John Mark McMillan @ 191 Toole

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

John Mark McMillan (born November 27, 1979) is an American singer, songwriter and musician. In 2002, McMillan released his debut album Hope Anthology, Volume 1. This independent album was followed by The Song Inside: The Sounds of Breaking Down in 2005, which included the track “How He Loves”. The song was successful despite the album’s independent release, and has been covered by several well-known artists within the Christian music industry including the David Crowder Band. McMillan released his third album, The Medicine, independently in 2008, and re-released the same album under the Integrity Music label in 2010. Economy followed in 2011 with Integrity Music. In 2014, McMillan and Josh Lujan Loveless formed Lionhawk Records, and Borderland became the first album released under this new label. Borderland was released after a successful Kickstarter campaign, where he raised close to double the goal. The album debuted at No. 41 on the Billboard 200 and No. 4 on Billboard’s Top Christian Album chart. McMillan’s subsequent studio albums were all released via Lionhawk Records. His next studio album, Mercury & Lightning, was released in 2017, and his most recent studio album, Peopled with Dreams was released in 2020.

The Front Bottoms

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

When you turn on a record from The Front Bottoms, you hear the trials, tribulations, and triumphs of two  lifelong friends who stare down personal tragedy and the madness of a world gone haywire by simply  playing a little louder together. The duo—Brian Sella [vocals, guitar] and Mat Uychich [drums]—spin all of  these emotions into a tapestry of punk, folk, and alternative on their new full-length album, In Sickness &  In Flames

“When you listen to this, I definitely want you to feel the anxiety,” affirms Brian. “There are some pretty  rock and roll songs and heavy moments on In Sickness & In Flames. I hope the tension comes across. We  went through all of these unbelievable life changes, and then all of these insane things happened in the  world. If you get anything out of it, we want it to be that creativity can basically solve any problem and  will save us. This was made from a tense place. Look around. You literally see sickness and flames right  now, but we can grow from it. Metaphorically for The Front Bottoms and the community, we’re basically  saying, ‘There’s a lot of craziness happening, but here’s an album out of it’. This is the creativity we need  to keep our heads above water.” 

They’ve shared in that same creativity since back in grade school. The New Jersey natives began performing in high school bands and after Brian finished college, The Front Bottoms officially formed.  Brian’s mom gifted the boys 12 hours of recording time at a local studio for Christmas, resulting in their  2011 self-titled independent debut. A whirlwind of prolific output and countless gigs followed. The Front  Bottoms reached a critical peak with 2017’s Going Grey. It received praise from the likes of The FADERStereogum, VICE, A.V. Club, and more. Along the way, the band performed on Late Night with Seth  Meyers and NPR’s “Tiny Desk,” graced the stages of Coachella, Lollapalooza, Austin City Limits and  Bonnaroo, and toured with the likes of Blink-182, Manchester Orchestra, and many more. Not to  mention, the group has tallied nearly 100 million streams, sold over 500,000 album equivalents, and  launched the annual holiday festival Champagne Jam, which expands year over year at an  unprecedented rate.  

Their union only grew strong with each subsequent show and release. 

“It wouldn’t be The Front Bottoms, if there wasn’t a partnership. We just naturally always progressed by  figuring everything out together,” smiles Mat. 

“He handles the business though…I need to call him to find out my social security number,” laughs Brian. 

However, it seemed like life began testing them last year. In between tracking everywhere from their New  Jersey home studio to the famed Sonic Ranch in El Paso, TX on the Mexican border, the guys assembled  what would become In Sickness & In Flames. Following an appendicitis diagnosis, Brian underwent  emergency surgery in December. The property they co-owned as a creative hive caught fire and burned  down. Still, the musicians soldiered on. 

“It felt like every time we came home, some other shit would happen,” recalls Brian. “Finally, we finished  the album, and the pandemic hit.” 

In the middle of this upheaval, they introduced the record with “camouflage.” A palm-muted verse rolls  towards caustic confessions like, “Think I was having a mental breakdown the same time you were  painting your walls.

“It goes back to this idea of wanting to connect with nature, disappear into the background and blend in,”  Brian explains. “I wouldn’t normally wear camo, but it’s how I feel sometimes.” 

A wall of distortion absorbs lush strings on “everyone blooms” as it blossoms into a grand chorus. 

