make happen on about half the songs. “I was thinking a lot about the energy, of having a couple songs that can amp up people at live shows,” he says.\n\nThis power is especially apparent on songs like opening track “Good Boy”, which boils toward a rousing breakdown, “Carolina Heart”, a tune Leming calls “less existential and my attempt at a feel-good song,“ and “Going Gone”, a nostalgic track about the passage of time. “Mountain Girl” is a foot-tapping harmonica-led tribute to Appalachian women. There’s the jaunty rock of “Redline”, and a song called “One Day at a Time” that is sure to resonate with anyone who has ever struggled with addiction, depression, or a lack of confidence. Leming’s fans often cite his storytelling abilities as one reason they love his work, and that takes center stage on the title track, a spoken-word song. “Where It Starts” is a meditation on how heartache can lead to great art. The first single is the powerful “Hell Without the Flames,” the album’s darkest track that also showcases some of the best lyrics and vocals of his career.\n\n \n\nThey all make for a collection of songs that take the listener full circle. “There’s all these kinds of love stories, and it walks through many variations on heartbreak, ultimately landing on home, acceptance and overcoming that hurt. I just want people to be able to see themselves in the songs.”\n\n \n\nThat’s what it’s all about for Leming. “The only goal for me is to make something real, and honest, and that can get them through the day,” he says. “I gave everything I have for this album. I laid it all on the table, which is what I always want to do.”  As Is proves to be all of that, and more, a milestone for one of our most authentic and resonant artists working today.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0626-Josiah-and-the-Bonnevilles-WEB-BANNER-8fff659f6a.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/josiah-and-the-bonnevilles","ticket_link":"Buy Tickets<\/a>","event_date":"Jun<\/span> 26<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0626-Josiah-and-the-Bonnevilles-WEB-TN-4f2e8df639.png","category":{"name":"Other","id":"0"}},{"media_title":"Ben Harper & The Innocent Criminals","media_tagline":"","event_body":"Ben Harper is one of the premiere songwriters of his generation. He is also one of the most versatile and brave songwriters, fearlessly working in a cross-section of genres, ranging from pop, reggae and soul, to blues, rock, funk and folk. He has recorded 18 studio albums and amassed a worldwide following having sold over 16 million records worldwide and 3 Grammy Awards.\n\nBen was born on October 28, 1969. While his music and career embody the sonic bravery, brilliance, lyrical honesty and social activism of that pivotal time, Harper adds his unique modern day cultural awareness brining music with social conscience into the now, reflected in the 2023 nomination for the newly minted Grammy Special Merit Award for "Best Song For Social Change."\n\nHarper's latest album "Wide Open Light" included the hit "Yard Sale," a duet with Jack Johnson.\n\nIt followed up the political and personally revealing, fearless and soulful Grammy-nominated "Bloodline Maintenance."\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/091826-Ben-Harper-web-banner-9a183c81b5.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/ben-harper-the-innocent-criminals","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 18<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/091926-Ben-harper-thumbnail-159b969cf9.png","category":{"name":"Other","id":"0"}},{"media_title":"Infinity Song - World Tour II Continues... ","media_tagline":"","event_body":"This show was originally scheduled for 3\/26\/26.  All tickets previously purchased for the original date are valid for entry and no additional action is needed.\n\nInfinity Song is a Soft Rock band based in New York City, comprised of 4 siblings: Abraham, Angel, Israel, and Momo Boyd. With a blend of tight vocal harmonies, dreamy lyricism, and sublime guitar riffs, the band creates a transcendent experience for the audience on every stage and in their recorded music.\n\n \n\nHomeschooled academically and musically, along with their 5 other brothers and sisters, by parents who founded the Boys & Girls Choirs of Detroit, the siblings have been performing in front of audiences since Pre-K. Raised on classical, gospel, and jazz, they draw inspiration from artists like Pat Methany, Marvin Gaye, and The Winans Family.\n\n \n\nInfinity Song’s journey began in 2006 when the Boyd patriarch, John Boyd, moved the family from Detroit to New York. The group performed all over the city, from the Metropolitan Museum of Art to Times Square, with Central Park’s Bethesda Fountain becoming their primary stage for the next 12 years. Over time, they turned casual park visitors into loyal fans, eventually being introduced to JAY-Z.\n\n \n\nIn 2016, the band was signed to Roc Nation by JAY-Z, who encouraged them to stay true to their unique sound. In 2020, they made a giant splash with their debut album Mad Love, which, combined with several viral videos, amassed millions of views and earned the attention of Hollywood's biggest names.