“It follows the overarching themes of growing up, coming into your own, and realizing everything you’ve  been told is a lie,” says Mat. “Flowers all bloom, but not at the same time. I’ve always related to late  bloomers. Everyone grows at his or her own pace. There’s no rush.” 

On the single “montgomery forever,” a nimble bass line crashes into fleet-fingered acoustic fretwork and  a call-and-response chant, “We used to live here; now they’re blowing it up.” 

“There was a public housing building called Montgomery that was going to be demolished in Jersey City,”  says Brian. “My girlfriend and I woke up early at like 8am to see it, and the city blew it up. It was super  emotional and intense. As I was walking back to my apartment, there was a woman with a shirt that said,  ‘Montgomery Forever’. I definitely saw her emotion. These were people’s homes. It’s the emotion of losing  everything. It sparked the inspiration for me.” 

“Fairbanks, Alaska” hinges on a thought-provoking visual as Brian admits, “I haven’t checked my mind  since I saw the Northern Lights of Fairbanks, Alaska.Refracting a burst of raw energy, a rattling scream  quakes through “leaf pile.” On the other end of the spectrum, the record closes out on the sparse piano  of the poetic ballad “make way.” 

“The original thinking of In Sickness & In Flames related to me getting married,” Brian reveals. “However,  it makes even more sense now. We needed all of this crazy stuff to happen to make the album, and now  it speaks to the times for us.” 

However, as with everything The Front Bottoms have done, it speaks beyond the times as well. 

“Everything’s been bad news, but we hope this is good news for our fans,” Mat closes out. “We’re just  documenting our lives through music.” 

“We’ve dedicated our entire lives to this,” Brian leaves off. “It’s the creative expression of what we’ve  been going through. Because of that, we keep getting closer and growing up.” 

BOILER 

When you turn on a record from The Front Bottoms, you hear the trials, tribulations, and triumphs of two  lifelong friends who stare down personal tragedy and the madness of a world gone haywire by simply  playing a little louder together.  

The New Jersey natives went from playing in the woods to performing in high school bands. After Brian  finished college, The Front Bottoms officially formed. Brian’s mom gifted the boys 12 hours of recording  time for Christmas, resulting in their 2011 self-titled independent debut. A whirlwind of prolific output  and countless gigs followed. The Front Bottoms reached a critical peak with 2017’s Going Grey. It received  praise from the likes of The FADER, Stereogum, VICE, A.V. Club, and more. Along the way, the band  performed on Late Night with Seth Meyers and NPR’s “Tiny Desk,” graced the stages of Coachella, Austin  City Limits, and Bonnaroo, and toured with the likes of Blink-182, Manchester Orchestra, and many more.  Not to mention, the group has tallied nearly 100 million streams, sold over 500,000 album equivalents,  and launched the annual holiday festival Champagne Jam, which expands year over year at an  unprecedented rate. Overcoming a series of challenges, the duo—Brian Sella [vocals, guitar] and Mat  Uychich [drums]—spin raw emotions into a tapestry of punk, folk, and alternative on their fifth full-length 

and second album for Fueled By Ramen, In Sickness & In Flames, led by the singles “camouflage,”  “everyone blooms,” and “montgomery forever.”

Teddy Swims

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Teddy Swims is a lover. The 29-year-old artist, who merges honeyed soul with raucous rock energy and pleasing pop hooks, writes nearly all his songs about falling in or out of romantic entanglements. He zeroes in his focus on his latest EP, Tough Love—a six-song collection of heartbreak horror stories and earnest declarations of devotion. “To me, that’s just all there is,” he says. “You’re either making love or crying about it.” The Atlanta native, born Jaten Dimsdale, has been tugging at heartstrings since posting a series of covers from his bedroom studio, which generated hundreds of millions of views and scored him a deal with Warner Records. Teddy changed his focus to introspective originals on 2020’s Unlearning EP and garnered praise from American Songwriter, Billboard, Rolling Stone, among others. Soon, performances on The Kelly Clarkson Show, Today, and The Late Show With Stephen Colbert cemented his status as a rising star. With more than 500 million global streams to his credit, as well as a social following that exceeds 8 million, Teddy’s songs of devotion have clearly connected. And part of reaching that audience, for him, is getting to show his love in person.

Dayglow: People In Motion Tour

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

“Then It All Goes Away” is the exuberant new single from Dayglow, the project from Austin-based Sloan Struble. Here we see Struble harmonize over catchy claps, piano and even the cowbell gets a moment. In an era of music when most songs take a team of co-writers and producers to create, Dayglow’s music remains uniquely Sloan’s – crafted solely by him. He reflects “I made “Then It All Goes Away” after coming home from my Fall 2021 North America tour. I started writing the bassline during my morning coffee and I finished the full composition by the end of the day. It felt so fresh and natural to write-I was just having fun honestly. It felt like a year’s worth of unconscious ideas all came to the front of my brain at once and just spilled out. I was really just thinking of my fans the whole time making it and imagining “how can I make a Dayglow song that feels so familiar, yet feels like a brand new experience entirely?’

Announced alongside “Then It All Goes Away”, Dayglow’s new album People in Motion continues Struble’s joyous quest to create music that makes people feel good. End to end, these 10 tracks—conceptualized, written, played, and produced by Struble—are delightfully pure, hyper-melodic manifestations of Struble’s desire to steer clear of conflict or drama and offer someone something to love.

But People in Motion isn’t all sunshine and rainbows. There is a depth to Dayglow here, a real sense that Struble has faced obstacles of his own and chosen to stand atop them. “I make music because I love making it,” said Struble. “I just love recording and producing.” That is the inarguable takeaway of People in Motion, a record about finding something you love and singing about it out loud.

Since Dayglow burst onto the scene, Sloan Struble has toured the globe—selling out his North American headline tour, a slew of UK/EU dates, and has graced festival stages including Lollapalooza, Austin City Limits, Bonnaroo, and Corona Capital. He has appeared on The Tonight Show with Jimmy Fallon, The Late Show with Stephen Colbert, as well as the iconic Austin City Limits on PBS, a highlight for the Austin native.

Fans around the world haven’t just come out for the shows but they’ve listened and streamed and streamed, more than a billion times in fact. His debut single “Can I Call You Tonight,” from his debut record Fuzzybrain, not only went Platinum but was also 2020’s biggest independent Alternative Hit. The song hit #2 at both US Alternative and Triple A radio. Its official video has become a favorite on YouTube, sparking a wave of fan-made spin offs. Dayglow’s sophomore album Harmony House didn’t disappoint either. With its hard-won and palpable sincerity, it garnered acclaim from Billboard, NPR, Ones to Watch, The Talkhouse, and NME.

The year ahead will see Dayglow continue to reach new highs with a confirmed world tour and more festival spots including Bonnaroo, Firefly, Outside Lands, Reading & Leeds and more.

Manchester Orchestra

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Centered on the deeply personal, often biographical songs of singer/guitarist Andy Hull, Georgia’s Manchester Orchestra are known for their emotive, textured blend of post-hardcore rock. Barely out of high school when they debuted with 2006’s I’m Like a Virgin Losing a Child, Manchester Orchestra gained greater recognition with 2009’s Mean Everything to Nothing, which cracked the Top 40 of the Billboard album charts. They have continued to mature, embracing a stylistically wide-ranging sound that touches upon everything from acoustic folk balladry to kinetic prog rock, and placing several Top Ten Billboard Rock Albums, including 2011’s Simple Math and 2014’s Cope. Inspired by their work crafting the soundtrack to 2016’s independent film Swiss Army Man, the group has grown increasingly concept driven, a style they brought to fruition with 2017’s A Black Mile to the Surface and 2021’s The Million Masks of God.

Formed in 2004 in Atlanta, Georgia, Manchester Orchestra grew out of songs that singer/guitarist Andy Hull had begun writing while in high school. Encouraged by positive response, he opted for homeschooling during his senior year, which afforded him enough time to compose and record in the studio. Friends began collaborating with him over time, and Manchester Orchestra soon solidified into a trio comprising Hull, bassist Jonathan Corley, and drummer Jeremiah Edmond. Hull’s songwriting noticeably progressed with the addition of his friends, and the band courted its first fans with an EP release. You Brainstorm, I Brainstorm, But Brilliance Needs a Good Editor thus appeared in 2005 through the band’s own label, Favorite Gentlemen Recordings. With the EP out, Manchester Orchestra began playing shows around the Southeast and added keyboardist Chris Freeman to the mix. Buzz about the band’s music began creating a stir beyond the Atlanta city limits, and the guys were invited to play slots at the South by Southwest and Lollapalooza festivals in 2006 before beginning to work on their full-length album that summer. The resulting I’m Like a Virgin Losing a Child was issued by the year’s end, offering up a poignant collection of memorable hooks and thoughtful narratives that showcased a similar style to acts like the Weakerthans and Death Cab for Cutie.