\n\n \n\nInfinity Song's recent success marks a bold chapter in their musical evolution, which they’ve described as their Metamorphosis. Their expanded sound, blending elements of soft rock, pop, and soulful melodies, has captured the attention of a global audience. The band’s breakout moment came with the viral success of Hater’s Anthem, a track that has been endorsed by Pop star Doja Cat and shared by millions of people worldwide. Leading many listeners to compare the band to legendary 70s groups such as Fifth Dimension, The Mamas and The Papas, and ABBA. \n\n \n\nBut their journey didn’t stop there. Slow Burn and Sinking Boat, two additional singles from their Metamorphosis era, also became viral sensations, fueling their rise to new heights and captivating even more fans. \n\n \n\nIn 2024, the band embarked on a successful world tour, playing sold-out shows in Los Angeles, Toronto, London, Manchester, Brussels, Berlin, Paris, and more. They also graced the stages of major festivals such as Bonnaroo, Lollapalooza, and Pitchfork Paris - further solidifying their place in the global music scene.\n\n \n\nThe band’s latest achievement, a LIVE album, captures the magic of their dynamic performances and continues to fuel excitement for their upcoming tour & singles. With the momentum building, Infinity Song is poised to make an even bigger mark in the year to come.  \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/0326-infinity-song-web-banner-9a074adf81.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/infinity-song-world-tour-ii-continues-1","ticket_link":"Buy Tickets<\/a>","event_date":"Sep<\/span> 30<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/0930-Infinity-Song-thumbnail-db9bee7fdf.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Mo Lowda & The Humble: Tailing the Ghost Tour","media_tagline":"","event_body":"Mo Lowda & the Humble are a self-produced indie rock band hailing from Philadelphia.  The band is set to released their 5th studio album on June 20th, 2025, entitled: Tailing the Ghost.  Since releasing their debut album in 2013, they’ve vastly expanded the sonic exploration of their recorded material whilst developing a dialed-in, yet energetic live show through persistent touring. In turn, they’ve built a ravenous and loyal following across the country, selling out clubs and theaters throughout the US each year. 'Tailing the Ghost' was recorded entirely on the road, with the majority of the songs being cut almost entirely live.  It is Mo Lowda's most cohesive, yet explorative album to date.  The band tours year around, often playing over 90 shows a year. \n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/1009-Mo-Lowda-WEB-BANNER-54aa76976a.png","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/mo-lowda-the-humble-tailing-the-ghost-tour","ticket_link":"On Sale Soon<\/a>","event_date":"Oct<\/span> 9<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/1009-Mo-Lowda-WEB-TN-3b7cd473a0.png","category":{"name":"Other","id":"0"}},{"media_title":"Bruce Hornsby & The Noisemakers: Indigo Park Tour","media_tagline":"","event_body":"Based out of Williamsburg, VA, Hornsby first rose to national prominence with The Way It Is, his 1986 Grammy-winning debut album with The Range. The title track became the most-played song on American radio in 1987 while Tupac Shakur’s timeless song “Changes” builds on “The Way It Is” and set the stage for many subsequent versions of the track. In 1991 Hornsby collaborated with Bonnie Raitt, playing on her iconic hit “I Can’t Make You Love Me.” Additionally, Hornsby was a part-time member of the Grateful Dead from September 1990 to March 1992, performing over 100 concerts in America and Europe. The 13-time Grammy nominee has also solidified his status as a highly sought-after collaborator. Hornsby’s own 23 albums have sold over 11 million copies worldwide, and he has appeared on over 100 records including releases with Bob Dylan, Don Henley, the Grateful Dead, Stevie Nicks, Ricky Skaggs, Bob Seger, Chaka Khan, Bon Iver, Brandon Flowers, Bonnie Raitt, Sting, Mavis Staples, Willie Nelson and more. Performances will feature material from throughout Hornsby’s storied career, in addition to new music from his forthcoming album, Indigo Park, arriving April 3rd, 2026.\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/bh660-de16cc297e.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/bruce-hornsby-the-noisemakers-indigo-park-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 16<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00am","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/bh180-3cfd393c51.jpg","category":{"name":"Other","id":"0"}},{"media_title":"Benjamin Tod and the Inline Six 2026 Tour","media_tagline":"with Tommy Prine","event_body":"Sitting at a corner café table, Benjamin Tod’s eyes light up when asked what it’s like to finally embrace happiness and accept love. With a slight grin, he sips his coffee and leans back, one arm draped casually and comfortably over the chair.