Eventually, studio intern turned guitarist Robert McDowell joined the lineup permanently, and as a steady buzz continued to grow — especially on Internet blogs — Manchester Orchestra snagged an opening spot on Brand New’s largely sold-out tour in spring 2007. The increased exposure caught the interest of Canvasback Recordings, which reissued the band’s debut album that summer. A second EP, Let My Pride Be What’s Left Behind, followed in October 2008, and the band remained in the studio during the subsequent months to perfect its sophomore album. Released in 2009, Mean Everything to Nothing found the band working alongside producer Joe Chiccarelli, famous for his work with the Shins and My Morning Jacket.

In 2011, the band released its third full-length studio album, Simple Math, a concept album built around Hull’s life story. They then delivered a fourth album, 2014’s heavy, post-hardcore-infused Cope. That same year, the band returned with Hope, a companion piece to Cope, featuring reworked, largely acoustic versions of all the album’s songs. Hull and McDowell then collaborated on the soundtrack to the 2016 film Swiss Army Man. Consisting entirely of layered vocal tracks, the soundtrack was well received and garnered nominations for Best Original Score for a Comedy Film and Film Music Composition of the Year at the 2016 International Film Music Critics Association Awards.

The following year, Manchester Orchestra returned with their fifth full-length album, A Black Mile to the Surface. Produced with Catherine Marks (Foals, Wolf Alice), the album found the band taking a conceptual, cinematic approach inspired by their work on Swiss Army Man. Buoyed by the singles “The Gold,” “The Alien,” and “The Moth,” the album hit number 33 on the Billboard 200 and reached number seven on the Top Rock Albums chart. A cover of the Avett Brothers’ “No Hard Feelings” appeared in 2018, followed in 2020 by the holiday-themed EP Christmas Songs, Vol. 1. A second Marks production, The Million Masks of God, arrived in 2021 and again found the band adopting a conceptual approach as they explored themes of birth, death, and what lies beyond.

Municipal Waste

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

From choosing a name that makes them sound like some sort of urban public works department to their music itself, Richmond, Virginia’s Municipal Waste openly bow down to the memory of ’80s thrash metal and crossover decades after, and a few hundred miles away from, the original movement’s heyday in New York City. Emerging in 2001 with an eponymous EP, the group’s 2003 debut long-player, Waste Em All, helped pave the way for a crossover resurgence in the early 2000s. They continued to carry the thrash-punk torch on subsequent outings like Massive Aggressive (2009) and Slime and Punishment (2017), and Electrified Brain (2022), with vocalist Tony Foresta and guitarist Ryan Waste serving as the group’s sole constant members.

Led by picturesquely named vocalist Tony “Guardrail” Foresta, Municipal Waste played their first show on New Year’s Eve 2001, then spent the next few years working on demos, recording the odd EP and split release, and juggling musicians until solidifying its membership around Guardrail, guitarist Ryan Waste, and bassist Land Phil. Veteran drummer Dave Witte (ex-, , , etc.) joined their ranks shortly after the band signed with and recorded 2004’s Waste Em All with producer Corey Smoot (aka Flattus Maximus of ). The album was instantly embraced by discerning metal fans for its retro-tastic revival, received overwhelmingly positive reviews, and landed Municipal Waste supporting slots on tours with and . Late 2005 saw the unveiling of the band’s equally impressive sophomore effort, Hazardous Mutation, which helped them break big across Europe, and resulted in even more touring opportunities. Two years later, the group once again returned to the studio with producer Zeuss (, , etc.), and emerged with their third irreverent opus, The Art of Partying, which was followed by a headlining tour of Europe and a series of dates with crossover legends . Massive Aggressive arrived in 2009 to accolades both at home and abroad, as did 2012’s The Fatal Feast, their first outing for . The band tapped bassist Land Phil to handle the engineering of their sixth studio long-player, 2017’s Slime and Punishment, which landed at the number three slot on the U.S. Heatseekers chart. In 2019 the band issued The Last Rager, a reliably punishing four-song EP, and in 2022 they released their seventh full-length effort, the relentless Electrified Brain, which was recorded in Philadelphia with producer Arthur Rizk (, ). ~ Eduardo Rivadavia, Rovi

La Dispute @ 191 Toole

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

La Dispute has never been a band prone to settling. The five-piece from Grand Rapids, Michigan, is responsible for some of the most uncompromising, experimental hardcore music of the last decade. From their 2008 debut, Somewhere at the Bottom of the River Between Vega and Altair, to 2011’s Wildlife, to 2015’s Rooms of the House, La Dispute have continually pushed themselves to find new ways to portray some of the most difficult and universally affecting subject matters. Casting a wide stylistic net that includes – but isn’t limited to – jazz, blues, spoken word, screamo and prog rock, La Dispute have developed a sound that, while constantly evolving, is unmistakably theirs.

It can be difficult for punk and hardcore bands in particular to evolve and maintain momentum simultaneously the longer they stay active. At a time of economic uncertainty, and with the music industry not being lucrative as it once was, creativity and reality are often at odds with each other. In spite of this, La Dispute has maintained the same attitude they started with. They are a band figuring out, as we all are, how to live meaningfully while also trying to make meaningful art without compromise. Panorama, then, is another chapter in a discography that tells everyday stories in a remarkable way. It takes you deep within the heart of the world we live in, which may not always be a comfortable or comforting place to be, but at the very least it’s a reminder that we’re not there alone.

Circles Around The Sun @ 191 Toole

________

 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.

________

ABOUT THE ARTIST

WEBSITE | FACEBOOK  | INSTAGRAM | TWITTER | LISTEN

Circles Around The Sun’s unconventional origin is defined by a serendipitous twist of fate. Acclaimed guitarist Neal Casal was asked to record a handful of Grateful Dead-influenced instrumentals to be played during the set breaks at The Dead’s “Fare Thee Well” concerts in 2015. To accomplish the task, Casal would recruit keyboardist Adam MacDougall, bassist Dan Horne and drummer Mark Levy to join him in the studio. That was supposed to be the extent of it. Fast forward to the recordings being played over the stadium’s PA at the shows. The response from the audience was uniformly resounding, quite literally blowing up the internet with questions as to where this magical music came from and ultimately pleas for more. 

 

To appease the demand, Circles Around The Sun released those recordings as their debut album, ‘Interludes for the Dead.’ It was followed by several acclaimed live performances. Again, the response was so positive, and the band was having so much fun making music together, that they decided to keep going. Indeed, the chemistry of the four musicians was instant and undeniable. 

 

Circles Around the Sun—often shortened to CATS—returned to the studio in 2018 to record the double album, ‘Let It Wander,’ offering seven focused performances filled with imaginative musical turns and electrifying improvisation. Rolling Stone wrote: “‘Let It Wander’ is a set of even deeper spells that thread suggestions of Little Feat–style grooves and Bernie Worrell’s percolating synthesizers in Parliament-Funkadelic through the German mid-Seventies space travel of Tangerine Dream and the offbeat churn of the Dead’s “Estimated Prophet.'” 

 

More tours followed, including sold out headline shows across the country, support dates playing theaters with Greensky Bluegrass and high profile festival appearances. The band recorded an EP with drummer Joe Russo, as well as, a follow up full-length album with producer Jim Scott. With their future appearing brighter than ever, fate once again intervened. This time it wouldn’t be as kind. Co-founder/guitarist Neal Casal unexpectedly passed away in August 2019, leaving the band’s future in question. After much soul-searching and per wishes Casal left behind for the band to continue in his absence, Circles Around the Sun has continued to record and tour, releasing their self-titled third LP in 2020 that had be tracked prior to Casal’s passing. In 2022, the band added John Lee Shannon as a permanent member on guitar who, fittingly, was among Casal’s favorite young guitarists. 

 

The band’s most recent single, “Language,” a collaboration with harpist Mikaela Davis was released in March 2022 and offers a sneak peak at new music being recorded for an album release in Fall 2022. On the touring front, Circles Around the Sun recently completed a cross-country U.S. tour with many more club and festival dates planned for the remainder of the year, including appearances at Sacred Rose Festival, Whale Rock Music Festival and Santa Cruz Mountain Sol Fest. , the surviving members decided to carry on to keep Neal’s spirit alive and honor what he’d created. 

 

With a slate of tour dates scheduled for the foreseeable future and plans being made for their next album release, fans can count on many more revolutions around the bright, burning star as fate continues to play its hand for Circles Around The Sun.