\n\n“I’m kind of settling into my age, into allowing myself to be happy,” the 33-year-old says. “For years, I led myself and the people around me into a lot of unnecessary darkness. And now, I’ve learned how to give and receive affection — it’s helped heal a lot of parts of myself.”\n\nTod’s demeanor is a far cry from his usual stiff posture stance with arms folded, this permeating sense of trepidation and scrutiny for what trouble may be coming down the pike. The relaxed, calm aura is a sign of a human being who has overcome lifelong personal demons, one who has finally become liberated — not only in his personal life, but also his music.\n\n“This latest record is so unusual for what I do,” Tod says. “It’s almost a spite album, to prove what I can do as a writer in whatever medium I step into.”\n\nTitled Shooting Star, the album carves a fresh creative path for Tod, a storied singer-songwriter and frontman of Lost Dog Street Band. The self-proclaimed “proprietor of misery,” Tod finds himself transcending into a life of gratitude, patience, and stability.\n\n“People evolve and change. You’re growing as a person,” Tod says. “If you want to get healthier, you have to start intentionally behaving like a healthy person. You have to look around you and adapt to those things — if you don’t change your identity, it’s hard to change yourself.”\n\nFor this latest solo endeavor, Tod tapped some of Nashville’s finest to conjure country gold. Shifting from his signature somber tone of struggle and survival, Tod and his coal fire throat radiate a feeling of clarity and new beginnings in the face of adversity. The result is this intrinsic, musical crossroads — more Hank Williams than Bob Wills, more Marty Stuart than George Jones.\n\n“Most of my career has been laser-focused on poetic, piercing songwriting in mainly a folk tradition.” Tod says. “I wanted to prove to myself and the industry that I could write an elite country record with ease. Either way, if I didn’t accomplish that goal, I sure as hell came closer than anyone on pop country radio.”\n\nThe inspiration for the project struck in the summer of 2022, with Tod penning the opening track\n\n“I Ain’t The Man.” From there, it became this unrelenting, internal thirst for Tod to begin\n\n“imagining what all I could do within a genre slightly outside my comfort zone.”\n\nWith a thick thread of honkytonk woven into it, the album leaves fingerprints on seemingly every style of country, from outlaw to red dirt, folk to indie, the culmination of which being a happily welcomed challenge for Tod — the ethos of his life and career at this juncture howling loudly\n\n“obstacles are opportunities.”\n\nShooting Star is also a full-circle moment for Tod. Coming of age in Music City, he found himself squarely in the midst of rough-n-tumble Lower Broadway. Busking on street corners playing Woody Guthrie and Jim Ringer tunes for spare change. And getting kicked out of Robert’s Western World or Layla’s Honky Tonk “more times than most regulars had been before the age of 20.”\n\n“Growing up on Lower Broad, the influences that I received kind of came later in life,” Tod says. “That sound was always on the tip of my tongue, but it wasn’t until about five or six years ago when I started getting back into my roots, really listening to country again and enjoying honkytonk — this record feels like a homecoming.”\n\nTod views Shooting Star as a rebuttal to the current state of affairs, for good or ill, of his native Nashville and of the music industry itself. The 10-song LP harkens to the golden era of country music. It’s taking “three chords and the truth” and actually holding yourself to those standards of vulnerability and authenticity.\n\n“I want to make music that helps people on a personal basis, to work through their own trauma and problems, to better serve their families, themselves, and their communities,” Tod says. “As a society, we need to reform back to our spirit. And my intent is to direct people back to their spirit — mind, body, and soul.”\n\nIn reflection of the long, arduous road to where he firmly stands today, Tod acknowledges his whirlwind, volatile past. But, the troubadour does so with pure intent, pushing headlong into this unwritten chapter of possibility and purpose.\n\n“Right now, I’m very excited for the future, and very thankful,” Tod says. “I’ve worked incredibly hard and made changes in my life — I’m becoming the person I’ve longed to become for years.”\n","media_file_type":"img","media_file_placeholder":null,"media_file_name":"https:\/\/www.jeffersontheater.com\/assets\/img\/101726-BT-web-banner-0c5a75619a.jpg","media_link":"https:\/\/www.jeffersontheater.com\/events\/detail\/benjamin-tod-and-the-inline-six-2026-tour","ticket_link":"Buy Tickets<\/a>","event_date":"Oct<\/span> 17<\/span>, 2026<\/span>","promos":"home featured just-announced","event_time":"8:00pm","media_thumb":"https:\/\/www.jeffersontheater.com\/assets\/img\/101726-BT-thumbnail-dd61157436.jpg","category":{"name":"Other","id":"0"}}]}